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Jesse Nelson Builds A Thumpin' Twin-Turbo, 540ci Chevelle That Rocks!
It is appropriate that Jesse Nelson lives in Mountain Iron, Minnesota, because there is a mountain-motored lump of iron under the hood of his Chevelle that makes excellent use of that ferrous metal when it comes to stoking the fires of horsepower. The car itself is somewhat unremarkable in that with the hood closed, it looks much like any other '70 Chevelle that has fallen under the spell of a crafty car builder. In fact, Jesse says that's exactly the kind of car he was looking to build. "I wanted a fast, streetable car that looked pretty stock."
Let's cut to the chase, shall we? After all, the stock body panels and Harwood hood are not why we're here. At this year's Car Craft Nationals, the chassis dyno guys backed the Chevelle up on the rollers, strapped it down, and spun this silver seducer up to 1,105 rear-wheel horsepower at a sedate 6,300 rpm. And the crowd went wild. Andy Warhol was the one who said, "In the future, everyone will be world-famous for 15 minutes." If that's true, then Jesse's quarter-hour started when the dyno wheels quit spinning. Anyone within earshot wanted to see what was under the hood of this unassuming Chevelle-us included.
So for the benefit of those of you who weren't there, it was electric. The run was also necessary to qualify for the DynoMax Performance Exhaust Dyno Challenge. You would think that 1,100-plus horsepower would be enough to put Jesse and the Chevelle at the top of the list-but no. There's a small-block, single-hair-dryer, Chevy-powered Rambler that is top dog. What's truly surprising is that this is Jesse's first attempt at any kind of abnormal aspiration. He bought the short-block from New York's Rat-motor king Scott Shafiroff, bolted on a set of AFR heads, and then found the room for a pair of turbochargers. When we asked Jesse how he picked the turbos, he said with classic midwestern understatement, "I just talked to Brian at B&G Custom Turbo and went with their recommendation for the Master Power turbos. I guess they worked pretty well."
A DynoMax Challenge rule says that these street cars have to make power on pump gas. With E85 such a big part of Minnesota's homegrown agrarian economy, it was a simple decision to choose E85 as his go-to fuel. "I just stopped off at the local pump right before coming here today," Jesse says. That corn-based liquid sports a solid 105 octane and also does a killer job of cooling the heated air that exits the turbochargers. Just to be safe, Jesse added a Snow water/methanol-injection system that pumps in a measured amount of water and wood-derived alcohol, not only to reduce the inlet air temperature, but also to knock the peak off of any detonation that might try to rear its ugly head. "The rules say you can't have methanol injection, so I just turned the whole thing off for that run."
"We didn't really push it," Jesse said when we asked about the tune-up. "We ran 19 psi. I'd like to see 24 or 25 psi, but we haven't had a chance to test it. There isn't a chassis dyno within 200 miles of where I live, so we've just been testing it out on the street!" The Rambler that has the top spot recently appeared in Hot Rod magazine. So the battle lines have been drawn and you know which car we're pulling for come November and the DynoMax final for the $25,000 top prize. Jesse will be the one with the iron fist.
Tech Notes
Who: Jesse Nelson
What: '70 Chevy Chevelle
Where: Mountain Iron, Minnesota, where Jesse can probably lay claim to half the town's total horsepower.
Short-block: We're going to break this engine down into little bite-size pieces because it's so simple and cool. The block is a lump of very special Dart Big M iron with extrathick cylinder walls and billet steel splayed main caps. Spinning within those cavernous walls is a Shafiroff-machined and -assembled short-block employing a Callies Magnum Pro 4340 steel crank and covetable Oliver billet steel connecting rods along with a set of gently compressioned 8.4:1, JE forged 2618 alloy aluminum pistons.
Camshaft: When you're building a Rat motor to make power, you turn right to the catalog page with the solid roller cams. Jesse went with Cam Motion from Baton Rouge, Louisiana, which offers a roller with 254/248 degrees at 0.050 and 0.714/0.706-inch lift. A Cloyes chain connects it to the crankshaft, while Isky Red Zone roller lifters keep in contact with the lobes.
Heads: Breathing is still important even with a couple of turbos, so the call went out for a pair of AFR fully CNC-ported, 345cc, rectangle port heads with 2.300/1.88-inch stainless steel valves. These heads tease the flow bench at almost 400 cfm. Cometic MLS gaskets help seal all the cylinder pressure.
Induction: It doesn't get much simpler than a Weiand Team G intake bolted to an 850-cfm Holley that has been heavily modified by Carburetor Solutions Unlimited. The pressure is created by a pair of Master Power GT45 turbos making over 20 psi of boost. Feeding all this power is the responsibility of a pair of Aeromotive A1000 fuel pumps that push that E85 fuel through several fuel lines. The air/fuel ratio is closely monitored by an Innovate LM-1 meter.
Exhaust: This is where friend Matt Anderson earned his gold stars. Matt built the entire mandrel-bent exhaust system, starting with the 2-inch primary pipe headers that lead to the turbos. The turbo exits are connected with 3.5-inch mandrel-bent tubing that Matt pulled off of hopped-up diesel Chevy trucks. Turbos do a great job of suppressing noise, but Matt added a pair of DynoMax Ultra Flo mufflers just to be sure.
Transmission: You might think that shoving close to 1,000 lb-ft of torque through a Turbo 400 trans could cause drama, but Jesse says his reverse-pattern, manual valvebody trans works great. One important point is the 9.5-inch Performance Torque Converters converter that stalls somewhere around 4,000 rpm (that depends on boost, dontcha know). "We're tightening up the converter because it drove through it on the dyno. That's why the torque wasn't higher." Jesse did all the trans work himself and relies on a Driveline Specialists driveshaft.
<strong.Rearend: The guys at Auto Weld Chassis assembled the Ford 9-inch. When you're making massive torque you don't need a lot of gear, so a set of Ford 3.25 gears twist inside a Moser centersection and assign power to each wheel split by a Detroit Locker differential.
Suspension: If you're expecting a highly modified suspension to manage all this power, you're missing the point. Jesse uses Competition Engineering shocks up front, Rancho RS9000 hydraulics in the rear, a homebuilt rear antiroll bar to help control the torque, and a pair of adjustable upper control arms to set the pinion angle and tubular lowers. Otherwise it's close to stock, right down to the rubber suspension bushings.
Brakes: Those are '78 Monte Carlo 10.5-inch discs with metric calipers up front. The rears are no more than a set of homebrewed parts clamped to a pair of 10.5-inch discs with an adjustable proportioning valve. That's it.
Wheels/Tires: Those tiny front wheels are 15×3.5-inch Weld Draglites that complement the 15×10-inch rears mounted with a pair of 325/50R15 M/T ET Street radials, which seem frighteningly inadequate when you contemplate the engine's power curve.
Body: This '70 Chevelle could best be described as an H&H special-Harwood and Hydakovich. Harwood supplied the 4-inch fiberglass cowl hood while the rest of the car is stock Chevrolet sheetmetal. Dave Hydakovich is the man responsible for the bodywork, along with Jesse's help, which included Dodge PS2 silver and a pair of SS stripes. The only other addition was a 16-gallon RCI fuel cell in the trunk.
Interior: You don't run 153 mph in the quarter-mile without the track demanding a few additions to the interior. Jesse re-covered the back seat himself, adding a rollcage, a window net, and a set of Crow harnesses atop a pair of Summit Racing sport seats. There's a Pioneer stereo that you can actually hear over the engine (at idle) along with a full complement of Auto Meter gauges, including that all-important boost gauge.
Performance: His best run so far is a tire-spinning 9.19 at 153.2 mph at Brainerd International Raceway on radials through the tailpipes, at over 4,000 pounds race-ready. On the engine dyno at 9 psi, the engine made 984 hp. Jesse says the skidpad numbers are "really bad." We say, "Who cares?"


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The Caledon Chamber of Commerce provides an opportunity for those people who create local jobs and drive the local economy to work with government and the public to build a better community.
The Community Chamber works closely with the Municipal and Regional governments. The Provincial Chamber acts as an umbrella organization to lobby the provincial government on issues of mutual concern to all Chambers, and the Canadian Chamber serves a similar role at a national level.

subset: commoncrawl


text:
LPL - Laboratoire de Physique des Lasers
> Composition of the team
> Publications and communications
> Thesis
The Photonics axis concentrates on organic photonics devices and studies the underlying physics of these components. The axis is composed of three teams:
Team 1: Lasers and organic photonics team – study of organic lasers under optical excitation with applied and fundamental perspectives (see website) ;
Team 2: Photonics and nanostructures team comprised of two sub-teams:
2.1 : Organic laser under electrical pumping : focus on molecular plasmonics and OLEDs in micro cavity ;
2.2 : Non-linear photonic crystals ;
Team 3: Light-materials interactions team: non-conventional laser techniques for surface structuring, study of the physical and chemical mechanisms photo-induced on inorganic and hybrid materials.
© 1998 - 2019 Laboratoire de physique des lasers (LPL). Tous droits réservés.
Université Paris 13 (UP13) - Institut Galilée - CNRS LPL UMR7538
99, av. J.B. Clément - 93430 VILLETANEUSE - FRANCE


