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Inside the Barrel
New Brewers and Old Oak
In 1994, Chicagoans were treated to an extraordinary beer created to celebrate the 1,000th batch brewed at the Goose Island brewpub: Bourbon County Stout, an intense, black stout that brewer Greg Hall had aged in oak barrels fresh from the Jim Beam bourbon distillery.
The following year, brothers-in-law Adam Firestone and David Walker sat in the Firestone Vineyard in central California, surrounded by family wine barrels, planning a new craft brewery that would be distinguished by the use of oak barrels to ferment their beer.
And in 1996, Belgian brewer Peter Bouckaert moved from renowned Rodenbach brewery in Flanders to New Belgium Brewing Co. in Colorado, bringing with him the traditional skills to manipulate the souring and conditioning of beer in oak barrels.
Now, 15 years on, American brewers are eagerly exploring the possible interactions between maturing beer, permeable wood and microorganisms. The popularity of "wood-aged" beer rivals the growth of double and imperial styles of a few years ago. At the medal competitions at the Great American Beer Festival, the bellwether of evolving beer styles, the first wood-aged category appeared in 2002 with 26 entries. By this year's competition, wood- and barrel-aged beer had been divided into three main categories, with 188 entries between them. (For comparison, the three main "imperial" categories attracted 169 entries.)
But even as beer drinkers are embracing some of the extraordinary wood-influenced flavors these new beers have to offer, the different lineages of the beers and their barrels are every bit as intriguing. The three pioneering efforts of the mid-'90s in Chicago, California and Colorado reflect three different trends that are distinct―even as some brewers are now combining them in creative new ways.
Barrel History
In taking up wooden barrels, brewers are reverting to traditional technology that was a part of the craft for centuries until it was supplanted by easier-to-clean copper and steel.
Of course, barrels themselves were a marked improvement on the ceramic amphorae that preceded them, which were breakable and cumbersome. Barrels were a marvel―durable and constructed with a remarkable precision that was perfected early and never really improved upon: the round circumference made rolling easier, and the bowed middle made them more maneuverable. Barrels may have been an invention of the Gauls―perishable wooden artifacts don't last well enough in the archaeological record to say―but it's clear that the Romans were using barrels at least 2,000 years ago.
Several centuries later, the wooden barrel was well established in European feudal culture. The oldest surnames in the English language, dating back to the medieval era, reflect the central occupations in village life at that time: the arrow-maker took the surname Fletcher, the stoneworker was called Mason and the local barrel-maker was known as Cooper, a term still used today.
Oak was then and is still the wood of choice for barrels, prized for the range of sweet, complex notes it can contribute to a liquid stored in it. But it's likely that oak's flavoring properties were secondary in establishing its dominance owing to its abundance in European and American forests and its suitability to the cooper's needs. It's pure luck for us today that the most appropriate wood for the medieval craftsman's tasks could later be exploited for its flavor by winemakers, distillers and brewers.
Two Coopering Traditions
It wasn't until the 17th century that European winemakers came to appreciate the contribution of wooden oak barrels to the flavor of their contents, and began to adjust the manufacture of barrels to enhance the most desirable traits. And across the Atlantic, coopers in the New World applied their Old World skills to the crafting of barrels from a different species of oak, harvested from the vast American white oak forests.
In time, two related traditions of coopering grew up, one to serve primarily the European wine industry, and the other to cater to American distillers. The differences between them persist today, as the makers of alcoholic beverages, including brewers, still put them to specific uses.
The difference starts with the trees. French oak―technically either Slovenian oak (Quercus robur) or sessile oak (Q. petraea)―the traditional choice for wine barrels, has a fine grain and high porosity. Because of the nature of the wood, French oak has to be hand-split along the grain, which preserves capillaries in the wood. American, or white oak (Quercus alba) is a more robust tree, and American loggers saw, rather than split, the logs, probably permitting stronger flavors to eventually leach out of the barrels.
"The difference between French oak and American oak is also the difference between a wine barrel and a bourbon barrel," explains Paul McLaughlin of Kelvin Cooperage. The Kentucky company was founded by his father, a cooper trained in Scotland. "The key is that the wood for a wine barrel is air-dried for at least two years before they make it. The idea is that you allow the wood to sit out in the elements, exposed to wind, rain and sun, and you're leaching out the harsh tannins―the more astringent elements that you can get in a really oaky wine that makes your lips pucker."
The American oak, by contrast, is quickly kiln-dried, with more of the stronger compounds remaining behind. This difference only becomes accentuated as the cooper constructs the barrel.
Once the staves―the long boards that make up the sides of the barrel―are raised into a barrel shape and secured in place, both types of barrels are heated to cultivate the right flavors in the wood. "The big difference in wine versus whisky is that with a wine barrel you slowly toast the barrel over a small oak fire where it can sit for up to an hour," says McLaughlin. "With a whiskey barrel, you're going to char it heavily, usually over a gas element: you're literally setting the inside on fire. The char gives it a smoky flavor, something on a wine barrel you'd avoid. The key difference, of course, is that whisky can handle a lot more than wine can."
After testing the barrels for liquid-tightness, the barrels are sent to their first users. The French wine barrels arrive precisely toasted to maximize the oak flavors that emerge at different heating regimes to favor vanilla, caramel, almond, coconut and "oakiness." The American bourbon barrels, with their heavy layer of char and underlying layers of toasted wood, are ready to permeate a relatively neutral spirit with color, and a super dose of those same flavors, augmented with smokiness, cedar or coffee notes.
New Oak for Bourbon
By law, bourbon must be aged in new American oak barrels. Whether the hand of the cooperage industry was behind this statute or not, the requirement means that the flavor of bourbon is really the flavor of new oak. "What is bourbon flavor?" asks Matt Brynildson, head brewer at Firestone Walker Brewing Co. "It's essentially a spirit that's picked up massive amounts of oak flavor―when I taste bourbon, I taste toasted oak juice."
"Bourbon barrels can only be used once. So, really, it's bourbon that stands out as the unique industry because they have to use new oak―kind of like the Reinheitsgebot of distilling."
Bourbon distillers say goodbye to thousands of once-used casks every year. Permeated now with the potent flavor of the spirit itself, these barrels make their way to new roles aging Scotch whisky, Irish whiskey, Canadian whiskey, rum, tequila, sherry and―since the mid-1990s―beer. Goose Island's Bourbon Country Stout and the beers it has inspired have become the largest category of barrel-touched beers.
