text:
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This Agreement governs the use of any Veritas software product(s) ("Licensed Software") downloaded from this site. .
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2. LICENSE GRANT & RESTRICTIONS. This Agreement grants Licensee a limited, personal, non-transferable, non-exclusive, limited right to use the authorized number of copies of the Licensed Software in object code form, each copy may be used on a single computer, and all copies to be used at a single location for the sole Purpose identified above. The Licensed Software shall be used for evaluation only, and not for production, without Veritas' prior written consent. "Licensed Software" shall also include any updates to the programs provided by Veritas, related documentation and other material or information provided by Veritas.
Licensee may allow consultant(s) or outsourcer(s) to use Licensee's Licensed Software to assist Licensee and Licensee's affiliates in fulfilling the sole Purpose identified above, so long as such use is consistent with Licensee's own permitted scope of use, and is compliant with the terms of this Agreement. Licensee agrees Licensee is responsible for such third party or affiliate access and use of the Licensed Software, to the same extent as if such consultant(s), outsourcer, or affiliate(s) were Licensee's employees.
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개인 정보 처리 동의
개인 정보 이용 동의
개인 정보 제 3자 제공 동의
마케팅 활동을 목적으로한 개인 정보 사용 동의
개인 정보 취급 위탁 동의
회사는 서비스 이행을 위해 아래와 같이 개인 정보 취급 업무를 외부 전문 업체에 위탁하여 운영하고 있습니다
개인 정보 관리 책임자 정보
베리타스는 고객의 개인 정보를 보호하고 개인 정보와 관련한 불만을 처리하기 위하여 아래와 같이 개인 정보 관리책임자를 지정하고 있습니다. 성명: 김기성 부장/ 부서: 마케팅 본부/ 전화번호: 02-3468-2184
귀하께서 베리타스의 서비스 이용 시 또는 개인 정보 처리 과정에서 발생하는 모든 개인정보보호 관련 민원을 개인정보관리 책임자에게 신고하실 수 있습니다. 베리타스는 이용자들의 신고사항에 대해 신속하게 답변 드리겠습니다.


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Combi kits
Multi-purpose kits for quick and easy mounting and dismounting
The SKF TMMK series is designed for the quick and precise mounting and dismounting of deep groove ball bearings from shafts, housings and blind housings.
The TMMK 10-35 suits bearings with bore diameters from 10 to 35 mm, whereas the TMMK 20-50 suits bearings with bore diameters from 20 to 50 mm.
For mounting, a multi-purpose fitting tool is included which is suitable for mounting bearings as well as bushings, seal rings, belt pulleys and other similar products.
For dismounting of deep groove ball bearings from blind housings and shafts, the SKF TMMK series contains a unique three-armed puller.
When dismounting deep groove ball bearings from housings, a combination of this puller, sliding hammer and support rings enables easy removal of the bearings.
- All parts are clearly arranged in the case for easy selection and identification
- The correct combination of impact ring and sleeve helps ensure that mounting forces are not transmitted via the rolling elements of the bearing, minimizing damage to bearing due to incorrect mounting
- The impact rings are made of high-impact modified polyamide. The impact sleeves are made of glass fibre-reinforced, high-impact modified polyamide, which is super-tough, strong and lightweight
- The dead-blow hammer has nylon faces and is steel-shot loaded for maximum impact. The handle, with comfortable rubber-grip for good handling, absorbs shock and vibration
- The claws are especially designed to facilitate a precise fit in the bearing's raceways, providing good grip and allowing the application of higher dismounting forces
- The designation is laser-engraved on the arms allowing easy identification and selection
- The springs are colour-coded allowing easy selection and matching
- Elastic locking ring results in easy connection of puller arms to spindle
Heavy sliding weight of the sliding hammer generates a high dismounting force
Selection charts
TMMK 10-35 - Dismounting
TMMK 10–35 is suitable for dismounting the following SKF deep groove ball bearings 60.. series 62.. series 63.. series 64.. series 16… series 6000–6017 6200–6211 6300–6307 6403 16002–16003 62/22 63/22 16011 62/28 63/28
TMMK 10-35 - Mounting
TMMK 20-50 - Dismounting
TMMK 20-50 - Mounting
Technical data TMMK 10-35
Technical data Designation TMMK 10–35 Number of impact rings 24 Number of sleeves 2 Impact rings bore diameter 10–35 mm (0.39–1.38 in.) Impact rings outer diameter 26–80 mm (1.02–3.15 in.) Dead-blow hammer TMFT 36-H Dimensions of case 530 × 110 × 360 mm (20.9 × 4.3 × 14.2 in.) Weight 7,6 kg (16.8 lb)
Technical data TMMK 20-50
Spare parts
Related documents
- Product data sheet TMMK series (368 KB)
- Instructions for use TMMK 10-35 (4.2 MB)
- Instructions for use TMMK 20-50 (4.2 MB)

subset: commoncrawl


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Part I: How To Begin Maintenance Planning
EP Editorial Staff | July 27, 2010
This month, the author takes an in-depth look at why you need a planner and who it should be.