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Langley, BC – The dream final is set for Canada as they defeated Cuba 3-0 (25-14, 25-17, 25-21) Friday night, and will face the USA in Saturday night's final at 8pm (Pacific). There were more than 2000 fans that turned out for Canada's Friday night victory at the Langley Events Centre, with more expected for the Canada USA final tomorrow night.
Canada was a blocking machine in its semi-final win against Cuba, with 16 blocks as a team. Gord Perrin (Creston, BC) and Rudy Verhoeff (Calgary, AB) combined for 10 total blocks and they both led the way for Canada with 14 points apiece. There were points of the match where it just seemed like every time Perrin and Verhoeff went up to block they were getting touches and the Cubans had no answer. Canada had contribution from everyone again, and Dallas Soonias (Red Deer, AB) in particular put together another strong offensive performance adding 11 kills in the win.
Canada will face the USA for the first time since losing to them in the 2012 Olympic qualifier last year. "Our goal was to face the US in the finals and also to win this championship," said Canadian captain Fred Winters of Victoria, BC. "We are almost there and now we are playing one of the best teams in the world."
Canada has never won a gold at the NORCECA Championship, and tonight they have a chance to do it in front of home crowd that has been giving them an extra boost each night.
For a complete schedule and more details on the tournament visit http://www.langleyeventscentre.com/continentalvolleyball
Other Friday matches:
The United States qualified for the final at Norceca Men's Continental Championship after a 3-1 victory over Puerto Rico (25-13, 24-26, 25-20, 25-16). Matthew Anderson was the top scorer for the American team with 15 points. Maxwell Holt and William Priddy finished with 12 apiece, while Troy Murphy tallied 11. Serving was the key for USA with a team total of 6 aces against none by Puerto Rico that showed resilience in the second set and fought hard in the third one, Puerto Rican best players were Sequiel Sánchez (9 points) and Roberto Muñiz (8 points).
The Bahamas finished in seventh place after defeating Saint Lucia 3-0 (25-17, 25-20, 25-20) at Norceca Men's Continental Championship. Bahamas' captain Prince'Tanique Wilson scored 15 points while Byron Ferguson 10. For Saint Lucia, Julian Bisset concluded with 15.


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- London 2012 - Athletics
Farah claims historic Olympic distance double
Mo Farah became only the seventh man to complete a 5000m and 10,000m Olympic double at the same Games after prevailing in a thriller over the longer distance at London 2012.
The Somali-born Londoner lit up the Games with a stunning victory in the 10,000m last weekend, and he returned to the scene of his triumph by bringing the 80,000-strong crowd inside the Olympic Stadium to its feet with a storming finish in the 12-and-a-half lap format, winning in 13:41.66.
Farah spoke of battling fatigue prior to Saturday's final and said he felt as though there was "a target" on his back. The opening moments of the race suggested his rivals were happy to set an alarmingly slow pace in an attempt to nullify the threat of the Brit.
After a pedestrian first 2km, the Ethiopian contingent picked things up with five laps to go, stretching the field the more they increased the pace. Farah, who had slowly worked his way up from the back of the field, positioned himself at the front as they approached the bell.
With the battle for the lead still being hotly contested, a determined Farah put his foot down to repel the advances of those around him, finding an extra gear down the back straight to hold off a surging Dejen Gebremeskel and write his name into the history books.
Farah, who ran 52.9s for the final lap, told BBC Sport: "It's just unbelievable. I had a lot of confidence going into the race. In the heat I didn't feel so good. I knew I just had to hold on and got great support from the crowd."
Great Britain missed out on a medal in the women's 4x400m relay, finishing in fifth place. The United States quartet of Deedee Trotter, Allyson Felix, Francena McCorory and Sanya Richards-Ross crossed the line more than three seconds ahead of second-placed Russia, with Jamaica clinching bronze.
Caster Semenya failed to land gold in the women's 800m, leaving her charge too late as Russia's Mariya Savinova added the Olympic title to her World Championships crown. Semenya qualified fastest for the final but never looked like challenging until a late burst down the back straight, which ultimately was only good enough for silver.
Defending champion Pamela Jelimo of Kenya broke clear with 300m to go, but Savinova had plenty left in the tank and easily ran her down to cross first in 1:56.19. Semenya moved into second place in the closing stages, with Russia's Ekaterina Poistogova claiming bronze.
Anna Chicherova went two better than she did in Beijing to win the women's high jump. The world champion, who claimed bronze four years ago, was the only competitor to clear 2.05m. Brigetta Barrett of the USA and Russia's Svetlana Shkolina won silver and bronze respectively, setting personal bests in the process.
Russia's Sergey Kirdyapkin posted a new Olympic record to win the men's 50km walk, surging clear in the final 10km to win in 3:35.59, while compatriot Elena Lashmanova won the women's 20km walk in new world and Olympic records (1:25.02).
And Trinidad and Tobago's Keshorn Walcott caused a shock, throwing a new national record of 84.58m to win the men's javelin ahead of Ukraine's Oleksandr Pyatnytsya.


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Bridal look book.SAVE TO WISHLIST
Actual: fr SGD380 / Solemnization: fr SGD280 / Pre-wed: fr SGD280 / Non-bridal: fr SGD130
Location: Singapore
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I knew Sylvia through a referral from another makeup artist and after looking through her online portfolio, I decided to engage her as my MUA for the actual wedding. As I had alot of questions about how certain procedures went (such as payment terms, what time she and her team had to start makeup etc) Sylvia is very patient in giving me advice and answering all of them. During the trial makeup, she also spoke with me to ensure that she knows what kind of style I preferred which makes me feel at ease to work with her. For the actual day, I was very impressed with her and the team of MUA she is leading. Despite the limited time they have, they did an excellent job of dolling up all my bridesmaids and Mother! Looks very professionally done and very elegant :) Her makeup is also very natural-looking and I love the braid hairstyle she has done to emphasize on my hair colours. Everything compliments each other and I would highly recommend her to others. Be it for wedding or formal events, she will definitely ensure that all your makeup needs are met!
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I have engaged Sylvia to help with my rom make up and hairstyling. Thanks to her I had many compliments from friends and relative for my look and hairdo. I have also introduced her services to my friends and relatives who also had their rom. Sylvia is also a very pleasant lady whom you can communicate easily with. As I needed a makeup artist for my mum, Sylvia helped me to find a professional within my Budget too. Really do consider and engage Sylvia Koh makeup and hairstyling for any event.


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Julie, 2019-11-26 16:04:55
Number: +1 (519) 965-0711
Call type: Unknown
Rating: -5
Called my phone at midnight. Did not answer. Busy signal on answering machine. No message left.
Number: +1 (705) 471-0073
Call type: Survey
Rating: 5
This number called and claimed to be a direct land line - though it is posted by you as a cell phone - for Canada Stats.
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Number: +1 (613) 209-6806
Call type: Scam
Rating: -5
They left a voice message saying they were from Canada Revenu Agency and if I didn't call back they would intent a law suit against me.
Lynne, 2019-11-18 05:07:48
Number: +1 (604) 434-4845
Call type: Unknown
Rating: -3
Got this call at 6.30 a.m.today..didn't answer..From Vancouver (3.30 their time)...Telus
Also get regular calls between 7 - 7:30 a.m. from a Visa scam. The Bank says it is from overseas and they can't do anything about it....
Number: +1 (289) 381-0248
Call type: Telemarket
Rating: -1
I answered the phone and got the usual telemarketer dead-air. After a couple of seconds a man with an Indian accent came on and said "Hello?" I hung up. He didn't call back.
Concerned Citizen, 2019-11-14 03:35:49
Number: +1 (613) 789-0262
Call type: Unknown
Rating: -5
This was a pre-recorded call with a woman speaking in mandarin over a soothing song. It just loops over and over.
It might be unsafe to accept the call.
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Number: +1 (416) 419-8717
Call type: Unknown
Rating: -1
Didn't give me any information.
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Number: +1 (226) 721-1066
Call type: Unknown
Rating: 0
I keep getting calls from this number and simply ignore it. does anyone know who belongs to it?
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Call type: Debt collector
Rating: -5
Answered this call and was advised it was something to do with Rogers. Advised the caller I had nothing to do with Rogers. The caller advised that they would keep calling. I returned the call to discover it it is a debt collection agency so I have since blocked this number on my phone. Since then I have received at least 20 or more calls from this same number which has been blocked and they are still calling.
Ontario, 2019-11-08 00:08:10
Number: +1 (647) 498-5540
Call type: Scam
Rating: -5
called saying my visa was being used for unusual purchase at 5 am. called at 6 am then again at 7 am . Obvious scam.


text:
The Copenhagen Diagnosis is a summary of the global warming peer reviewed science since 2007. Produced by a team of 26 scientists led by the University of New South Wales Climate Research Centre, the Diagnosis convincingly proves that the effects of global warming have gotten worse in the last three years. It is a timely update to the UN's Intercontinental Panel on Climate Change 2007 Fourth Assessment document (IPCC AR4).
The report places the blame for the century long temperature increase on human factors and says the turning point "must come soon". If we are to limit warming to 2 degrees above pre-industrial values, global emissions must peak by 2020 at the latest and then decline rapidly. The scientists warned that waiting for higher levels of scientific certainty could mean that some tipping points will be crossed before they are recognized. By 2050 we will effectively need to be in a post-carbon economy if we are to avoid unlivable temperatures.
Authors: Ian Allison, Nathaniel Bindoff, Robert Bindschadler, Peter Cox, Nathalie de Noblet-Ducoudre´, Matthew England, Jane Francis, Nicolas Gruber, Alan Haywood, David Karoly, Georg Kaser, Corinne Le Que´re´, Tim Lenton, Michael Mann, Ben McNeil, Andy Pitman, Stefan Rahmstorf, Eric Rignot, Hans Joachim Schellnhuber, Stephen Schneider, Steven Sherwood, Richard Somerville, Konrad Steffen, Eric Steig, Martin Visbeck, Andrew Weaver
- Named a 2012 Outstanding Academic Title by the American Library Association's Choice publication
- A synthesis of more than 200 timely, up-to-date, and peer-reviewed papers that serves as an interim evaluation of climate science midway through the IPCC Assessment Report cycle
- Authored by 26 of the world's leading climate scientists, most of whom are also contributing authors to the IPCC Assessment Reports.
- Covers a broad range of topics evaluated by the IPCC, including greenhouse gas emissions, the global carbon cycle, sea level rise, and future climate projections.
- Topical boxes summarize each chapter and address commonly held misconceptions surrounding the science of climate change.
Please Note: This is an On Demand product, delivery may take up to 11 working days after payment has been received.
1. Greenhouse Gases and the Carbon Cycle 2. The Atmosphere 3. Extreme Events 4. Land Surface 5. Permafrost and Hydrates 6. Glaciers and Ice-Caps 7. Ice-Sheets of Greenland and Antarctica 8. Ice Shelves 9. Sea-Ice 10. The Oceans 11. Global Sea Level 12. Abrupt Change and Tipping Points 13. Lessons from the Past 14. The Future References Biographies