The most popular beer styles for bourbon barrel aging are beers that are dark, malt-accented, fairly muscular and able to stand up to the potent influence of bourbon. Paul Philippon, founder and brewer of The Duck-Rabbit Craft Brewery in North Carolina, terms his brewery "the dark beer specialist." His Baltic porter was a natural for bourbon aging, netting Duck-Rabbit a GABF medal.
"We've been getting our barrels from the Pappy Van Winkle distillery in Kentucky," he says. "I love their bourbon. Even though I don't make it, I'm almost as much of a bourbon guy as I am a beer guy."
The barrels arrive with the precious black char intact, or nearly so: remnants are knocked free with a mallet. "We collect those," chuckles Philippon, "which collection I hope eventually to use to smoke some ribs … ."
What follows next is part science, part mystery, as everyone who works with wood agrees. "Once our beer has gone into these barrels, the question is how much we can manipulate what happens next, and the answer is practically none at all," says Philippon. "What we can do is taste it periodically. I feel I've tasted a number of commercially available beers aged in wood that have gone further than I'd care to go, that have more of the bourbon flavor than I prefer. So I try to be very careful to get the amount that I want and no more."
Philippon finds he can fill and empty a barrel about three times before the oak/bourbon effect tails off.
He is quick to say he's not an expert when it comes to barrels, despite his critical success in the category. "We are to some extent flying by the seat of our pants. We do small quantities in the bourbon barrels. It's a way to interject something fun and different, and use beer we already have to play a little."
Barrels from Wine
While ex-bourbon barrels migrate into the beer world for a few sessions of amping up beers that are pretty big to begin with, former wine barrels can have a different fate. Here, the brewer is working with a barrel whose flavors were more restrained to begin with, possibly by the nature of the oak species, possibly by national character and certainly through the cooper's art. These barrels can be a source of subtler flavors, or a home for a whole new community of fermentation bugs.
At Cascade Brewing Co. in Portland, OR, brewmaster Ron Gansberg has drawn on a background in both wine and beer-making to design a barrel-aging program that will soon feature over 300 barrels in a facility designed for the aging and blending of sour beer. All Gansberg's beers are devoted to "bugs"―atypical microorganisms that can affect the flavor of beer, and many of which do particularly well in wooden barrels.
In the tradition of some Belgian beers, which Peter Bouckaert of New Belgium Brewing Co. helped to launch in this country, a few American brewers are cultivating organisms in their breweries that would have inspired nightmares for brewers a generation ago―Brettanomyces, a wild yeast that creates funky, "barnyard" notes; or Lactobacillus and Pediococcus, bacterial strains that produce tart overtones. Now, some brewers are using wooden barrels to give these beasties a welcome home.
Through a 24-year brewing career, Gansberg says, "I got tired of the very hoppy beers that our area is producing, and I was looking to brew a beer that gave an intense sensory experience that was not from hops. The sour beers are definitely the opportunity."
A Cascade barrel facility now in the planning stages is of a similar scale to those of other brewers known to explore "critter" beers, notably Vinnie Cilurzo of Russian River Brewing Co. (who coined the term) and Tomme Arthur of Port Brewing Co., both in California, and both known for artful combinations of unconventional microorganisms with distinctive, retired wooden wine barrels. But Gansberg stays clear of the earthy Brettanomyces wild yeast favored by some experimental brewers, and relies on the souring effects of Lactobacillus. His efforts were rewarded with two medals at the GABF.
Gansberg contrasts his brewing approach with Belgian native Bouckaert. "He's producing according to true Belgian philosophy, using foeders [very large wooden vessels]. We're doing our own thing, which is different. We're using barrels with indigenous wood, bugs that are indigenous and certainly fruit that's indigenous."
Gansberg happily cross-fertilizes the bourbon barrel and wine barrel traditions: "Even our bourbon barrels are bug-influenced. We have an expanding stock of beers souring in bourbon barrels." This will be a surprise to brewers who trust that the alcohol concentration in a former bourbon barrel makes an accidental invasion by "critters" unlikely, and blurs the judging category lines between the sweet barrel-aged beers and the barrel-aged, deliberately soured beers.
Barrel Unions
The conflation of the word "barrel" and "aged" is so maddeningly thorough that Matt Brynildson, head brewer at California's Firestone Walker Brewing Co., isn't sure if anyone understands that the brewery's award-winning ales are the result of fermentation―not aging―in wood. It's a process where the brewer employs the powerful flavor effects of wood early in the beer-making process, not during aging. As such, the effect is potent and swift.
Brynildson won't say Firestone Walker is unique in fermenting in wood―though he'd like to: "A lot of these guys doing Belgian-style brewing may be doing some or all of their fermentation in oak, so I can't say we're the only American brewery doing primary fermentation in oak. But what I do say is that we're one of only two breweries left in the world using a Union set."
A "Union set" is a reference to the Burton Union fermentation system, now only used by the Marston's brewery at the iconic source of British pale ale, Burton-on-Trent. The archaic approach to brewing was the one that inspired David Walker and Adam Firestone to create the patented Firestone Union fermentation system.
In both fermentation systems―the original Burton and Firestone―wooden vessels are linked together in a yoke of connected vessels. As fermentation proceeds, excess yeast and beer are pushed out of the barrel, up a swan's neck connection (an air lock of sorts) and into a common trough. From there, the beer is channeled back into one of the barrels, mingling the beers somewhat―hence the "union" of the name, Brynildson guesses―and vigorous yeast can be harvested.
In the Marston's brewery, every attempt is made to minimize the influence of wood on the flavor of Pedigree, the renowned beer brewed on this system. Coopers on the brewery staff repair and recondition old wooden tanks, to preserve the flavor neutrality achieved over long use. By contrast, Firestone Walker has harnessed the union system to take advantage of the unique flavors this "athletic fermentation" causes and add wood character to their beers.
"In our system, we're looking for an oak effect," explains Brynildson. "We're selecting new American oak, and we're having barrels built to our specifications to obtain oak flavor. American oak happens to be the less expensive medium to build barrels, but, more importantly, American oak has a little more aggressive attack when it comes to oak character.