When my children were small, Santa Claus—yours truly—liked to assemble presents late on Christmas Eve. Once the kids were asleep, I would get out my trusty pliers, adjustable wrench, two screwdrivers and, in light of the festive nature of the enterprise, perhaps a cup of eggnog. Mrs. Claus would put on some holiday music and bring out a plate of cookies, at which point I would get to work. I always enjoyed great success with this process…that is, until I encountered the Big Red Playhouse.
Let's get this out of the way up front: The Big Red Playhouse job went south because I wasn't prepared. I didn't have a plan. I got off to a late start putting the thing together. Then, once I opened that large cardboard box, I was confronted with dozens of oddly shaped pieces of red and yellow plastic—but no instruction manual. Yup, the unexpected had occurred (as it tends to do). Looking at all those little pieces, fasteners and clips, I knew common sense couldn't save me. Even worse, I realized that I needed four different sizes of Allen wrenches. I didn't have any Allen wrenches.
Pressure was added when upper management—Mrs. Claus—advised me of the disaster in store for us if the gift recipients awoke to learn that Santa had failed them. So, for the next six hours, I did the best I could with what I had, finishing up right around sunrise. While the playhouse didn't look like the picture on the box (and several pieces of red plastic were left over), at least it held together. Of course, if it hadn't been for the fact that the kids ran right by the playhouse on their way to play in the box it came in, I would have been in serious trouble.
Planning will have little benefit for the organization if the maintenance staff views it as 'just more paperwork to keep the 'suits' happy.'Lessons learned
I've thought about the Big Red Playhouse—not fondly—many times since that night. An amusing story, it's also a very real example of what can go wrong when a job isn't planned.
To begin, I was overconfident the project would get done—I had always managed to finish it in the past. As it turned out, I really didn't have enough time to do the job (but I didn't know it). Since this was the first time I had ever tried to build a Big Red Playhouse, I was unfamiliar with the correct procedure.
I had no written instructions, parts list or bill of material. To add insult to injury, I lacked the correct tools. Adding injury to insult, I cut my hand on a screw around 3 a.m. (which just goes to show what can happen when you get in a hurry and don't know what you're doing). And finally—once it had become apparent that the deadline might not be met—management added to my stress by pointedly reminding me of my obligations. No matter. I plowed ahead. The job had to get done.
What this means to you
If my Big Red Playhouse experience doesn't strike a chord with you, I submit that a) you don't have children yet, and/or b) you are new to the maintenance trade. What happened to me that long-ago Christmas Eve happens every day in hundreds, if not thousands, of maintenance organizations around the world.
Technicians are sent out to perform tasks for which they are not prepared. Jobs are guaranteed to go wrong because maintenance personnel don't have enough time to complete them. Projects are doomed to fail because millwrights lack written instructions, comprehensive illustrations and diagrams and/or adequate parts lists. Work schedules and productivity are jeopardized because multi-crafts don't have access to the proper tools and are unfamiliar with specific procedures. Worker well-being is put at risk because safety protocols aren't clear. Last but not least, good employees are subjected to undue pressure when the schedule begins to lag and the search for the guilty begins.