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Still trying to come up with a name for this clinical mint color that keeps showing up at SEMA this week.
In the meantime, would you drive a Scion FR-S if you had to keep that color? That question is, of course, rhetorical. You can't answer (unless you have a tumblr) and you definitely would.
Photo Credit: Curtis Walker/Jalopnik


text: Thursday, December 01, 2011 Sisto Receives ACRM Fellow Award APTA member Sue Ann Sisto, PT, MA, PhD, FACRM, recently was named a Fellow of the American Congress of Rehabilitation Medicine (ACRM). ACRM is the world's leading interdisciplinary rehabilitation research organization. The Fellow of ACRM designation recognizes individuals who make significant contributions to the field of rehabilitation and to ACRM for at least 5 consecutive years, have an outstanding record of professional service, and have a sustained record of contributions of national significance to medical rehabilitation in the areas of clinical practice, research, education, and administration. Sisto has been a member of ACRM since 1998 and served on numerous committees over the years. Her greatest contribution was the development of the SCI networking group, which she was instrumental in elevating to ACRM's SCI special interest group (SIG) in 2009. She has served on the Board of Governors as member at large, secretary, vice president and now president-elect. Sisto is the first physical therapist to receive the ACRM Fellow designation. Sisto is professor of physical therapy and director of research in rehabilitation sciences at Stony Brook University. She has been a physical therapist for more than 32 years and specializes in pathokinesiology. Her doctoral studies at New York University were funded by grants from the National Institute on Disability and Rehabilitation Research and the Foundation for Physical Therapy. Her current research direction is recovery of locomotion in spinal cord injury (SCI), but her grants and publications span broad areas of rehabilitation outcomes with neurological/orthopedic patients. Sisto has served on multiple grant review panels and is the associate editor for the Journal of Spinal Cord Injury Medicine. Her textbook on SCI rehabilitation was published in 2009. Sisto has served on various National Institutes of Health review committees and is chair of the Rehabilitation Advisory Board grant review panel for Shriners Hospital for Children. She has served on APTA's Scientific Review Committee and the Nomination Committee and currently is vice chair of the Neurology Section's Spinal Cord Injury SIG. Comments Congratulations on such a major honor, Dr. Sisto. Posted by Thomas Romeo on 12/4/2011 9:33 AM Congratulations to Sue Ann. This is the kind of thing that makes the whole profession look good. Thank you Sue Ann for your outstanding efforts. Posted by Kevin Lawrence on 12/5/2011 11:26 AM


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Walking in Sierra Espuña
Sierra Espuña Regional Reserve
José Luis Montero
Sierra Espuña Regional Reserve (Murcia province).
José Luis Montero
Mula Castle.
Murcia is well known for the beaches of its Costa Cálida coast and for the beneficial properties of the waters of the Mar Menor. Nevertheless, beyond the coastal areas, in inland Murcia you will find an area of countryside and contrasts: Sierra Espuña Regional Reserve.
In south-east Spain, washed by the Mediterranean Sea, you will find Murcia, a great destination for lovers of the beach and also for those who prefer to be surrounded by forests and mountains. For this last group, the Sierra Espuña Mountains await in the inland part of the region. These are the region's "green lungs", where you can enjoy countryside, history and sports in the open air. Located less than 40 kilometres from the city of Murcia, the wide range of landscapes to be found here is just the first reason for visiting.
Natural mosaic
Exploring the Sierra Espuña Mountains will reveal a wide range of environments: from high-mountain areas, luxuriant forests and steppe, to rivers and reservoirs, dry crop and irrigated farmland. Nevertheless, it is the rugged, mountainous scenery that stands out most, offering stunning, unusual views. This is the case, for example, of the Paredes de Leyva, an impressive area of limestone walls; the Barrancos de Gebas canyons, a unique "lunar" landscape; the deep Barranco de la Hoz canyon, or the Barranco de Malvariche canyon.
The Snow Wells
In Sierra Espuña there is an especially unusual place to see: the Pozos de Nieve (snow wells). These are 26 circular structures, dug out of the ground, which once served as refrigerators. They date back to the 16th century, and are located between 1,100 and 1,400 metres above sea level. Every winter, local workers would head up to the mountains to store and compress the snow they had previously collected. With the arrival of spring, they would go up again to remove the blocks of ice, that they then supplied to nearby cities such as Murcia and Cartagena.
Sport and activities
The Paredes de Leyva are considered one of the best climbing areas in Spain on account of their profile and quality of rock. The area is 3 kilometres across with a vertical drop of 150 metres, and attracts climbers from all over Europe. You can also do other sports in the area, such as kayaking on the Barranco de Gebas Reservoir, or paragliding in the Sierra de la Muela Mountains, close to Alhama de Murcia. For those who prefer to explore the region more peacefully, there are well-signed hiking and mountain biking routes. The "Ricardo Codorníu" Visitor Centre, the Las Alquerías teaching room and the office in El Berro are good places to get information on the reserve's characteristics, as well as the activities and routes available.
Between castles
In the Sierra Espuña region there are also interesting monuments to discover, with castles and fortresses dating from the Hispano-Moorish period, such as Los Fajardo Castle in Mula, Las Paleras Castle in Pliego, the Keep at Aledo, and the castle in Alhama de Murcia. The tourist offices in each town/village will also give you information on other cultural attractions in the region. There are the Roman baths in Alhama de Murcia, with more than 2,000 years of history; the 16th century Santiago Church in Totana; "Los Villaricos" archaeological site in Mula and the museum of Iberian art in Cigarralejo. These are just some of the visits not to be missed.
More information: Sierra Espuña Tourist Board
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text:
IntelliCAM is a designer and manufacturer of identification products and solutions.
All products are produced "in-house" at our
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We are here to help you navigate the complex bankruptcy process. These two online courses will help you meet the federal government's requirements for pre-filing credit counseling and post-filing debtor education. In addition, these courses will help familiarize you with all available options and assist you in understanding the details of the process.
Pre-Filing Bankruptcy
Credit Counseling Course
If your bankruptcy petition has not been filed, you need to complete the Credit Counseling course.
This course, Counseling in Motion, has been approved by the United States Trustee Program. The course will help you make an educated decision, alone or with your attorney, about filing a bankruptcy petition.
Pre-Filing Credit Counseling is a required course that will need to be completed before filing for bankruptcy. Once the course is complete, you will be provided with a completion certificate, which will need to be presented to the court at the time of filing.
Post-Filing Bankruptcy
Debtor Education Course
If your bankruptcy petition has been filed, you need to complete the Debtor Education course.
This course, Money in Motion, has been approved by the United States Trustee Program. The course will educate you on financial and budgeting topics to help build the knowledge and skills you need for a healthy financial future.
Post-Filing Bankruptcy Debtor Education is a required course that will need to be completed after filing for bankruptcy. Once the course is complete, you will be provided with a completion certificate, which will then need to be presented to the court before your debt will be discharged.
- Bankruptcy Resources
Below are informational links that may assist you if you have filed for bankruptcy, are considering filing for bankruptcy, or just want to learn more.
- Summary of Consumer Bankruptcy Provisions of Reform Act by Hon. Eugene R. Wedoff
- Census Figures For Median Incomes
Note: The current IRS Financial Collection standards referenced by the Reform Act are also available at the above link.
- Interim Official Rules
- New and Revised Bankruptcy Forms
- News and Updates About the Reform Act
- State Exemptions
- Listing of State Administrative Expense
- Calculate Lookback or Lookforward Dates Online
- U.S.Trustee Program Official Web Site
- Means Testing Information and Charts
- Uscourts.gov
This Web site offers links to all federal bankruptcy courts.
- Notice of Domestic Support Agencies
- Notice of Domestic Support Obligation
- Bankruptcy Statistics
- American Bar Association
You can find a link to your local Bar Association by visiting the American Bar Association's Web page.
- The American Bankruptcy Institute
This Web site is a good resource for information about the Bankruptcy Abuse Prevention and Consumer Protection Act of 2005
Legal Disclosure: This page contains links to other Internet web sites, which are not owned or operated by Take Charge America. Take Charge America has not reviewed all of the web sites which are linked to this page, and Take Charge America has no control over such sites. Unless otherwise explicitly stated, Take Charge America is not responsible for the content of such web sites, any updates or changes to such sites, or the privacy or other practices of such sites, and the fact that Take Charge America offers such links does not indicate any approval or endorsement of any material contained on any linked site. Take Charge America is providing these links to you only as a convenience.