"Among winemakers, French barrels are coveted and are considered to have a softer effect on the finished product. It's a little like comparing noble hops versus American hops: French oak is though to have a more "noble" effect on the character. But we found that there are too many other flavors in our beer―the hops, the heavy malt character―the assertive attack of American oak works perfectly."
The Firestone Union system consists of 40 oak barrels. Every week, a batch of the brewery's Double Barrel Ale is brewed on the Union system. Each week, a new, properly toasted oak barrel is rotated into the system, and the oldest barrel is rotated out. Even with that moderate amount of oak influence―the output from 40 barrels, from brand new to 10 months in age, are blended together―the influence of new oak at the lively fermentation state is so dominant that all the brewery's flagship beers are blends of oaked and stainless-steel fermented beers―except in the brewery's taproom, where an 100-percent oak-fermented Double Barrel Ale is always available.
A Celebration of Barrels
"A barrel is its own little ecosystem," observes Jeff Sparrow. The Chicago-based brewer and author helps to organize the annual Festival of Wood and Barrel-Aged Beer, hosted by the Illinois Craft Brewers Guild, and now in its seventh year.
"Is it a new barrel, where you need to be very careful of the strong wood character? Is it a used barrel, what was in it before, what's going to grow in it now depending on its history and what you do to it next?" he asks.
Over the years, Sparrow has watched brewers who are intrigued with the influence of wood on beer move away from barrel alternatives―toasted oak chips, spirals, oak "beans" soaked in bourbon―to employ true barrels.
"I think there's the coolness factor," he explains. "You walk into Russian River, and Vinnie has his barrels on prominent display. Pete [Crowley, Rock Bottom's Chicago brewer] has them stuck downstairs, Goose Island has barrels in whatever spare corner they can find. If people see a beer with wood chips floating in it, well … but when you see a barrel, it attracts so much more attention."
Over and above the impression a rack of barrels makes on a visitor, there are chemical interactions going on inside a barrel that no wooden substitute can duplicate―and no brewer can fully control.
The wooden walls of the barrel are slightly permeable, allowing the modulated exchange of gases with the world outside. And the size of the barrel governs the surface-to-air ratio, which sets the pace of chemical interactions within the barrel: smaller barrels are more active; reactions in larger barrels are slower and may lead to more flavor complexity. After experimenting with smaller barrels, New Belgium's Peter Bouckaert has converted the brewery's barrel program largely to huge foeders, where microorganisms can work at a more leisurely pace.
With the return of wood to the brewing process, the brewer is incorporating yet another variable―and a less predictable one, at that―to the brewing regime. Not surprisingly, given that every barrel has its own history (its cask character), a new skill is required in the brewery: that of artfully blending the products of different barrels to obtain the desired balance of flavors in the finished beer. The job of blending is a long tradition among lambic and sour ale brewers in Belgium. It will no doubt become a specialization on the American craft brewing scene if the infatuation with barrels continues to grow.
Are there "new" frontiers in the old craft of barrel-influenced beer? Other species of wood have been tapped for flavor: Hitachino Nest Japanese Classic Ale is aged in cedar casks, borrowing from the sake tradition; and Dogfish Head Craft Brewery has constructed huge tanks from palo santo, an aromatic hardwood from Paraguay.
The permutations are endless: delicate beers soured in chardonnay barrels; fruited porters aged in bourbon barrels; barley wines seasoned in former sherry casks―all relying on the talents of the brewer and subject to the mysteries of a wooden barrel. Who ever dreamt so many new possibilities could flow from such an old source?
Julie Johnson
Julie Johnson is the technical editor of All About Beer Magazine.
Great stuff. Would be interesting to know which kind of barrel toastings suit a particular kind of beer. Obviously ex-bourbon barrels suit stouts/bitters etc but does it follow that light ales/lager etc are best suited to lightly toasted white wine barrels?
I'm new to all these so please bear with me.
I am looking to hire a local Cooper. We would like to have the Cooper demonstrate how a barrel is made. please email me if you know of anyone that can provide this service in Denver Colorado.
I am wanting to find out how to straighten up a crooked barrel if you can help me please email me or send me something to let me know how thank you so much
Is there anyway to tell when a barrel was made. I just received a Wiedemann barrel believed to be from the early 1900's.


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An underground fire has been smoldering for nine months in western Michigan, filling the air with thick smoke at times and prompting warnings to motorists in the area, officials said.
WATSON TOWNSHIP, Mich. (AP) ? An underground fire has been smoldering for nine months in western Michigan, filling the air with thick smoke at times and prompting warnings to motorists in the area, officials said.
The fire is in peat moss in Allegan County's Watson Township, about 25 miles southwest of Grand Rapids, WOOD-TV reported (http://bit.ly/1bJIUhB ). People living near the swampy farm field say the smoke is making them sick and sometimes forces them to leave their homes.
"Our entire house smells like a fire pit, it has that stink," said Cheryl Johnson, who lives in a home across the street. "You can probably hear a little bit in my respiratory that I have a cough, but it's the headaches that are the worst."
Farmer Frank Doezema, who along with a brother owns the property where fire is smoldering, said he believes it started last December when workers were burning brush. He said he plans to work with an expert next week who will use a solution that may be able to snuff out the fire.
This week, excavators were used in an effort to put out parts of the blaze.
"It's frustrating for us, too, because we don't want unhappy neighbors," Doezema said.
The fire prompted Allegan County officials to put up signs warning motorists of "low visibility."
Hopkins Fire Chief Tim McKinnon said his volunteer firefighters have tried four times to put out the fire over the last month, dumping 35,000 gallons of water. Similar fires have been known to burn for years, he said, and the wants to get it extinguished.
"We're trying to get down into the ground and saturate the ground and put the fire out, and it's burning underground," he said. "It's below what we can reach with our hoses."


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Weekly Wire: the Global Forum
These are some of the views and reports relevant to our readers that caught our attention this week.
Media Shift
Mediatwits #89: Google Glass: Revolutionizing News or Public Annoyance?