Once this scenario is set into motion, we sit back and hope for yet another miracle. Sometimes we get one; more often, we don't. We end up over budget and behind schedule for a task that may have to be done again because it was performed incorrectly the first time. (If we were lucky, no one got hurt in this mayhem.)
Remember the old adage: "When it comes to maintenance management, we are only as good as our last 30 days." Who among us wants to base our maintenance strategy on luck? What we need is good planning.
Gearing up
If you're going to succeed as a maintenance manager, YOU MUST PLAN YOUR WORK. Unfortunately, in a sluggish economy, management may be hesitant to approve the expense associated with adding positions—even one as crucial as a maintenance planner. The prevailing mind-set in hard times seems to be that the maintenance department should just buckle down and work harder and longer.
Positions such as planner, scheduler, maintenance clerk and even reliability engineer all pay for themselves in very short order. As such, they are a wise investment, rather than an unnecessary expense. It isn't a case that a maintenance department ought to have such positions staffed. Rather, it is a documented fact that no maintenance organization can be completely successful without filling these roles.
Once the decision has been made to begin planning your work, the first step is to select and train a planner. Often a maintenance organization will promote from within and select one of its better millwrights or technicians for the job. This promotion structure is good for morale and laudable for that very reason, but ultimately the success or failure of this approach depends entirely on the individual qualities of the chosen candidate.
Maintenance managers and HR professionals should keep in mind that the skills and talents that make for an excellent maintenance professional out on the plant floor may not always translate well into an office setting. Innate knowledge of the plant's processes and machine centers is not necessarily a guarantee of success.
A good candidate for the planner position will be a person with a passion for details—not necessarily a perfectionist, but close to it. At a minimum, this individual will realize the importance of the accuracy of information and the clarity of its presentation.
The job also calls for someone with excellent organizational skills, who can "see" the big picture and convey its elements onto a written page in the chronological order in which the job steps should occur. This critical component means the planner must be an effective writer.
Moreover, the planner must have the ability to view the job as a contiguous whole and envision what might go wrong, then must be able to allow for those potential pitfalls and have the appropriate contingency plans prepared.
The chosen candidate also must be capable of reading, understanding and distilling technical information down to its essence. He/she should be familiar with the manufacturing process, but not necessarily have come from the maintenance organization—or even from the plant— to be a success.
Capturing the benefits
For planning to become a successful part of your maintenance strategy, it must become part of your maintenance culture. This enculturation cannot take place if it appears that planning is only being done when it's convenient for management—or because it's what the home office wants. Consequently, planners can't be pulled away from their duties and assigned to other tasks, such as supervision, scheduling or even general maintenance. Maintenance planning will fail under these conditions. More importantly, management will assume planning is being performed because the job has been filled. In other words, the function of planning will be seen as having had no effect on reliability.
Keep in mind that planning will have little benefit for your organization if it's viewed as a nuisance by the maintenance staff—i.e., just more paperwork that "they" have come up with to keep the "suits" happy—and is only done by rote. Everyone in the department must own the concept of planned work and understand its importance.
- They must be educated to appreciate both the function and the purpose of planning, as well as the fact that it is not simply another flavor of the week.
- They need to understand and appreciate the company's expectation that assigned work is done according to plan.
- They must also come to realize that both the work order and the written job plan are living documents, and that if an error is discovered or a better method envisioned, then this information must be shared with the planner.
You now have information you need to make the case for a planner. Next time, we will revisit the specifics of the process and how to write a good job plan. LMT
Ray Atkins is a retired maintenance professional (and award-winning author), based in Rome, GA. He spent his last five years in industry as a maintenance supervisor with Temple-Inland. Web: www.raymondlatkins.com; e-mail: email@example.com.


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Come enjoy the tastes of Vermont at Carpenter & Main – indulging in a dining experience unlike any other.