text: insight All insightHealthcareEmployee Benefits and InvestmentInsuranceRisk Management and Financial Services Life insurance risks: Observations on Solvency II and the modeling of capital needsEIOPA Proposal for Guidelines on the preparation for Solvency IIInfrastructure investment for insurance companies under Solvency II Solvency II Undeniable Synergy: A case for the chief modeling officerBy Van Beach | 23 July 2019 Understanding the business versus the operational skills and activities related to modeling holds the key to the new actuarial operating model. Why independence matters in actuarial servicesBy Richard C. Frese, Tony F. Bloemer | 02 May 2017 Actuarial expertise is important when working with an actuary but is not the only criteria that should be considered. IFRS17 Implementation: A new reporting framework comes with significant challengesBy Kurt Lambrechts, Henny Verheugen, Takanori Hoshino, William C. Hines | 19 December 2016 This paper discusses critical points of attention regarding IFRS17 and suggests possible first steps towards implementation. Optimising non-life reinsurance strategy under risk-based capital measuresBy Jeffrey A. Courchene | 12 September 2016 An exploration of the possible impact of risk-based economic capital and ERM frameworks on a non-life insurer's reinsurance strategy. The actuary and enterprise risk management: Integrating reserve variabilityBy Jeffrey A. Courchene, Mark R. Shapland | 22 August 2016 This paper develops and examines a framework for reserve distribution testing and validation and demonstrates its use with real datasets within an enterprise risk management framework. Life insurance risks: Observations on Solvency II and the modeling of capital needsBy Stephen H. Conwill | 28 January 2016 This paper focuses on the management of insurance risk under Solvency II and similar regimes. Time to move forwardsBy Neil Cantle | 18 January 2016 Insurers have responded to Solvency II and can leverage their skills to prosper. ORSA process implementation for internal stakeholdersBy Eamonn Phelan, Padraic O'Malley, Zohair Motiwalla | 21 September 2015 This report provides benchmarking information that will help companies address the needs of internal stakeholders in cost effectively conducting and implementing an Own Risk and Solvency Assessment (ORSA) process. Milliman Derivatives Survey 2014By Krupal Rachh, Chunpu Song, Neil Dissanayake, Ram Kelkar, Victor Huang | 31 March 2015 Our annual global survey of life insurance companies explores trends in risk management practices and derivatives usage within the insurance industry. Milliman's VEGA Solution02 December 2014 Ger Bradley from the Dublin office discusses Milliman's VEGA solution. See More Articles 08 October 2014Replicating portfolios revisitedAn examination of two different methods that allow for a robust and reliable calibration of replicating portfolios. 17 July 2014Capital management in a Solvency II worldThis paper addresses key issues for insurers and reinsurers with regard to capital management in a Solvency II world, including how investment strategy fits in, uses of reinsurance, the new regulatory landscape, and more. 20 March 2014One year to go: An ORSA checkupWhat practical steps can insurers take to prepare for ORSA to satisfy regulators and enhance market value and solvency position? 04 December 2013ORSA: An international requirementNumerous insurance regulators around the world are introducing ORSA requirements, how do requirements compare in Europe (through Solvency II), the US, and Australia? 03 October 2013Dynamic Policyholder Behaviour and Management Actions Survey ReportSurvey results presenting current practices for modeling dynamic policyholder behavior and management actions in Europe, the US, and Japan. 23 April 2013EIOPA Consultation Paper on the proposal for guidelines on submission of information to national competent authoritiesA guide to new requirements covering submission of information to NCAs. 15 April 2013Milliman STAR Solutions–VEGAA robust and powerful Solvency II analysis and reporting solution. 10 April 2013Insurance M&A: Global reach, local knowledgeThe challenges facing multinational insurers and investment banks looking to engage in cross-border M&A transactions. Insurance Analytics and modelingCatastrophe risk and insurance-linked securitiesInsurtechLife insuranceLong-term care insuranceMedical professional liabilityProperty and casualty insuranceRisk managementSolvency IITelematics See all topics HealthcareAffordable Care Act researchHealthcare costsHealthcare reform 2.0Healthcare reform reading list: From the ACA archivesLong-term care insuranceMedicaidMedical professional liabilityMedicareMedicare ACOs and Alternative Payment ModelsProviderEmployee Benefits and InvestmentDefined benefit plansDefined contribution plansInvestmentInsuranceAnalytics and modelingCatastrophe risk and insurance-linked securitiesInsurtechLife insuranceLong-term care insuranceMedical professional liabilityProperty and casualty insuranceRisk managementSolvency IITelematicsRisk Management and Financial ServicesEnterprise risk management Featured videos Insurance mergers and acquisitions: Global reach, local knowledge(5:56)Milliman STAR Solutions–Vega(5:28)The Phoenix Group and Milliman: A revolution in the cloud(7:40) See all video Periodicals Milliman Market Monitor - Nederland


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Applicants to the RT program must be accepted by Xavier University as an undergraduate student before applying to the radiology technology program. After acceptance into the university, applicants must copy the RT application form, complete the form, and return the form by mail to the program director.
Send the completed application form to:
Donna Endicott, M.Ed., R.T.(R), Program Director
Xavier University
3800 Victory Parkway
Cincinnati, Ohio 45207-7332
Please print a copy of the application on both sides of one sheet of paper. Click on the link below to find the application.
Note: It is common for RT programs in the State of Ohio to form waiting lists for admission into RT programs. Currently, your application will be considered for August 2018 until the program is filled. If you are accepted into Xavier but placed on the RT program's waiting list, you can use this year to begin working towards a bachelor's degree. Please call the RT Program Director at (513) 745-3358 if you have any questions about the waiting list for the RT program or if you have interest in pursuing a bachelor's degree during your waiting period.


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It's always exciting, albeit a little strange, and I am expecting another dose of reverse culture shock which, in some ways, is more difficult than the shock of moving to a new country.
You adapt to the rhythm of a place; its pace; its mannerisms; in some way, its language- you begin to merge with the culture. And then suddenly you're home, and the familiarity of it all is strange. Your wild, Mediterranean style gestures and blatant disregard for road (and most other) rules are suddenly out of place. You feel like a foreigner all over again.
And then come the questions. Now, in no way do I expect people to know the ins-and-outs of Turkish culture, politics and history, but there are a few basic questions which I am frequently asked which I thought were worth tackling prior to departure:
- Isn't it Dangerous? Compared with every other nation I have been to, I can honestly say that I feel safest in Turkey. Violent crimes are few and far between and apart from the odd bag snatch, Istanbul is generally a very safe city. That said, of course it's wise to avoid certain areas at certain times.
- What's it like to ride a camel? I wouldn't know. Apart from the rather odd camel wrestling competition on the Aegean coast of Turkey, one would be hard pressed to find one of these fine beasts here.
- Aren't the men creepy? On the whole, no. Just like anywhere else there are some notable creepers, but on the whole I find Turkish men kind, generous, honest and respectful of women.
- Do you have to wear a burqa/headscarf? No. Turkey is a proudly secular state, and only a portion of the female population wears a headscarf, which certainly does not include me, apart from if I'm entering a mosque. And they are banned from most state institutions.
- Aren't you sick of kebabs? Despite what the many 'Turkish' kebab joints all over the world seem to suggest, there is much, MUCH more to Turkish cuisine than kebabs. And it's delicious.
- How are your belly dancing skills coming along? They aren't. Belly dancing didn't originate in Turkey, nor is it really even possible to see- apart from at exorbitantly priced tourist shows.
- How's your Arabic? Non-existent. Turks speak Turkish, a unique language which has its origins in Central Asia and adopted a Latin script following the foundation of the Turkish republic.
- So you've been to the ANZAC Day commemoration at Gallipoli? No, and I don't intend to. Hanging out with a bunch of loud and drunk Commonwealth country backpackers while they trash a stunningly beautiful area of Turkey is not at the top of my list.
- You mean it gets COLD in Turkey? Yes. Istanbul has a Mediterranean climate, which means cold, rainy (and occasionally snowy) winters. And out east, well, that's a much chillier story.
- ? Well, I confess to getting tired after 9. You tell me.


text: MIT's SIPB IAP activities page is a treasure trove of interesting stuff. Among the many classes programmed for 2007, there's one that i'm sure will be interesting to many mew readers: Being Productive With Emacs. The good news is that you don't need to travel to Boston to get this excellent illustrated introduction to Emacs, continued with a customization and an extension guide. Being the slides of three presentations (by Phil Sung), they're sketchy at places, but make for a great introduction to Emacsland nonetheless, and there's a trick or two for seasoned users as well. Recommended.