"Google Glass could have a transformative effect on journalism, especially as we watch Tim Pool from VICE use Google Glass to report on Turkish protests. But it's important to examine the shortfalls as well as all the great new advancements, both real and prophesied. Special guests Rackspace's Robert Scoble, Veterans United's Sarah Hill, CUNY's Jeff Jarvis and USC Annenberg's Robert Hernandez, all early adopters of Google Glass as well as social media and journalism experts, will talk about their experiences with the device and what they see as its strengths and weaknesses for its potential future in journalism. MediaShift's Mark Glaser hosts, along with Ana Marie Cox from the Guardian and Andrew Lih from American University." READ MORE


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Canadian stars Avril Lavigne and Chad Kroeger reportedly exchanged vows at a lavish ceremony in France on their country's national day.
Wedding rumors began circulating online on Saturday suggesting the couple was set to exchange vows in secret over the weekend, and now pictures have emerged apparently showing they became man and wife on Monday. The date has extra significance for the couple as it also marks Canada Day.
The images show Lavigne wearing a long, white dress with an extended train and flowers in her hair, walking arm in arm with Kroeger at the Chateau La Napoule in Mandelieu, near Cannes in Frances.
Editors at Usmagazine.com report the couple exchanged vows in front of around 50 guests, and the ceremony was followed by a dinner and reception.
A source tells the website, "Yes, they're married. … It was a wild, all-night party with drinking, dancing, incredible food and lots of laughter and tears of happiness. … Avril and Chad had glasses of wine in their hands and were kissing as fireworks popped overhead and sparkled down. It was a magical moment and everyone was overwhelmed! … It was a truly amazing wedding, absolutely magical."
The nuptials were reportedly preceded by a pre-wedding party and rehearsal dinner over the weekend ahead of the big day.
The marriage marks the Nickelback front man's first trip down the aisle, while Lavigne is divorced from Sum 41 star Deryck Whibley.


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Female pillion passenger, 21, sustained complex fracture to ankle requiring prolonged treatment, leading to arthrodesis 2 years later. Permanent restriction in the workplace and around the home. Settled for £403,000.
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Statement on Auditing Standards Issued by the Auditing Standards Board December 1983 47 AICPA American Institute of Certified Public Accountants Audit Risk and Materiality in Conducting an Audit 1. This Statement provides guidance on the auditor's consideration of audit risk and materiality when planning and performing an examination of financial statements in accordance with generally accepted auditing standards. Audit risk and materiality affect the application of generally accepted auditing standards, especially the standards of field work and reporting, and are implicit in the auditor's standard report. Audit risk and materiality, among other matters, need to be considered together in determining the nature, timing, and extent of auditing procedures and in evaluating the results of those procedures. 2. The existence of audit risk is implicit in the phrase "in our opinion." Audit risk1 is the risk that the auditor may unknowingly fail to appropriately modify his opinion on financial statements that are materially misstated.2 1In addition to audit risk, the auditor is also exposed to loss or injury to his professional practice from litigation, adverse publicity, or other events arising in connection with financial statements that he has examined and reported on. This exposure is present even though the auditor has performed his examination in accordance with generally accepted auditing standards and has reported appropriately on those financial statements. Even if an auditor assesses this exposure as low, he should not perform less extensive procedures than would otherwise be appropriate under generally accepted auditing standards. 2This definition of audit risk does not include the risk that the auditor might erroneously conclude that the financial statements are materially misstated. In such a situation, he would ordinarily reconsider or extend his auditing procedures and request that the client perform specific tasks to reevaluate the appropriateness of the financial Copyright © 1983 by the American Institute of Certified Public Accountants, Inc. 1211 A venue of the Americas, New York, N.Y. 10036-8775 1234567890 AudS 89876543


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Update: this position has been filled.
Under the direction of the Associate Director, Research & Instructional Services (RIS) and serving within the RIS division of the Barnard Library and Academic Information Services (BLAIS) department, the Digital Archivist will conceive, develop and implement technology related projects for the Barnard College Archives, in addition to providing support for collecting, organizing, maintaining, curating, and making accessible media materials, records and other primary sources relating to Barnard College and its alumnae. She or he will also assist the Associate Director in managing the day-to-day operations of the Archives, including the hiring, training, and supervising of students, preparing reports, and administering an annual budget for materials and supplies. The Archivist will direct, plan, coordinate, and prepare exhibits, public programs and publications of archival materials and special collections. The Digital Archivist is also a key member of the Research and Instruction team serving as a Personal Librarian to students and faculty in assigned departments.
The ideal candidate will have an ALA-accredited master's degree in library and/or information science with a concentration in Archives and advanced knowledge of American Studies or History. The candidate must have expertise with current practices related to the identification, access, control, organization, and digitization of primary source materials, including metadata schemas, digital processes, institutional repositories, and open access initiatives. They must be able to implement and maintain media and technology projects and be proficient in archival processing and the creation of EAD finding aids. The candidate must be technologically savvy, having a strong understanding of databases and working knowledge of a variety of digital content formats and standards. They should be able to keep abreast of technological developments and to learn new tools quickly.
Interested candidates should send a cover letter including salary requirements, and a resume to Employment Manager at email@example.com.
Barnard is an equal opportunity employer and encourages applications from women and from individuals of diverse racial, ethnic, and cultural backgrounds.


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Filed Under (Suzuki) by admin on 26-02-2011
COOLING CIRCUIT INSPECTION Before removing the radiator and draining the engine coolant, inspect the cooling circuit for tightness. • * Remove the cowling. (SV650S) (C-7–7-6) • * Loosen the radiator cap stop screw 10 . (SV650) • * Remove the radiator cap O2 and connect the radiator tester to the filler. A WARNING Do not remove the radiator cap when the engine is hot. • * Give a pressure of about 120 kPa (1 .2 kgf/cm2,17.0 psi) and see if the system holds this pressure for 10 seconds . • * If the pressure should fall during this 10-second interval, it means that there is a leaking point in the system . In such a case, inspect the entire system and replace the leaking component or part. A WARNING When removing the radiator cap tester, put a rag on the filler to prevent spouting of engine coolant. CAUTION Do not allow the pressure to exceed specified pressure, or the radiator can be damaged. COOLING AND LUBRICATION SYSTEM 6-3 6-4COOLING AND LUBRICATION SYSTEM RADIATOR REMOVAL • * Remove the cowling. (SV650S) ( r- 7-7-6) • * Drain engine coolant. (r– 72-20) • * Disconnect the right and left radiator hoses from the radiator. • * Disconnect the siphon hose from the radiator. • * Disconnect the horn lead wires. rI .rr • * Remove the radiator lower mounting bolt. • * Disconnect the cooling fan motor and its thermo-switch lead wire coupler 10. • * Remove the radiator by upper mounting bolt. • * Remove the cooling fan. • * Disconnect the cooling fan thermo-switch. • * Remove the cooling fan thermo-switch. • * Remove the horn. CAUTION When removing the horn, hold the nut by spanner to prevent the horn bracket distortion. COOLING AND LUBRICATION SYSTEM 6-5 INSTALLATION • * Install the cooling fan and horn. 0 Cooling fan/horn mounting bolt: 8 N .m (0.8 kgf-m, 6 .0 Ib-ft) • * Install the cooling fan thermo-switch. ( l"76-9) • * Install the siphon hose to the radiator. • * Install the radiator in the reverse order of removal. • * Route the radiator hoses properly. (=9-22) 9-22) • * Install the drain plug with a new sealing washer and pour engine coolant. (=2-20) • * Bleed air from the cooling circuit. (r– 72-21) • * Install the cowling. (SV650S)


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Time Out: Teen center director talks about challenges
Almost always clad in T-shirts, jeans and hoodies, Kyle Silver seems right at home as executive director of the Arch Street teen center.