"The seasons are an integral part of life here in Vermont, and we love to share our joy of exploring their abundance and variety. We use goods from local farms year-round to help integrate the spirit and distinctive flavors of Vermont"
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text: SIGNING DAY | Red Bulls Academy Players Announce College Commitments Tweet Red Bulls U-18 on Signing Day © HARRISON, N.J. (Feb. 4, 2016) – The New York Red Bulls are pleased to announce that the following Under-18 Red Bulls Academy players have officially signed the NCAA National Letter of Intent to attend the following Division I colleges. Player Position Hometown College Barry Sharifi FWD Jercho, NY Loyola Brian Saramago FWD Garden City Park, NY Loyola Callum Johnson MID New York, NY Boston College Cristian Martinez DEF Mine Hill, NJ Monmouth Jared Gilbey MID New York, NY Stanford Kyle Casey FWD Fairfield, CT Stanford Kyle Perno DEF New Hyde Park, NY UCSB Mason Deeds DEF Topton, PA Georgetown Noah Powder DEF Maplewood, NJ Uncommitted Rodrigo D'Andrea FWD New York, NY Brown Ryan Mingachos MID Dandury, CT George Mason Sean Teixeria DEF Trumbull, CT Villanova Wojciech Gajda GK Staten Island, NY Stony Brook Samad Bounthong MID Hoboken, NJ Marist Anthony Herbert DEF Brooklyn, NY Uncommitted "It's a very proud day for club and all the staff that have worked with these players over there time with the academy," Red Bulls U-18 head coach Simon Nee said. "Today is recognition of the dedication and commitment each player has shown to working hard each and every day to reach their potential." Red Bulls U-18 ended in first place in the Atlantic Division during the Fall portion of the 2015-16 season. The U-18s are currently ranked No. 4 in the nation, according to Grande Sports Academy TeamRank. New York finished 10-2-1 in the Fall with 31 points. The U-18s boast the most potent attack in the division with 39 goals scored and have allowed the third-lowest amount of goals with 16. Their goal differential of 23 is tied for the best in the division. The New York Red Bulls maintain one of the premier youth soccer development programs in the United States, committed to identifying and developing talent in the tri-state area. All five age groups, U-12s, U-13s, U-14s, U-16s and U-18s, are consistently ranked among the top programs in the nation, and Red Bulls players make regular appearances in U.S. Soccer Youth National Teams and NCAA Division I programs. For more information about Red Bulls academy and training programs, visit www.redbullsacademy.com/. Back to news


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Tomorrow i will be in India my other home
Tomorrow i will be amidst family and friends
Today i thought of stealing few mins for myself
though i am busy like anything
packing and doing other hundred chores
i thought of stopping by just to
wish you all my friends Happy Diwali 2011
as tomorrow i will be in India my other home
will catch up with you guys once i am back again ,..-)
Wish all the readers of Asan Khana Happy Deepawali 2011
do check my post on painted diyas here
Saturday, October 22, 2011
Deepawali Ki Subhkamnaye
Posted by notyet100 at Saturday, October 22, 2011
Labels: deepawali decor, deepwali 2011, diwali decoration
8 comments:
- Cham said...
Happy Diwali and Enjoy ur trip.
- October 22, 2011 at 12:56 PM
- MySpicyKitchen said...
Enjoy your trip to India and happy Deepavali! I am going to India too, in second of Nov.. :-)
- October 23, 2011 at 6:11 AM
- Ramya said...
Happy Deepawali to u and family :-) The Painted Diyas look soo pretty!
- October 23, 2011 at 7:35 PM
Happy diwali to you too ! :)
- October 24, 2011 at 9:13 AM
- saffronstreaks said...
Happy Diwali to u too
loved your Diwali decor
- October 26, 2011 at 11:55 PM
- Rachana said...
Wishing you and your family a very Happy Diwali.
- October 27, 2011 at 6:15 PM
- Panchamrutham said...
Hope u r having a wonderful time...
- November 2, 2011 at 3:47 AM
- Daksha said...