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You know you've offended Joss Whedon when he stops talking in Whedonisms. Usually the writer-director is funny, wry, and acutely self-aware—just like the characters he creates for his shows and movies, from the cult TV series Buffy the Vampire Slayer to the new horror flick The Cabin in the Woods. He'll order a chardonnay at lunch and slouch sideways in a booth, riffing on geek tropes from Star Trek to Twilight Zone.
But suggest that his TV show Dollhouse was really just about a pretty girl in a dominatrix outfit getting beaten up every week and Whedon transfigures into Buffy's erudite, ever-so-slightly supercilious mentor, Giles—if you could imagine Giles in a hoodie. The words get longer, the references more arcane. He sits up and leans over his plate of scallops, elbows on the table. The professor has arrived, and class is in session.
Dollhouse aired for 25 episodes on Fox in 2009 and 2010. It was Whedon's fourth show, and it had all the elements that made Buffy so great—ass-kicking ingenue, crackling dialog, plenty of sci-fi weirdness, and enough subtext to choke a lit-theory major. It was also, as Whedon himself admits, potentially the most offensive television program of all time. The story—a secret organization mind-wipes attractive people, reprograms them, and pimps them out to clients—was like an icky Fantasy Island with gunfights and psychosis. Even diehards who'd stuck with Whedon since Buffy didn't get it. "Bless their hearts, the fans were all going, 'It's Joss. We trust him. Maybe we're missing how it's good,'" Whedon says. "It was very sweet."
Still, he's sure the audience was in some part wrong about Dollhouse. Just a few nights before this lunchtime exegesis, he happened to see a clip from the show and was struck anew by it. Wait a minute, he thought, this show is meaningful. It wasn't just a girl getting beaten up—it was what Whedon calls "the most pure feminist and empowering statement I'd ever made—somebody building themselves from nothing." He wanted to do a show that would deconstruct identity and relationships and socialization … and celebrate human perversion.
Whedon's enthusiasm for Dollhouse's complex narrative and subtext is so infectious that it's easy to forget the show flopped. Completely. But none of the movies and TV shows he's created have been mainstream hits. Not Buffy. Not the sci-fi Western Firefly. Not Serenity, the movie based on it. The most successful, arguably, have been the ones over which Whedon had the most control, like Buffy or the independently produced and digitally distributed Dr. Horrible's Sing-Along Blog. He thrives on independence, and studio brass who want him to rein in his darker impulses just get in the way.
Yet just up the LA street from the restaurant we're in is Marvel Studios, where Whedon is directing The Avengers, this summer's mega-ultra-awesome crossover superhero blockbuster. It is not a project that welcomes independence. Produced by Marvel, distributed by Marvel's owner, Disney, and with a story line all but predetermined by Marvel, it is perhaps the absolute Bizarro-world opposite of independence. The Avengers unites the narratives of five interconnected movies from the past few years and is the ignition point for a decade of potential sequels and new superhero pictures. With the turbines of the Disney-Marvel machine spinning up, why would the company let this commercially unproven director—no matter how smart he is—helm the ship?
Then again, tent-pole blockbusters are a pain in the ass to oversee. Whedon has a fan base that rivals Star Trek's in its ferocity, and he's doing just fine producing smaller movies. So maybe the bigger question is, why would this cult-favorite writer-director ever put up with The Avengers?
Buffy the Vampire Slayer began as a failure. Whedon, then a young writer toiling in the sitcom fields, wrote it as a movie script that pivoted on a central twist: A vicious monster follows a beautiful teenage girl into a dark alley, and only the girl walks back out. Whedon wanted to make the ingenue into an action hero, to literally empower a young woman. But the 1992 film, directed by Fran Rubel Kuzui, turned into a slapstick farce. It's not without charm, but big-screen Buffy seems petulant, and the jeopardy feels false. Too much flounce, not enough kickboxing.
Whedon went on to success as a screenwriter and script doctor, working on Toy Story and Alien: Resurrection and doing uncredited work like a rewrite of Speed. But a few years later TV producers got interested in redoing Buffy as a half-hour kids' show, the kind of thing that could run after Power Rangers. Whedon got on board. He even remembers the first gag he came up with for the show: A group of vampires would be waiting to attack Buffy, and one of them would say, "Why don't we all attack her at once?" A second vamp would respond, "Tradition. It's an honor thing." That narrative self-awareness, the promise to zig when most action shows predictably zag, was typical—"Whedonesque," even. Seeing Whedon's enthusiasm and the richness of his ideas, the newly formed WB network bought the concept as an hour-long drama and put Whedon in charge.
The series, which ran from 1997 to 2003, creates a metaphorical universe that renders the awfulness of adolescence through the conventions of horror and sci-fi. High school is hell—literally. Be ignored by your peers and turn invisible. Sneak out to a frat party and get molested by a giant white snake demon in the basement. Lose your virginity and your boyfriend becomes an evil monster. Sometimes you can communicate only through music; sometimes (because of magic) you can't communicate at all.
Buffy and her friends at Sunnydale High went through all the same traumas as the kids on Freaks and Geeks and My So-Called Life. They wanted to have sex, and then they did, and it was weird. They couldn't pass chemistry. Popular kids made fun of them. But somehow, when all that common drama happened against the backdrop of apocalyptic villainy and portals to other dimensions, it became—to a certain subset of pop-culture consumers—not less believable but more relatable. Whedon had found his narrative sweet spot: making stories about what his fans felt but couldn't articulate.
How does he do it? "There's a lot of pacing and brow-furrowing, and then the ridiculous genius machine in his head will spit out an episode almost fully formed," says Jane Espenson, who has written for all of Whedon's TV shows. The vampire and werewolf stuff may have been cheesy, but the stories never were. Whedon told his writers to avoid "moves"—stuff that happens only for the sake of advancing the plot or for a cool action sequence.
"He's so good at surprising you in ways that feel totally authentic," says Marti Noxon, who wrote for Buffy and went on to work on Mad Men and write Fright Night. And, of course, he put in all the Whedonisms. Characters shorten words—situation becomes sitch—and clichés get flipped into asides like "Gosh, does the fun ever start?" The sparkly, shiny dialog he put into the mouths of his characters sounded like something he'd picked up hanging around high schools at lunch, but it was all his own invention. No wonder the show found a ready audience of cultural-studies academics, who jumped to unpack its many layers. (The exegetical cottage industry dubbed Buffy studies has given rise to articles like "Fans With a Lot at Stake: Serious Play and Mimetic Excess in Buffy the Vampire Slayer.")
Buffy's cult status defined the WB as a network of hot young people doing improbable things, a tradition that lives on in its offspring, the CW. But the show's magic proved difficult to replicate in Whedon's follow-up projects. Angel, a spinoff about Buffy's ex-boyfriend, ran for five years and had a few wonderfully weird episodes, but it never matched Buffy's cultural impact. Firefly attracted a similarly small (albeit way more vocal) fan base on the Fox network.
It began to seem as though Whedon's intellectual aspirations—the result of a film-major/unofficial-gender-studies-minor education at Wesleyan in the paradigm-subverting days of the postmodern mid-'80s—were getting in the way of success. As a student of film professor Jeanine Basinger, whose many successful ex-students include A Beautiful Mind writer Akiva Goldsman and Transformers inflictor Michael Bay, Whedon had learned to read films closely, to watch movie after movie until 3 am, finding not 10 things to say about the title number in Singin' in the Rain but 1,000. But now his command of subtext was starting to feel more like—well, like text. That Whedonesque self-awareness was verging on parody.
The cadre of folks he worked with regularly—actors, writers, producers—stayed loyal. But Whedon's audience remained stubbornly small. He fought with Fox network executives, then talked about the fights to the press. (Note to aspiring television writers: This is maybe not the best way to persuade a network to back your new show.) He tried to develop other Buffy spinoffs, but none took. His pitch for a Batman reboot was rebuffed in favor of what became Christopher Nolan's Batman Begins. His script for a Wonder Woman movie got trapped in development hell. (Dr. Horrible's Sing-Along Blog, made during a writers' strike, proved that people would buy single-shot entertainment online, but it was a sad musical comedy about a supervillain.) Financial problems at MGM were delaying the release of The Cabin in the Woods, which he'd written and produced back in 2009. On the web and at pop-culture nexus Comic-Con, where Whedon appeared on panels and walked the floor every year, he was a god. But in Hollywood? Not so much.
As they say in comic books: Meanwhile! Something strange was going on with movies about superheroes. They were getting good. And they were using tools from the same hardware store where Whedon shopped. Bryan Singer's X-Men pictures applied the conventions of the genre to shed light on how it feels to be an outcast. The first two Spider-Man movies played up the hapless geekiness of alter ego Peter Parker and the daydream fulfillment of being a wisecracking superathlete.
Not incidentally, these were all characters from comics published by Marvel. The characters from competing comics company DC—Superman, Batman, Wonder Woman, and the rest of the Superfriends—were lying fallow, even though the corporation that owns DC also owns Warner Bros. Pictures. Marvel, on the other hand, was doing so well with its A-list characters that in 2005 the company took the bold step of financing its own theatrical releases. It would translate its characters its own way.
Spider-Man had been indentured to Sony, and the X-Men and Fantastic Four were already at Fox, but the remaining roster of potential movie heroes was still plenty deep. First up: Iron Man, an alcoholic gazillionaire playboy who builds his own rocket-powered exoskeleton. Then there's the Hulk, a brilliant scientist who turns into a massively strong, uncontrollable green monster. Oh, and Captain America—a supersoldier from World War II brought into the present—and Thor, a hammer-wielding Norse god with superpowers and family drama that makes the real housewives of Atlanta look like the Osmonds. Unlike the gleaming, godlike DC heroes, Marvel characters are more likely to regard their powers as a curse than a blessing; great power has a pesky tendency to come with great responsibility. And that makes for pretty good movie plots.
All those characters had something else in common: They were the core of a comic book team that began in 1963 called the Avengers, Marvel's answer to DC's Justice League of America. Comics fans love team-ups—more heroes per page for the same cover price is a good value. And the Marvel Comics universe has always been tightly integrated; the cataclysmic devastation of Manhattan in The Spectacular Spider-Man could cross over into that month's Fantastic Four. But the idea that Spider-Man movies could happen in the same universe as X-Men movies? Save that kind of talk for the comics shop, kid. "On almost every movie," says Kevin Feige, head of Marvel Studios and a veteran producer of films based on Marvel comics, "the writer or director would go, 'Hey, could we add this character?' And someone in the legal department would say, 'No, we can't do that.'"
With Iron Man, though, Marvel itself was running the show—and suddenly the answer was, "Hell yes." Samuel L. Jackson's agents had called Feige to ask about a part in Iron Man—Jackson was, after all, the model for the revamped comics character Nick Fury, head of the security agency S.H.I.E.L.D. So Feige asked director Jon Favreau to add a scene with Jackson as Fury, welcoming Iron Man's alter ego to a larger world of superheroes. "He was not only telling Tony Stark about the Avengers," Feige says. "He was telling the audience."
The Whedon Way
It's not that Joss Whedon is repetitive. He just has a happy place, a set of themes and narrative motifs that have come to define his work. Here's a look at what to expect from any Whedon project—including The Avengers. Oh, and spoiler alert!—A.R.
Girl with superpowers
Buffy. River Tam in Serenity. Echo from Dollhouse. Whedon loves to populate his work with ass-kicking ingenues, and Black Widow in The Avengers is no exception.
Great (dead) secondary characters
Who were the kindest, funniest, most emotionally available characters in Serenity? Spaceship pilot Wash and preacher Shepherd Book. Who was dead by the end? You got it.
Snappy dialog
Even some of the regulars in Whedon's crew of recurring actors can't quite handle his rapid-fire Whedonisms. For the raw feed, check out his comic book work, especially Astonishing X-Men.
Musical numbers
Whedon taught himself to play piano before writing the songs in Buffy's musical episode. Angel had a recurring music-be-the-food-of-love riff too, and Dr. Horrible is a straight-up musical. None of the Avengers trailers show the Hulk crooning, but you never know.
Deep nerd-outs
Whedon is a fount of fan service. His ensembles are precooked for fanfic potential—hell, he's even written comic books that take place in his shows' universes after they're canceled.
Angsty bad guys
Not that you'd necessarily root for demon gods and megalomaniacal vampires, but when Whedon writes them you at least get where they're coming from.
Totally self-aware self-awareness
Not only are Whedon's characters preternaturally aware of their own strengths and weaknesses, they're good at articulating them … and they know they're good at it. "It's a flaw in my work that is enough of a virtue that I let it slide," Whedon says. "I make people ridiculously self-aware because I hate deception."
- Photo: Everett
If Iron Man had flopped, the cameo would have been a throwaway joke. But the movie made $318 million in the US. And Disney's acquisition of Marvel at the end of 2009 was an all-in bet. Disney needed a hook into the audience of boys (a problem that's only grown more acute with the failure of March's John Carter).
Princesses weren't doing it; superheroes would. Lots of superheroes. Marvel started cranking out a new crop of movies, each featuring a different character, and fans began to realize that they hinted at a wider crossover potential. Stark had Captain America's shield in his house. The bad guy in The Incredible Hulk got injected with a version of the supersoldier serum that created Captain America. It wasn't that hard; Marvel was there to help the writers with a whole basket of Easter eggs: paramilitary agencies, Nazi scientists, magic cubes, secret formulas, and so on. The moviemakers started watching one another's rough cuts and consulting with a "creative committee" of Marvel Comics writers. "In the first Iron Man, the Easter eggs were simply inside jokes for the Marvel faithful," Favreau says. "By the time the second one rolled around, part of the agenda was to build toward The Avengers."
In its movies, Marvel had hit upon a secret formula of its own. Audiences learned to stay through the end of the closing credits, because a guest star would show up and say something portentous. Something wicked awesome this way comes.
But despite Feige's enthusiasm for The Avengers, the movie had problems. By February 2010 Feige had a script but no director. "We needed somebody who wasn't going to reinvent the wheel, because the die was cast and the cast was cast," Feige says. "And yet we wanted somebody with a unique voice, because this had to feel like a part one, not Iron Man 3 or Thor 2." (Those come out next year.) The Avengers would have to give rise to it own sequels and spinoff properties.
Worse, the movie was feeling awfully crowded. "The Avengers has so many characters, and the only reason for them to team up is some world-shattering threat, which equals spectacle," Feige says. "How can we navigate all those characters and not have them get lost in the action?" In other words, whoever directed it would need to be able to handle the storytelling and characterization issues that came with an ensemble. And while it wasn't a requirement, it'd be nice to have someone with geek cred—someone who knew their way around comic books.
Then Whedon's agent called to ask whether Feige would meet the director about working on The Avengers. Feige was already a fan. He had read one of Whedon's original (good) scripts for Alien: Resurrection, and in 2001 he had brought in Whedon to pitch himself as director for Iron Man. Plus, Whedon had done an uncredited rewrite on Captain America. All his shows had been ensemble pieces, and his best-known work had been in genre, giving him a thick coating of credibility. Whedon had even spent nearly four years writing a brilliant and much-loved X-Men comic book series. (His go-to move, the superpowered ingenue, was inspired by the X-Men character Kitty Pryde, a plucky young girl who can walk through walls.)
On the other hand, Whedon had directed only one movie—Serenity, a sequel to Firefly—which flopped. And his work was all just so … intellectual. Feige was going to trust this guy with the tent-pole he'd been working toward for half a decade?
Well, yes. The project appeared bombproof enough that Marvel could take a risk with someone who had done smaller fare so well. "It might not be like this forever, but right now, in this genre, with these characters, the audience will at least come opening weekend," Feige says. "That liberates you to bring them to life with the most able—as opposed to just the most bankable—filmmaker." The strategy has worked before. Nolan was an art-house director before Batman Begins. X-Men's Bryan Singer and Spider-Man's Sam Raimi were quirky and small-scale before their comic book epics. (Plus, until they have a big hit, these kinds of guys command relatively small paychecks, and Marvel Studios has a reputation for cheapskatery on talent.) Going with Whedon seemed like the perfect solution.
Whedon had always wanted to direct a big summer superhero movie. But his unsuccessful runs at Batman and Wonder Woman bummed him out. "I had just come off of Dollhouse, which was rough, and I was determined to do my own thing," he says. Dr. Horrible had taught Whedon that he could just go make his own stuff—"with the caveat that should the perfect job be dropped in my lap, I might consider it."
So in March 2010 he went to the meeting with Feige intending simply to give his take on the script. What Whedon heard himself saying about it surprised even him. "I don't think you have anything," he said. "You need to pretend this draft never happened." He agreed to write a five-page story memo to tell the studio what he'd do with the movie. "In the process of writing it, I got that bug," Whedon says. "I realized, oh, yeah, this would be so much fun." Whedon pauses and adopts a mock-wistful look. "I was so young. So young."
He already cared about the characters—the comic book writer Jim Starlin's cosmic Avengers stories hooked him in the 1970s. But his key to cracking the screenplay was The Dirty Dozen, which reveled in the pleasure of assembling an ill-matched team. "The Avengers don't belong together," Whedon says. "Each belongs alone. But the more they're alone, the less useful they are."
Marvel went for his angle—with some restrictions. Whedon would have just 92 days to shoot, and the postproduction schedule was going to be brutally tight. The company told him the villain had to be the evil god Loki, from Thor. Execs said the movie had to have a big fight among the Avengers. They wanted a set piece in the middle that tore the team apart somehow. And there had to be an epic final battle. "I was like, great, you just gave me your three acts," Whedon says. "Now all I have to do is justify getting to those places and beyond them." He was in.
In a dark room at Marvel Studios, Whedon sinks into a sagging couch in front of a screen that takes up an entire wall, watching tiny scraps of his movie. Behind him, members of the visual effects team click away on MacBooks, waiting for Whedon to comment. The sequences come fast, each just a few seconds long, but in a way they're not fast enough. "It comes out May 4," Whedon says. "They'll pry it from our fingers. If I can just ride through these couple more months, then we should be OK."
It doesn't help that Whedon is editing another movie at the same time. Between principal photography and postproduction on The Avengers, instead of going to Venice with his wife as they'd planned, Whedon shot his own adaptation of Shakespeare's Much Ado About Nothing. In 12 days. At his house. He and his assistant are editing it in Whedon's office at Marvel.
But the stress doesn't show. You can see why people love to work for him. He's insightful, and the Whedonisms fly. When the 3-D stops working for a second, he says, "The Ds are not three." Later, watching a shot of a futuristic airplane approaching the Helicarrier—S.H.I.E.L.D.'s massive flying headquarters—Whedon doesn't like how the sun shines through the jet's windows. "If it is a giant money problem," he says, "watch me stop caring with the alacrity of a true hack."
Then the screen flickers to black. "Sorry, Joss," says a young woman from the back of the room. "Technical difficulty."
Whedon stands up from his couch, turns around, extends his right arm, and says—in a pretty decent Darth Vader voice actually—"You have failed me for the last time!"
If only it were always this much fun. Marvel actually bounced Whedon's first drafts of the script. At one point it looked like the company might not use the Black Widow, played by Scarlett Johansson; Whedon told Marvel that without her the Helicarrier was going to feel like a gay cruise. Computer-generating the Hulk meant Whedon had to finish and edit every Hulk sequence a month before he finished shooting everything else. "So I'm writing, I'm editing, I'm shooting. I can't sleep. I'm like, great, it's just like running a TV show," Whedon says. Favreau gave him a piece of advice: "The machine will not let you fail. Just worry about being an artist and saying what you want to say."
Making a blockbuster, Favreau later explains, is easier in some ways than doing a small picture. On an indie film, the director has little support; the blockbuster has a team working on it. "On a movie like Iron Man, they're looking at suit design, how he flies, how he fights," he says. "If you want to do comedy and be left alone, don't do a comedy. Sneak it into an action movie."
But Whedon has never had much luck with machines. "The problem with the machine is that it will generify. It will suck the film out of the movie," he says. "Nobody does it on purpose, but without somebody telling them exactly what you need, they're going to give you something that would work for anything." Case in point: While working on a scene where Iron Man's armor shorts out, one of the previsualization guys said, "He should have a line here, something like, 'I'm getting too old for this shit.'" Whedon stopped short. "OK, we're going into a time machine," he said. "Three minutes earlier, you did not just tell me where a line goes. And it was not 'I'm getting too old for this shit.' That never happened. Let's move on."
Whedon's first edit of the movie clocked in at three hours. That's not unusual; first drafts are always long. What's unusual is what Whedon decided to cut. "I care about these people, about the fact that they're isolated," he says. "But I'm also telling Marvel's story. Much Ado allowed me to realize that taking away some of the Joss is going to make this a better Avengers movie."
The darker aspects of the dysfunctional team dynamic: out. A quiet scene with Captain America trying to absorb the craziness of modern-day New York: out. And so on. (The rapid-fire dialog and quips are still there, and an ingenue still does some day-saving.) "You don't have to say what you're trying to say. You can just do it, and then people will feel it," Whedon says. "The more I hone this and just focus on the Avengers as they relate to one another, the better it works. That's painful, but it's a reality."
The machine will make sure that The Avengers comes out on time and has cool explosions and fights. The Ds will be three. And maybe the truth about Whedon's work is that the more self-conscious it is, the narrower its audience. The Avengers wouldn't work as a self-aware, postmodern deconstruction of superhero team gender dynamics. Hulk gotta smash.
Whedon has plenty more personal projects on the way, if that's your bag. The Cabin in the Woods debuted at South by Southwest in March and opens wide in April, beating The Avengers to theaters. It's as crisp and surprising as all his writing is, and Whedon fans will be ecstatic—it's a horror movie about an audience watching people making horror movies about horror movies, packed with more male gaze than a Madonna video. He'll release Much Ado, of course, and he's working with comic book writer Warren Ellis on a web series called Wastelanders, which Whedon describes as "a hate letter to the human race wrapped in a love story."
So maybe The Avengers is the one where Whedon just makes the damn movie. It doesn't need to comment on anything. Except … he yam what he yam. There's always a twist. Watching Black Hawk Down made Whedon realize that after waiting all his life to make a superhero movie, he didn't want to make one anymore. He wanted to make a war movie. "It can't just be 'fight until we reach the 1:50 mark and then go home,'" he says. "You gotta think they might fail." And if you're still wondering why Whedon would take on The Avengers, the idea of an against-all-odds battle with the highest possible stakes starts to sound like, well, a metaphor.
In fact, one of Whedon's favorite scenes in his movie happens during a lull in battle. It's a quiet moment between an exhausted Captain America and a less-exhausted Thor, neither admitting it, both saying with their faces that they might not be getting out of this one alive, but still heading back into the fight. Sounds pretty cool, right? Come on—it's Joss. You have to trust him.
Senior editor Adam Rogers (email@example.com) wrote about a fungus that eats whiskey fumes in issue 19.06.Go Back to Top. Skip To: Start of Article.