For nearly two decades, the youthful-looking 40-year-old has helmed the teen center from the swing dancing craze of the late 1990s through today's social media age. And while Silver tries to stay on top of pop culture trends, he doesn't necessarily keep up with the Kardashians.
Silver has also had to deal with some serious issues. The center, which opened in 1991 in a converted public works building next to Roger Sherman Baldwin Park, made the news last month when five teenagers, who showed up drunk for a high school dance, were taken to the hospital. It was later revealed that 21 adolescents had been taken to the emergency room from Arch Street over the past two years.
Silver, who lives in Bridgeport, grew up in a dry town in North Carolina and is a graduate of the University of North Carolina at Wilmington. He spoke recently about providing an alcohol-free haven for Greenwich's youth, and the challenges that entails.
Q: Explain how you came to be executive director of the teen center.
A: I started as the associate director and I was here for five years in that position, and simultaneously was also working as the (youth) director for the North Stamford Congregational Church. Once the (Arch Street) director, who was in the position prior to me, moved to Washington and took a position there, I ended up rolling into her position.
Q: You had a background in working with kids?
A: I did. I worked at a summer camp for years, and I worked at the church prior as well. So, I had worked with this age group in some fashion since I was about 15.
I started at the camp as a counselor in training and then I worked up to a program director. That's actually how I discovered this town. This camp was in North Carolina, and a lot of the campers that came there, they lived here.
Q: What are your day-to-day responsibilities?
A: On a typical day, it's everything from managing the ins and outs of the up and coming weekend, and it's also managing the ins and outs of the weekend that you just finished up with. There's also some fund-raising that's involved with that. It's program development, which is always the biggest challenge, because it's always consistently changing. We find that what works amazingly well this week might die on the vine eight weeks from now. So it's a very tough demographic to keep consistently engaged, given the fact that they are always changing what's on their radar to being cool at that specific moment. I don't know if you remember the Gap ad that was so big with the swing dancing. When that was out, we had a class that was packed with people who would take swing dancing. And then the next week, it's not the big thing. You've got to really follow the trends. I've got to be always engaged with my student population to stay connected with what they're expecting us to produce.
Q: What is an average Friday night at Arch Street like?
A: It depends on if it's a seventh- and eighth-grade night or a high school night, but it's usually about 200 to 400 people, depending on the night. It's a firework of energy all the time. Halloween night, or Valentine's night, or New Year's, or the holiday events are always pretty much close to capacity. The seventh- and eighth-grade events are always without incident, but there's always a situation where there's boyfriends and girlfriends and those issues you have to deal with. It's really a unique demographic now. I've never experienced a population that judges friendship circles by how many friends they have on Facebook. If parents say to their son or daughter, `Are you going to Arch Street tonight?' they'll say, `Let me check to see how many of my friends are going.' They don't mean picking up the phone and calling. They mean check on Facebook to see how many have confirmed for the event.
Q: What were you like as a teenager?
A: Well, my dad was my junior high principal. ... The year that I went to the high school for 10th grade, he became the high school principal, and the year that I graduated high school, then he moved to the superintendent's office that following year. Every year, my dad was the principal, for six years. I don't think there's anybody on the planet who can say that. It made it extremely excruciating sometimes to have to deal with certain things at school, because I was always the one that I felt like was being used as the example. Whether I was, or was not, I felt that way. He always found situations that if I found myself in trouble, he had to be a little tougher to prove that he wasn't going to take the light side and play favorites with me. It guess it had its plus side. Looking back, it was tough, but at the same time I feel like I sort of trained for this career path all of my life, not knowing it, because I watched how he dealt with parents and the political aspects of the job.
Q: Arch Street has been in the news recently because of the five teenagers that were hospitalized for intoxication after they arrived at a high school dance drunk. What is your feeling on the perception that there isn't enough supervision at the teen center? Is the atmosphere you have here too permissive of that behavior?
A: If you look at the general numbers, if we have 400 students here and you have 28 security personnel that are all with a minimum of CPR and first aid certification -- and most are certified medics -- that is a very good demographic as far as coverage from an adult-to-student ratio. I think it's much better than you're going to find at any other social setting for any teen in this town, under any circumstance. I like to feel that we are the safety net for the teens in this town. I'd like to feel that we are also combatting underage drinking. When (there's) a situation we have to deal with, we deal with it independently. We deal with it as privately as possible with the family, but it's always a conversation that is being had between the family and the student involved. The morning after a situation that you have to deal with, those kinds of lessons that are learned in real life are usually the ones that are learned the strongest, and that you remember the best. I try my best to lead by example under all circumstances, and I hope that that is felt by the student population.
There's zero tolerance, which is why you see us acting accordingly. If it was permissive, we would not be acting the way that we do under the circumstances. You can't run an organization such as ours any other way. The other teen centers in the county ... they've all used us as a template when they open their doors. Some do amazingly well, some struggle, and usually the ones that struggle are the ones that find themselves in a grey area with accepting what taking on the mission of an organization like this means. It's not always a warm and fuzzy place to be executive director of. The teen demographic (is) an easy demographic to find an issue with. I've also welcomed any parent who's ever called to come down and actually see how the night is run. It's something I would welcome anybody to come take a look at. We are the longest running teen center in the nation that's privately funded. I think when you come with a background like that, there's a stability behind your name.