Happy Diwali!!! lovely decoration. Enjoy ur holidays!
- November 3, 2011 at 5:49 PM
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text:
Adm. Bill McRaven, the head of U.S. special operations, is mapping out a potential Afghanistan war plan that would replace thousands of U.S. troops with small special operations teams paired with Afghans to help an inexperienced Afghan force withstand a Taliban onslaught as U.S. troops withdraw.
While the overall campaign would still be led by conventional military, the handfuls of special operators would become the leading force to help Afghans secure the large tracts of territory won in more than a decade of U.S. combat. They would give the Afghans practical advice on how to repel attacks, intelligence to help spot the enemy and communications to help call for U.S. air support if overwhelmed by a superior force.
If approved by the administration, the pared-down structure could become the enduring force that Afghan Defense Minister Abdul Rahim Wardak indicated Tuesday at the Pentagon that his country needs, possibly long after the U.S. drawdown date of 2014.
Read more: http://www.foxnews.com/politics/2012/04/12/potential-afghan-war-plan-that-would-replace-thousands-us-troops-with-special/?test=latestnews#ixzz1rpqYw8rA
Wow this seems like such a cutting-edge and new idea….NOT. This was the model we had in Afghanistan from 2002-2007. During that time we had only one active duty brigade combat team in Afghanistan to conduct kinetic operations. There was also this little group called Task Force Phoenix which was filled with National Guard members whom were charged with "pairing with Afghans to help train an inexperienced Afghan Force". They were called ETT members which stands for Embedded Training Team. It is also what US Army Special Forces have had as a main mission for years, but there will be more on that later.
The difference being back then they were truly inexperienced as compared to now where the Afghans have been working with, fighting with, receiving medical support from, receiving logistics support from and receiving close air support from American and Coalition forces for 10 years.
This "high-speed" special operations war plan is what the National Guard soldiers of TF Phoenix did for years and did with much success, until TF Phoenix was dissolved in 2009. We always said when I was there that we performed a Special Forces mission without Special Forces resources. This is what the mission is, a Special Forces mission. It is not a Special Ops mission, or Navy Seal Mission or anything like that. It is called FID, or Foreign Internal Defense. This has been the classic SF mission since SF was established. It calls for partnering with local national defense forces, training them, mentoring them and providing assistance during combat operations when needed.
So there is nothing "new" or "shiny" or "cutting-edge" about this new war plan, it is a war plan that we have had and executed very well for years.


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Going back a couple of days with a note on Central Connecticut junior running back Rob Hollomon, who has been named an FCS preseason All-American by The Sports Network. Hollomon, one of 98 players honored from 59 teams, had 1,710 all-purpose yards as a sophomore last season, his first with the Blue Devils.
CCSU's Tommy Meade takes a closer look at Hollomon in the following press release...
Central Connecticut junior Rob Hollomon has been named to The Sports Network FCS Preseason All-America Team. Hollomon, who is a running back and kick/punt returner for the Blue Devils, earned a place on the third team offense as an all-purpose player. Hollomon is one of 98 student-athletes in the prestigious group that features players representing 59 teams and all 13 FCS conferences.
Hollomon, Duquesne's Dorian Bell and Bryant's Jordan Brown are the only Northeast Conference players to be named to the team. Bell is a first team selection at linebacker and Brown a second team pick at running back.
As a sophomore, in his first season with the Blue Devils, Hollomon totaled 1,710 all-purpose yards and six touchdowns, including 1,104 yards and five touchdowns rushing. His yardage total is the sixth highest in program history and he is just the ninth Blue Devil to reach the milestone in a season. He averaged 5.2 yards per rush and 110 rushing yards per game.
Hollomon boosted his all-purpose yards by catching 21 passes for 231 yards, returning 15 kicks for 336 yards and five punts for 36 yards.
On October 20, against Robert Morris, Hollomon totaled 377 all-purpose yards (208 rushing, 56 receiving, 113 return) to set CCSU's Division I program record. Hollomon's 96-yard kickoff return for touchdown was a single yard shy of the NEC's all-time record for longest kick return.