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Cincinnati Inc. Has New Canadian Representation
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Saturday, August 1, 2009
Elliott-Matsuura Canada Inc., Oakville, Ontario, has been appointed the distributor for Cincinnati Inc. for six Eastern Canadian provinces—Ontario, Quebec, New Brunswick, Newfoundland, Prince Edward Island and Nova Scotia. Cincinnati Inc. manufactures laser-cutting machines, press brakes and shears.
See also: Cincinnati Inc.
Related Enterprise Zones: Fabrication
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Catchy and ergonomic design
Great social network integration
Expandable storage via microSD slot
Solid performance and features for a reasonable price
Highest-resolution camera ever on a U.S. smartphone
Comfortable to use despite such a large display
Fast performance
Great voice quality
World-roaming capabilities
Fast and stable platform experience
Slim and fast
Solid operating performance
'All in all, the Incredible looks and feels like a modern, sophisticated smartphone with a lot of that masculine edge that Motorola imparted to the Droid along with the curvy smoothness the Droid Eris sports. '
Android Ice Cream Sandwich
Excellent voice quality
Fast data, compact size, snappy performance
Great specs all around
Fast HSPA speeds
Very fast LTE data speeds
Big, bright display
4G speeds and HSPA+ dual-channel
Excellent build quality
Well made phone
Simultaneous voice and data over 3G
Incredible Internet speeds
Excellent upgrade from the original Incredible
Better battery life
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Masa Printmaking Paper
by Legion Paper
Machine made in Japan of 100% sulphite, this paper has a neutral pH and no deckles. Smooth on one side, lightly textured on the other, Masa paper is versatile and very reasonably priced. It is a strong paper with an even formation.
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Is this paper acid- free?- Asked by Mr. Gary on 05-Dec-13
Essentially, yes. The expression "pH neutral" or "buffered" means that the natural acids from wood are balanced with alkalides to give the board permanency up to 1,000 years, which is what "acid-free" also does. In order for a paper to claim it is acid free it must be made with a PH balance of 6 or 7 (neutral) at the time of manufacturing. Museum-grade paper or canvases, for example, are often made from cotton rag, and not wood. Conservation grade is made from wood, but is balanced.- Answered by MisterArt on 05-Dec-13
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At a time when plenty of Steelers fans would like to see their favorite team trade for Jaguars running back Maurice Jones-Drew, they'll have to settle for another guy who recently toted the ball while wearing teal.
The Steelers have claimed running back DuJuan Harris on waivers from the Jags. The Steelers announced the move today.
Harris generated 42 yards on nine carries last season. He also returned 14 kickoffs.
He becomes the seventh running back on the roster, joining Rashard Mendenhall, Ike Redman, Jonathan Dwyer, Baron Batch, Chris Rainey, and Jason Ford.
So, basically, it won't be easy for Harris to stick around four days from now, when the rosters drop from 75 to 53.