Q: How much of a problem do you think underage drinking is and do you think that it's gotten worse over the years?
A: I grew up in a town that was completely dry (and) very driven by religion. Given those circumstances, I'm not going to say these issues didn't happen, but they were not near as frequent. I think that when you grow up in a town that is as diverse as Greenwich is, you're going to have to butt heads a little bit with some individuals regarding how they jurisdict teen drinking in their own homes. There's a European population here, and there was no drinking age where the parents grew up. We also have a population that once they realize that their sons and daughters are heading to college and they're seniors, the parents start to say, `Well, you're going off to college next year, so we're going to start to maybe turn a blind eye every now and then. If you have a couple of beers, then we're not going to beat you over the head because we know you're going to college next year, and hopefully you're going to learn to make smart decisions when you're off on your own.' But, that being said, the law is still being broken.
Where I went to high school, if you were caught with alcohol under any circumstance, you were expelled from school. So, the repercussions of the behavior were a lot more strict than they seem to be now. If you're caught, expelled. Not two or three days. Expelled. You lost the whole year. You could be a senior who was at a football game two weeks before graduation, and if you had beer you were out and you lost that whole year. And it happened to people. I'm not suggesting that's the direction we should go in, but there has to be some meat in the middle there, somewhere. I know there are some schools in town who have written into their code of conduct that any student who acts off campus in a way that is not obliged by the code of conduct, they are responsible to the school, even if they are off school time. We have our own expectations and bylaws, and rules and regulations. If there is a situation, (on the) first offense, there's a 20-hour community service expectation. But, you're always juggling with a lot of different parent perspectives and behaviors. We all learn from example, so I'm just hoping that we can all get on the same page teaching from example.
Q: What do you think makes the teen center so important?
A: One, the diversity extension from all of the schools, because we do run approximately a 50 percent independent school, 50 percent public school ratio. Second of all, we live in a town where there are extremely high stress levels in families when it comes to finances or when it comes to education, or where they're going to college. I hope that this facility helps the students get away from certain stigmas attached to certain things that seem to be fostered in this town a little bit, because I know that we treat everyone as equal under this roof.
If you walk into Greenwich High School, it is a school of amazing diversity. But in looking around, it is tough to pinpoint that, considering clothing labels seem to be the same. Everyone's trying to hold on to a certain level of representation. I think that's tough. I think that adds a stress level to living here (and) being in school here. I think the great thing about this place is that I hope that that is not felt here, and I hope that people do not feel those expectations placed upon them when they walk in these doors. I strive to make that a huge component of here, where the expectations are just that you are a good person, you follow our rules and regulations, you're here to have a good time and, in falling back on the alcohol situation, absolutely zero tolerance.
Q: Are there any plans to expand the teen center or offer different activities?
A: Since we opened, we've put over $2 million into the building. We just spent another $300,000 in the last year and a half, between the roof and some of the facility upgrades. We have some new programs coming down the pike that I'm very excited about. We're going to be offering a cooking class and we're going to be bringing in some of the local, very well-known chefs to volunteer their time to teach, so it will be a rotating guest chef teaching the class. We upgraded our kitchen fully, so that's where a lot of the money went.
Q: What do you do when you're not at Arch Street?
A: When I'm not at Arch Street I am writing films, or I am kind of obsessed with watching the real estate market.
Q: What kinds of films do you work on?
A: I've got a friend of mine who just wrote a teen movie that's being shot in North Carolina now that I sort of helped out on. Mostly teen-oriented films, sort of like the coming of age, teen angst-type films. I feel like I've got a lot of material.


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My accounts now working
sup dude
hahahahahahahah thats where u got that forum from
Ik check hier nooit m'n berichten.
Maar als je meningen wil hebben, check http://www.melf.nl/ . De meest bawze community van NL
I preferred the first batch of beats, I am going to assume you know these guys.
Thanks fam! i'll be looking into it once i get home and shit!
Damn that's fucked up, I understand why, sorry to hear fuckers are stealing shit. - aight, so like 1 year with mpc? That's fast paced growth for sure. He should find a way and just do it, there some ill tunes there!.. Tusal, can he be found on soundcloud too? hahaha, yeah, complex drums always put your mind to dilla don't it -
I feel you on that, good to hear another dudes opinion on it! - At first listen i didn't know what to think, something most def wasn't right, i had something completely in mind when i bought it,.. I kinda expected some rare unreleased dope dilla shit... sure to say, i was disappointed!
- Yo, I'm listening to your homie E-Lime as we speak now, I'm down with it! - How long he been at it?
Sure man, always down with listening to new shit - i'll check up on your dude in 10-15 min!!
Non Ignorant Cult
Non Ignorant Math Team
Fan of the real
Old Head, Young Shoulders


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Is there a work at home business opportunity for people with disabilities? Why would people with disabilities look for such an opportunity? What would be suited for them? In fact, there is not one, but several work at home business opportunities specially suited for people with disabilities. This is more so due to the Internet. People with disabilities may have mobility problems, difficulty with speech or coordination. Some others may have poor gait and balance. There are those who may have problems with hearing and writing.
While the list of what people with disabilities can or cannot do, can indeed be a long one, it does not mean that such people do not desire or lack any purpose in life. In truth, because of the challenges that people with disabilities have to overcome, they are often far more motivated and self driven than those who are able. Statistics show that people with disabilities have a greater success rate in terms of any work at home business opportunity compared to those who are able.
Though, many people with disabilities may receive some sort of disability benefit, they often seek a supplementary income to meet their needs. Further, people with disabilities seek a work at home business opportunity in order to keep themselves fully engaged and live with dignity.
In selecting a work at home business opportunity, people with disabilities must give careful thought to what they can manage, to a great extent, on their own. Next, they must consider the resources available. The best would be one that requires a minimum or little financial investment. It should be one that can be managed solely by themselves and one that they can start and sustain with their own funds.
Depending on their skills and knowledge, people with disabilities can provide writing, translation services, research work, online surveys, data entry jobs and a host of others that can be developed into a full blown business. A search on the Internet would easily reveal the number of such opportunities that are available. However, the challenge in selecting a work at home business opportunity is in separating the genuine from the scams.