Hollomon followed up his special game against Robert Morris by posting 307 all-purpose yards against Saint Francis U the following week. In that game, Hollomon rushed for 207 yards and three scores. He also had 80 receiving yards and 20 return yards.
Over the final five games of the season, Hollomon posted 100+ rushing yards and 200+ all-purpose yards in each contest. During that stretch he went over 200 yards rushing and 300 all-purpose yards twice. For the season, Hollomon averaged 171 all-purpose yards per game.
Hollomon earned a pair of NEC and national weekly awards during the 2012 season. He was named NEC Special Teams Player of the Week on Oct. 22, and NEC Offensive Player of the Week on Oct. 29. The College Football Performance Awards named Hollomon National Kick Returner of the Week on Oct. 24, and The Sports Network named him National Co-Offensive Player of the Week on Oct. 29.
Hollomon and the Blue Devils will open the 2013 season on Saturday, August 31, at James Madison University.


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Read -please.-.- first, okay so before you all go saying stuff, I didn't trace that or anything it does look like an other Miku pic; which is located here; http://images2.wikia.nocookie.net/__cb20100608233312/vocaloid/images/4/48/Illu_KEI_Vocaloid_Hatsune_Miku-img4.jpg; and it's supposed to look like it .3. k? K. Now to the other stuff ._. you can use paint tool Sai OR Photoshop c:havefun
DragoArt members upload artwork and drawing tutorials! They are also allowed to leave comments on tutorials, profiles, etc. Many more features, as well; it's way better than just being a boring guest! Register Now!


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Willie Nelson + Kacey Musgraves Set to Record Together
This is GOOD news. For Musgraves, who has toured (or will tour) with everyone from Kenny Chesney and Lady Antebellum to Katy Perry and Willie Nelson, it was just a matter of time before she collaborated with one of 'em... And we're stoked Willie is up first.
Speaking to CelebStoner.com last week, Willie made known what he and Musgraves have in store.
It's really a lot of fun, we've had a good tour, Willie said about traveling with Musgraves. I look forward to touring with those folks again one day. Kacey and I are planning on doing a song together, an old song I wrote called 'You Sure This Is Where You Want to Be.' We're going to do some recording together and that's going to be cool.


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Today's Raffle Winner
Posted Wednesday, September 13, 2006
Today's winning ticket belongs to...
Heidi Zweigle of Limo 18
Today's ticket was worth $200.00!!!
PLEASE VISIT "NEWS" TO SEE EACH DAY's WINNER!
On Chauffeur Appreciation Day, we kicked off our Calendar Raffle for the month of September. The price of each calendar card was $10. The cards were sold that day as well as at the 7th Annual NELA George Colarullo Memorial Golf Tournament, and throughout the month of August.


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I am not the best programmer, but I am trying to automate the following process:
1.System Generates Report
2.User Runs a Macro in Word on that Report
a. Macro creates email to customer - Done
b. I want macro to create a post to public folders using a custom form in Outlook - Not Done
I have the code to generate an email to the customer (part a), pulling variables from the report.... I can show you this if you think it will help....
My company uses public folders (which I hate but we use them) to archive files. The customer email needs to be stored in public folders inside a custom form...
I have the following code, but not even sure if I'm on right path...
I would like to be able to have the email pop up from the macro, then a custom form pop up, with the account name pulled from report, and some other identifiers (date submitted, type of report), filled in within the custom form... (icing on cake would somehow be adding the email to the post automaticaly too...)
any ideas on how i do this or resources i can go to? need more details?
Sub CustomForm2()
Dim myOlApp As Object
Dim myNameSpace As Object
Dim myFolder As Object
Dim myItem As Object
Set myOlApp = CreateObject("Outlook.Application")
Set myNameSpace = myOlApp.Application.GetNamespace("MAPI")
'path to custom form
'\\Public Folders\All Public Folders
'\Commercial Markets\LM Property\Engineering\LM Prop_Tracker
Set myFolder = myNameSpace.Folders("Public Folders").Folders("All Public folders").Folders("Commercial Markets").Folders("LM Property").Folders("Engineering").Folders("LM Prop_Tracker")
Set myItem = myFolder.Items.Add("IPM.Post.TrackerPost")
End Sub


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I have these tremendous spurts of energy (usually following a double espresso from the amazing customized machine that the Italians have in house) where I get tremendously inspired to answer emails, create reports and blog.