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Very much felt like Macaulay Culkin in Home Alone 2 last week as I wandered the streets of New York, visiting the huge Christmas tree at the Rockefella Centre between meetings with the wonderful team at Lucky Brands. I hate to say this, but NYC has topped London so far this year for 'that' Christmassy feeling. The Christmas decorations, light displays and shop windows were just spectacular, it really was in a different league to the commercial fake German Christmas markets, fairground rides and Marmite-sponsored lights of London. I will have to dust off my copy of National Lampoons Christmas Vacation DVD, then I'll really know it's Chistmas!
Talking of Christmas, look what United Colors of Benetton have so kindly sent me to keep a few of the smaller, more vulnerable dogs warm this winter at Battersea. I think we've set a trend with our dog walk at the Coats and Collar Ball. A big thank you to Benetton.
Before NYC, I was of course in Botswana, where I met Mum and Dad Gandy at the Kwara Lodge on the Okavango Delta for what can only be described as a very special holiday. Botswana is very different to safari-ing in any other part of Africa. Not since trekking for gorillas in Uganda have I felt so insignificant and small when up close with the wonderful animals we saw.
Of course it wouldn't be a good old Gandy family holiday if it wasn't for the usual crazy experiences. Firstly a hippo hit and nearly up-ended our boat as we were travelling back from fishing. Then, later that day on a night drive, our 4x4 got a flat tyre and as we all helped to change it, we suddenly realised from the almighty roar that we were a lot closer to the lions than we had anticipated. Believe me, after that we could have given a F1 pit team a run for it's money on how quickly we changed the wheel! We were literally 400 ft from two male lion brothers who were coming to challenge another pack for territory. The roaring went on all night around the lodge during dinner.
I truly got away from everything when I was there. No mobile phone signal, no internet/TV/papers, and as I headed back to our lodge at night and watched two hippos walk within feet of our luxury tents, and was then woken up by elephants who were banging on our little terrace with their trunks at two am, I realised how privileged I was to be there.
It was our guide and tracker, Tom, and the people who run Kwara that made it so truly special. I realised that without all the rules of westernised society, just how happy and appreciative people can be with so very little. This is why I go to Africa a lot for my holidays - it seems to put many things into perspective.
I was really looking forward to getting back to London for one major reason. I'm very excited to announce that I am the new Johnnie Walker Blue Label ambassador and Christmas has come early as this week - I received a very special personalised, engraved bottle of Johnnie Walker Blue Label from the wonderful team there to celebrate, which will now take pride of place in my house over the holidays! The engraved bottle is stunning and a lovely personalised gift for anyone who would like something extra special or knows someone in need of being spoilt! Take a look here if you've got someone in mind - I doubt they will be disappointed!
For some reason blue seems to be very poignant through out my career. Light Blue. Blue Label. A blue announcement in January and who knows, maybe a men's clothing line called 'Blue' next? Ha ha, we'll see. Not only am I excited to be working with what I have previously called the Aston Martin of the whiskey world and a truly British brand, but I also get to go and meet the Master blender in Scotland next week and taste the Johnny Walker whiskey library at their castle. Now I really have a feeling that it's going to be a VERY merry Christmas!


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The Department of Computer Science and Automation (CSA) is a
pioneering academic centre for higher education, research, and
innovation in key areas of computer science. The vision of the
department is to enable India's excellence in the world of
computer science and automation. The driving mission for the
department is to advance the frontiers of research in computer
science and automation and offer world-class pedagogical and
research experience to its students. CSA is recognized as a
Centre for Advanced Study by the University Grants Commission.


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If you take the test as a junior, you will get a clearer picture of your prospects for admission to the colleges you may be considering. As a result, you can make more realistic college plans. In Michigan, all juniors take the ACT as part of the Michigan Merit Exam in March of each year. Visit the Michigan Department of Education To learn more about the Michigan Merit Exam. Other states such as Illinois, and Colorado have similar programs.
Whether you take the ACT as part of your state's test, you will have more opportunities to retake the test of your choice. Hoping to improve scores, students often use the time between exams to prepare themselves more thoroughly. According to research, of students that retook the ACT 55 percent increased their composite/overall score, 22 percent had no change in their score and 23 percent decreased their score. At Northern Michigan University, there is no penalty for multiple scores. We take your highest score. However, other schools may average the scores so it is important to ask the schools to which you are planning to apply. NMU also does not need your writing score but, again, other schools may require it.