In my view, the best work at home business opportunity for people with disabilities is affiliate marketing. It can be done by almost anyone with a disability as long as they have a computer with Internet connection and are able to use a keyboard with "one finger" typing. It requires almost no capital investment and offers unlimited potential for growth and earning. No need to store anything physical, it can be done even sitting or lying down and requires no experience or knowledge. In fact, affiliate marketing offers an ideal work at home business opportunity for people with disabilities.


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Arc Technology Group is Chicago's Leading Web Development, Joomla Development, Responsive Design & Mobile Web Development Company
Founded in 2000 by Robert Jacobi, Arc Technology Group has been developing software for web development and web design. Today, that has evolved into content management (CMS), web development, and web design using Joomla CMS for a full range of corporate websites for both B2B as well as B2C online communication.
Web Development, Joomla, and Web Design
With Arc, you are working with a Chicago web development and web design firm specializing in the Joomla CMS and other content management systems (CMS), with in-depth experience in ecommerce, B2B, SEO, and database-driven applications. We have a leadership role in the Joomla community through founding Joomla Chicago, Diamond Sponsor of CMS Expo, and contributions to the Joomla project.
Mobile web sites need to be tablet and phone friendly. Arc uses responsive design, and development techniques to maximize your content and infrastructure across multiple platforms to benefit your users.


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Just because "Iron Man 2" is a sure-thing box-office hit, doesn't mean it's easy street for the cast and crew. They're feeling the follow-up expectations.
Robert Downey Jr. insists the pressure around the film is not in the past tense now that it's complete and ready for theaters.
"I didn't sleep last night," he half-joked at the press day for "Iron Man 2."
Director Jon Favreau says there is a different kind of pressure around the film after the first made $318 million at the domestic box office. "It's not like you're throwing a party and you're not sure if people are going to show up," he said. "We know people are going to show up."
"We just want to make sure everyone that shows up has a good time. And that it's as fun or more fun than the last party."
Despite his alleged lack of sleep, Downey was a fantastic clown at the press conference on Friday. When the giant "Iron Man 2" poster serving as the backdrop for the stars fell at the end of the press conference fell, he didn't take it as an ill omen for the film. Instead he gamely stood up to hold the poster in place so Gwyneth Paltrow could have the right background for the final question.


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Tuition & Aid
Our graduation rate is one of the best in the Midwest according to the U.S. News & World Report rankings. On top of that, 98% of Xavier grads are employed, volunteering or in graduate school within six months of graduating.
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Tuition and Fees, per semester
|Tuition & Fees*
|Room (Double Room) & Board (Xavier Silver)
|Total Charges
*Assumptions: A single undergraduate student taking 12-18 hours per semester living in Husman Hall in a double room with the Xavier Silver meal plan. Based on 2019-20 rates. Fees estimated. Actual course fees may vary.
Estimate does not include books and supplies, transportation, or miscellaneous personal expenses. Estimate does not include Wiliiams College of Business differential tuition rates.
For a more detailed listing, visit the Tuition and Fees website.
Financial Opportunities
You've Earned It!
Students are awarded scholarships based on academic, athletic, artistic or other talents. Scholarships do not have to be repaid. All Xavier students are automatically considered for scholarships when they apply for admission. Connect with your financial aid counselor for information about the following scholarships:
Fund Your Future
Students are generally awarded grants based on financial need or a specific talent. Like scholarships, grants are a great way to finance a college education. Connect with your financial aid counselor for information about grants from
- The Federal Government
- The State of Ohio
- Xavier University
Learn More
Invest in Your Future
Undergraduate students who demonstrate need, according to the federal need analysis formula, may qualify for a subsidized Direct Loan. The federal government pays the interest on the subsidized loan while the student is enrolled at least half-time. Students who do not qualify for a subsidized Direct Loan may be eligible for an unsubsidized Direct Loan. Connect with your financial aid counselor for more information.
Learn More
We're Here to Help
The Office of Student Financial Assistance will help you with all things fiscal. And everyone who applies, no matter the level of need, is assigned an expert to help with scholarships, grants, loans, work-study and more.
contact us
$83,500,000 and counting
That's how much we awarded undergraduate students in scholarships and financial assistance for the 2017-2018 school year. When you're accepted, you're automatically considered. Enter your GPA and test scores and see what type of assistance you qualify for.
FAFSA Tips
- There's no income cut-off to qualify for federal student aid. Many factors besides income—from the size of your family to the age of your older parent—are taken into account.
- You can file your FAFSA starting October 1 at fafsa.gov. Students whose FAFSA is received by February 15 receive priority aid consideration.
- Be sure to list Xavier's federal school code 003144.
98% of Xavier graduates are employed, enrolled in a full-time graduate program or volunteering within 6 months of graduation.


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Although initially viewed as another face in the late-'90s crowd of teen pop acts, Pink (professionally known as P!nk) quickly transcended and outgrew that label with her combination of pop songcraft and powerhouse, rock-influenced vocals. Born Alecia Moore on September 8, 1979, in Doylestown, Pennsylvania, P!nk received her nickname as a child, years before she dyed her hair accordingly. She grew up in a musical family and was a regular on the Philadelphia club scene by the age of 13, first as a dancer and then as a backing vocalist for the local hip-hop group Schoolz of Thought. At 14, she began writing her own songs; the same year, a local DJ at Club Fever began inviting her on-stage to sing a song every Friday.
P!nk was spotted one night by an executive for MCA Records, who asked her to audition for an R&B group called Basic Instinct. Although P!nk's strong vocals landed her the gig, the group imploded not long after. She was quickly recruited for a female R&B trio called Choice, who signed to L.A. Reid and Babyface's LaFace label on the strength of their demo; however, they too disbanded due to differences over musical direction. During Choice's brief studio time, producer Daryl Simmons asked P!nk to write a bridge section for the song "Just to Be Loving You." Impressed with the results, P!nk rediscovered her songwriting muse, and an equally impressed L.A. Reid soon gave her a solo deal with LaFace.