Confidence caffeine is a helluva drug. But for once I finally decided to do it. Emails, answered. Reports, created. Blog, in progress.
Last Thursday team Epiphany invited me out to experience an intimate pre-opening of East Village's new Greek meze restaurant: Boukiés. Headed by IACP award-winning chef Diane Kochilas and executie Chef Steffan Sanders (of Pylos Restaurant fame), Boukiés was refreshingly light, beautifully decorated and quite the pleasant introduction to Greek fare.
I'm not a foodie by any means, but a good meal is unparalleled in my book. Just take a look at my Instagram/ Twitter/ Facebook/ Blog and you'll see why I'm president of #fatkidclub! The wonderful KC joined me for a tasting menu of Greek small plates paired with Mediterranean wine. Poor lighting & hungry Emily meant not a lot of food snaps – the two below (Rola Melitzanas, Aromatika Kima and Garidas Psites, Saltsa Piperiou) were borrowed from Thrillest – but everything was absolutely delicious! My favorite was a tossup between the Yemisto Kalamaraki, Saltsa Feta (grilled squid stuffed with tomato, olives and capers) and Stifado me Hontra Paidakia (slow-braised beef short ribs in tomato wine sauce with caramelized whole shallots). MMMMM.! Boukies opens this week, so be sure to check it out and indulge in the outdoor seating on beautiful summer nights.
On a separate note: Instagram rules my life. Easiest photo processing ever and it's like a micro-blog: what's not to love?? I swear, it makes everything look more beautiful and delicious and exciting, haha. (follow me: @emmulate). Huge thanks again to Val + team Epiphany – always lovely seeing you and catching up! … until the next espresso kick, hehe.


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Appraisal: 1915 Ingersoll Military Wrist Watch & Box
Clip: Season 20 Episode 27 | 3m 12s
In Mansion Masterpieces, Charles Tearle appraises a 1915 Ingersoll Military Wrist Watch & Box.
Aired: 10/16/16Video has closed captioning.
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by Adam-Troy Castro
A few words of explanation: while the examination of movies and their remakes will continue to be the major purpose of this blog, it is not the only movie writing I have done, nor will it be the only movie ranting I intend to do here. What follows is a previously-published blog post on the subject of Francis Ford Coppola's Apocalypse Now and its much inferior "Director's Cut," Apocalypse Now Redux. Consider it a palate-cleanser before the next big remake essay, still a week away. A-TC
Is more of the same too much? That's the question that greets viewers of the restored, re-edited version of Francis Ford Coppola's Vietnam War fantasia, Apocalypse Now, a film that codified genius in its first release and is here presented under a different title, with almost an hour of scenes cut from its original release. The critical consensus is that the re-edited version embarrasses current Hollywood product by emerging as the best film of the year. That happens to be more or less arguable, but that, alas, is more a commentary on the bankruptcy of so much of today's filmmaking than it is on the the quality of the restored material. For while Apocalypse Now Redux contains much that is brilliant, it is almost entirely material that appeared in the previous release; the additions, while interesting on a historical level, dilute rather than enhance the impact of what appears on screen. It is all too often easy to see why these scenes were cut during the first release. They were either redundant or just didn't work.