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Dir: Anne Fletcher. US. 2012. 93mins
In her first starring role in more than 15 years, Barbra Streisand tweaks the cheeks of Seth Rogen, starring as his worrywart mother in The Guilt Trip, a good-natured road movie of pantomimed meddling and make-nice closure that doesn't fully root down into its characters and pay off its revelations in truly substantive fashion. Small stakes and consistently tame inclinations mark screenwriter Dan Fogelman's effort, which gives off an ambling vibe that would be more at home in an independent production.
Streisand exhibits some crackerjack comic timing.
Nevertheless, the unusual cross-generational pairing of its stars should make for solid box office returns in what analysts characterise as multiple quadrants. Boomer audiences may not have taken to Jane Fonda's genial yet estranged hippie mother in the indie release Peace, Love and Misunderstanding, but the heft of studio backing (and thousands more screens) give The Guilt Trip an easy leg up. And while it will battle with Les Misérables and Zero Dark Thirty for adult viewers, The Guilt Trip is out of the starting gate in advance of each of those, giving it the time to carve out an eight-figure theatrical nut.
Rogen stars as Andy Brewster, a struggling young inventor trying to carve out an inroad for his all-natural, environmentally friendly cleaning product, Scieo-Clean. After deciding to start his lengthy road trip of business pitch meetings with a quick visit to see his widowed mom, Joyce (Streisand), Andy is floored by a revelation from her regarding an old crush, and decides to invite her along.
The duo takes to the road, Andy suffering through Jeffrey Eugenides' Middlesex on audiobook as they head west. A layover at a steakhouse in Texas finds Joyce on the receiving end of the attentions of a handsome suitor (Brett Cullen), while Andy struggles with trying to hide the unsuccessful nature of his sales appointments from his mother.
Despite its conceit, The Guilt Trip doesn't devolve into cartoonish set pieces, or even spend much time on its stopover to visit Andy's now-married high school girlfriend (Yvonne Strahovski), whom Joyce is convinced (and not entirely unreasonably) holds the key to her son's relationship difficulties.
Depending on one's perspective and expectation, this is either a missed opportunity or a refreshing change of pace — or maybe a bit of both. Largely eschewing any of the mannered or more overt wackiness of movies like Road Trip, Little Miss Sunshine and Due Date, The Guilt Trip trends more toward the familial and reconciliatory feeling of Everybody's Fine and About Schmidt, though a pinch less bittersweet.
Still, the movie is characterized throughout by an unresolved tension as to what sort of story it's supposed to be telling (a scene at a topless bar where none of the dancers are topless, for instance), and indeed, whose tale is the real focus.
The story is inspired by a real cross-country drive writer Fogelman took with his own late mother (to whom the movie is dedicated), so it's perhaps not so shocking that Rogen's character seems an adjunct, the hapless ride-along in a celebration of awakened twilight adulthood. Andy feels like hopelessly under-sketched — a bundle of clichéd irritations. He's not good at parrying his mother's henpecking queries and unsolicited advice, in the manner that an emotionally arrested but self-sufficient guy would truly be.
The more interesting film would have funneled even more of its action through Joyce's perspective, because hers is frankly the much more interesting story here. As is, The Guilt Trip feels fairly thin and aimless throughout, if never necessarily grating. Complications arise, but the movie dances along the edge of something deeper and true, without ever taking the plunge.
Director Anne Fletcher (The Proposal) seems a somewhat awkward fit for the material given her background in choreography, and she oversees a professional but bland technical package that doesn't leave much of any impression, apart from cinematographer Oliver Stapleton's flatly captured stagings.
If Rogen somewhat tempers the tone of his normal spitfire observational patter, he never really solves his character, or locates a believable softening or arc. Streisand, though, exhibits some crackerjack comic timing. In her whimsical doting, she captures the fitful inner rhythms of a parent who can't quite disentangle from hover-and-help mode, no matter her child's age. Other recognisable faces pop up in supporting roles, but never for more than a scene or two.
Production companies: Skydance Productions, Michaels/Goldwyn Productions
Domestic distribution: Paramount Pictures
Producers: Lorne Michaels, John Goldwyn, Evan Goldberg
Executive producers: Seth Rogen, Barbra Streisand, Mary McLaglen, Dan Fogelman, David Ellison, Dana Goldberg, Paul Schwake
Co-producers: James Weaver, Hilary Maraz
Associate producer: Erin Doyle
Screenplay: Dan Fogelman
Cinematography: Oliver Stapleton
Editors: Dana Glauberman, Priscilla Nedd-Friendly
Production designer: Nelson Coates
Music: Christophe Beck
Website: www.GuiltTripMovie.com
Main cast: Seth Rogen, Barbra Streisand, Brett Cullen, Colin Hanks, Yvonne Strahovski, Rick Gonzalez, Kathy Najimy, Miriam Margolyes, Nora Dunn, Pedro Lopez, Adam Scott, Ari Graynor


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My forward macerator for the head is not working properly.
When I flip the switch, sometimes I have to wait about 10 20 seconds for it to start up. The motor turns very slow for a while then it will kick up to speed most of the time. Some times I have to jump start it using a cordless screwdriver. I changed the impeller which actually looked like new and did not see anything blocking it like hair or string. It is doing the same thing with the new impeller kit.
It is a 12V Jabsco. I did not check the voltage under load yet. Is there some kind of grease or lubrication area that I overlooked?
Could the motor just be worn out?


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S . E . A . M . 4" Acoustic Studio Foam Tile Pack
Product Code: SEAM4
For delivery on :
Availability: 100
Ex Tax: £125.00
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The collection of S.E.A.M. acoustic foam tiles are the bigger brother of the Tegular Acoustic Tiles. These 30" square acoustic tiles enable you to cover a large area very quickly. The finish of the tiles is clean and crisp thanks to the 450 taper on all 4 sides. This finish gives a very contemporary look. Because the S.E.A.M. Acoustic Tiles are plain faced this means the tiles can be layered, butted up to each other, stacked on top of each other, there really is no end to the different ways these tiles can be arranged on a wall or a ceiling. You can mix the different thicknesses available and you can even mix between S.E.A.M. Acoustic Tiles and the Tegular Acoustic Tiles. The range of S.E.A.M. Acoustic tiles includes thicknesses of 2", 3" and 4".
Of course it's not just the look of the finished product and your studio that is important it is the performance we manage to squeeze from these acoustic tiles. The density of the foam, the cell structure and the porosity of this open celled acoustic foam all combine to give outstanding performance and absorption. With perfect absorption from 500Hz up this is a range of tiles that are to be taken seriously from a company that consistently develops products and profiles of acoustic treatments that outperforms their cost.
The acoustic foam we use conforms to the more stringent fire tests of Crib 5 and Schedule 1, Part 1 of the Furnishings and Furniture Regulations so you will have peace of mind that the product you are using is safe also. And you also have our guarantee that the foam will stand the test of time. The colour we use has been carefully selected to ensure that it doesn't quickly discolour or fade over time. You won't have the problem of the foam crumbling and turning to dust either. We know that treating your studio is a big investment and we want to make sure that your investment stands the test of time. The only way to ensure that is by sticking with Advanced Acoustics. We have many years of experience in acoustic treatment and soundproofing. Acoustic Treatment and Soundproofing are the only products we deal with. You won't see us selling any other forms of foam or bedding. Acoustic foam is all we do and we are very good at it as our outstanding feedback and previous customers will testify. Our products have been used by a full host of companies including the BBC, Williams F1 Team, McLaren, Cisco, Cadburys and ITN just to mention a few.
This item is kept permanently in stock. The foam we use is an open cell polyurethane acoustic foam and is available in charcoal only.
Technical Details
Individual Acoustic Tile Sizes Available
30" x 30" (762mm x 762mm)
Quantity Of Acoustic Tiles Per Box
Total Area Covered Per Box
37.5ft2 (3.48m2)
Acoustic Tile Thickness
1" (25mm) at the base, 4" (100mm) at the peak
Noise Reduction Coefficient (NRC)
Acoustic Foam Colour
Acoustic Foam Density
30 kg/m3
Acoustic Foam Composition
Open Cell Polyurethane Acoustic Foam
Fire Classification
Crib 5 and Schedule 1, Part 1 of the Furnishings and Furniture (fire)(safety) Regulations 1988 (amended 1989)
Profile Description
Plain faced acoustic foam tile with a 45o taper on all 4 sides
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How to know your Case officer
Who is the person.
Click to log into the forum or register an account.
Forum accounts are separate from other sign-ins for The Local.
How to know your Case officer
Who is the person.
12.Jul.2019, 06:29 PM
Post #1
Joined: 10.Jul.2019
My case is pretty sensitive and I was wondering if anyone has any info on how to know who your case officer is? I applied two weeks ago for my extension.
Plus please shed some light (if you have knowledge) on this matter that when you visit migrationsverket (i live in uppsala and i am a international student) and want to discuss a serious problem, who you prefer to discuss with?
1. operators/people on customers desk (do they have reliable info)
2. reception ( can you rely on the info they give)
3. should ask for an officer/the person who has legit info about the situation?
Thank you


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I picked up the line. Greg sounded frazzled, was speaking quickly, and trying to clarify stuff on a patient who'd brought in several scripts. One of his questions required me to do some research on the chart, so I asked him for his phone number, jotted it down, and told him I'd call him back in a minute.
So I looked through the chart, found what I needed, grabbed his phone number, and dialed it.
It rang 5 times, then:
"Hi! You've reached Laurie, Greg, and Sassy. Please leave us a message and we'll call you back!"


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IRB 1520ID Arc Welding Robot
ABB Inc.Updated 02/28/2013
The new IRB 1520ID from ABB is an attractively priced, high performance addition to ABB's dedicated arc welding robot family. The IRB 1520ID features internal Axis-1 routing of the welding cabling, a compact swing base, and 30% less weight than the IRB 1600ID, ABB's premium performance welding robot. The upper arm integrated dressing (ID) design simplifies programming and provides optimum protection for all media, including welding power and wire, shielding gas and pressurized air. This extends hose life by 50% and allows for more flexible movements, such as those needed for single-motion welds around cylindrical objects or weld seams on parts of a complex geometry. The compact base and lower weight, combined with a 1.5m reach and 4kg payload, make the new robot easy to install in a wide range of production configurations, in either floor or invert mount positions.
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