P!nk recorded her solo debut, Can't Take Me Home, with a variety of songwriting partners and dance-pop and R&B producers. Released in 2000, the album was a double-platinum hit; it spun off three Top Ten singles in "There U Go," "Most Girls," and "You Make Me Sick." She toured that summer as the opening act for *N Sync, but soon found herself tired of being pigeonholed as strictly a teen act despite her sassy, forthright persona. As she set about working on her follow-up album, P!nk took part in the remake of Patti LaBelle's "Lady Marmalade" featured on the Moulin Rouge soundtrack, which also featured powerhouse divas Christina Aguilera, Mya, and Lil' Kim. The song was a massive hit, topping the charts in both the U.S. and U.K. while expanding P!nk's own audience.
Toward the end of the year, P!nk released her next single, "Get the Party Started," which climbed into the Top Five and became the singer's most inescapable hit to date. Her accompanying sophomore album, M!ssundaztood, quickly went double platinum; it boasted a more personal voice and an eclectic sound, plus heavy contributions from ex-4 Non Blondes singer Linda Perry, who helped bring some more rock muscle to P!nk's sound (as did guest appearances by Steven Tyler and Richie Sambora). M!ssundaztood attracted positive critical notices as well, and its second single, "Don't Let Me Get Me," became another fast-rising Top Ten hit.
P!nk next issued Try This in November 2003. The album continued her progression toward more rock-oriented material, due in part to the songwriting collaboration of Rancid frontman Tim Armstrong on eight of the album's tracks. Try This' lead single, "Trouble," cracked the upper regions of Billboard's Top 40 and earned P!nk a Grammy Award for Best Female Rock Vocal Performance. On the home front, P!nk wed motocross racer Carey Hart -- whom she had initially met at 2001's X-Games -- on January 7, 2006, in Costa Rica.
Her next album, I'm Not Dead, appeared that April; its first single, "Stupid Girls," quickly became a hit, while "Who Knew" and "U + Ur Hand" both cracked the Top Ten. I'm Not Dead reached platinum status in several countries and helped ramp up anticipation for P!nk's follow-up, Funhouse, which arrived in October 2008. "So What," the album's leadoff single, became her first number one hit since "Lady Marmalade." Another hit, "Please Don't Leave Me," followed in 2009 and all her hits were collected on the 2010 release Greatest Hits...So Far!!!, which was preceded by the single "Raise Your Glass." Around the time of the release of Greatest Hits...So Far!!!, P!nk announced that she and her husband were expecting their first child.
In September 2012, P!nk released her sixth studio album, The Truth About Love. With production from Greg Kurstin, Butch Walker, Max Martin, Dan Wilson, and others, it became her first number one album in America and earned platinum status in half a dozen countries. The singles "Blow Me (One Last Kiss)," "Try," and "Just Give Me a Reason" all hit the Top Ten in the U.S., and the last became her fourth number one hit in America. P!nk mounted a yearlong tour -- the third best-selling in 2013, according to Billboard -- through Australia, Europe, and North America, and at the end of 2013 she was named Woman of the Year by Billboard.
Taking a break from her solo work, P!nk teamed up with City and Colour vocalist Dallas Green for a collaborative acoustic effort called You+Me. They released their first album, Rose Ave., in October 2014. Rose Ave. debuted atop the Billboard folk chart and cracked the Billboard Top Five. The following year, P!nk wrote a new theme song for The Ellen Degeneres Show titled "Today's the Day." She also contributed "Just Like Fire," a new song, to the 2016 movie Alice Through the Looking Glass. P!nk returned in August 2017 with the socially charged song "What About Us," the first single from her Beautiful Trauma album, which arrived in October. Upon release, the LP topped the Billboard 200, her second consecutive number one.


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In 1973 the Endangered Species Act became law. Here's a car that would make the list. It's Nice Price or Crack Pipe time again, and we're recalling AMC's entry into the pony car wars.
Last time, 56% of you thought an Enzo for a million one ninety was a Nice Price Ferrarigasm. Now it's time for something a little more down to earth.
AMC's initial response to the success of the Ford Mustang was the 1965 Rambler Marlin, a fastback version of the company's Classic two-door hardtop. While the Marlin served as a halo car for the brand, it's size and accommodations did not serve it well in the application as a 'personal coupe' of the stature of the Mustang. In 1967, AMC moved the Marlin to the larger Ambassador platform and the following year introduced the first generation of today's NPOCP contender, the Javelin.
The AMC Javelin, with its massive, contoured chrome bumpers, full-width tail lamps and flush door handles, looked futuristic compared to the contemporary Mustang, or even the almost as-new Camaro. Over its run, a full spate of engines provided there was a mill to match your temperament- from a mild 145HP inline six to the 401 c.i.d. V8 rocking 335HP. Driven by Mark Donohue and Roger Penske, the Javelin even won the Trans-Am championship in 1971 and '72.
Introduced alongside the five-seat Javelin was the unique, short-wheelbase version called the AMX which disposed of the rear bench and, by '69, was available with the top of the line 325HP 390 c.i.d. V8 good for sub-seven second 0 to 60 times. This separate model lasted only three years, and by 1971 the two-seat AMX had gone extinct, having been absorbed, amoeba-like, into the Javelin lineup as a trim package.
Now what we have here today is a 1973 AMC Javelin with AMX badging, but lacking the correct body number for that model. This is a 7279-7 car and the factory AMX package would be a 7279-8 model. There are significant differences in the production numbers for each, with the standard Javelin having a production run of 25,195 in 1973, against 5,507 for the AMX branded cars. If the photos are any indication, this one is in pristine condition, and not that mileage of a restored car matters, but shows a claimed 68K on the clock. For motivation it sports the 360 c.i.d, 2 barrel engine and a 3 speed slusher with a U-handle shifter.
AMC is not the most storied brand in the pantheon of the American auto industry, but they did make a number of interesting and desirable automobiles, including the svelte Javelin. This is a clean, and seemingly rust-free example of the marque, and while not exactly rare, you're unlikely to see another one on your block. . . ever.
But $19,000 for a 36-year old car from a defunct second tier U.S. maker, with malaise-era emissions controls, wonky handling, and an AM radio? And what about those AMX badges, you wouldn't try and pass it off as the real deal would you?
So what's the verdict on this $19,000 endangered species? Is it worth that to keep it on the list? Or, for that price would you just as soon be shooting at it from a helicopter?
You decide!
eBay, or go here if the ad goes extinct.
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