Both versions of the film are loosely based on Joseph Conrad's novella "Heart of Darkness," transferred from Africa to Vietnam. In both, a troubled, burnout military assassin named Captain Willard (Martin Sheen) is assigned by a group of officers that include a young Harrison Ford to seek out and "terminate, with extreme prejudice" the rogue Colonel Kurtz (Marlon Brando), who is now somewhere in Cambodian jungle, operating a private war with natives and AWOL soldiers who "worship him like a God." In both, Willard undertakes this journey up the river in a small patrol boat with several navy men who know nothing of his mission except that "it's gonna be hot"; in both, he experiences so much surreal military madness on the way that by the time he gets to Kurtz he isn't sure whether he wants to kill Kurtz or join him. Both versions suffer from a wonky geography, of the sort that requires a major military action just to get the boat into the river but then allows the crew easy contact with USO shows and mail drops much further upstream. Both versions end with the bloated Kurtz droning on about his philosophies at such length that the eventual assassination seems less like Willard carrying out his assignment and more like Willard doing something, anything, to get the blowhard to shut up.
It's the journey to Kurtz that provides both versions of the film with its memorable power, but the meat of the journey is contained in the shorter version. Take the film's greatest set-piece, an encounter with a mad Colonel named Kilgore. Duvall plays the role as if his life depended on it, giving what might have been the best performance in a career filled with great ones. Kilgore is, now and then, one of the most chilling and perversely funny creations in the history of film: an arrogant, swaggering military man so lost in his own myth that he reacts not at all to explosions taking place right next to him. Willard knows at once that Kilgore knows he won't be killed no matter what he does, a quality that makes him frightening even to an assassin like Willard. Kilgore, who blasts "The Flight of the Valkyries" from his choppers because it "scares the hell out of the slopes," isn't an evil man; he's capable of wanting to give water to a wounded enemy soldier, but so easily distracted even from such moments of potential nobility that he walks away without providing the wounded man with so much as a sip. The distraction? Sheer fan-worship of a stoned Californian PFC named Lance (Timothy Bottoms), who happened to be a legendary surfer before being drafted to Nam. Kilgore, an avid surfer himself, mounts an airborne blitzkrieg on an enemy village not because it furthers Willard's mission, but because access to its quality surf will provide Lance an opportunity to show his stuff.
What follows, a massive and terrifying aerial assault on both soldiers and civilians, for the most trivial of reasons, is one of the most indelible (and most elaborate) battle scenes ever filmed, all the more terrifying for the absurdity of forcing soldiers to surf under heavy fire. It ends, of course, with a genial Kilgore delivering the film's best speech, declaring how he loves the smell of napalm in the morning. "It smells like…" he gropes for the word: "Victory." Sheen's character, a pretty cold-blooded bastard himself, stares at him in astonishment.
It's a great moment. And in the film as originally released, it's a punchline. But the restored print adds more. The napalm has blown out the waves, so Lance can't surf. The Colonel throws a tantrum about it. Willard takes advantage of the distraction to get Lance back to the boat so their mission can continue. Lance steals a surfboard. Everybody in the crew, including Willard, shares a hearty laugh as, shrouded by jungle canopy, they hide from helicopters broadcasting demands for the board's return.
This is wrong, wrong, wrong.
We establish at the beginning of the film that Willard's a major burnout case: alcoholic, self-destructive, even suicidal. He wants a mission in part because it's all he's good at, and possibly in part because he wants to be killed on the way. He never smiles at all during the edited film. Allowing him to laugh, and even to indulge in hijinx, humanizes him in precisely the wrong way. It also lessens the impact of everything that happened before with Kilgore. Coppola was correct in removing this scene the first time, as it deals the film a heavy blow. There are unfortunately others to come.
Another of Apocalypse Now's set pieces is an encounter with a travelling USO show, where three Playboy playmates gyrate and shout come-ons to soldiers who then riot and force them to flee. In the original, this is a wonderful dark bit of comedy, contrasting the empty consolations of entertainment with the violence more central to the soldier's lot. The re-cut version eventually brings us to an abandoned base where the chopper ferrying the playmates has gone down. Willard, humanized still further (and again, in the wrong way), trades their road manager precious fuel in exchange for getting his boatmates laid. What follows is grotesquely comical coitus interruptus as the Playmates, so busy chattering about nothing that they don't even seem to notice the imminent sex, allow themselves to be used in a chopper containing occupied coffins. None of it plays: not the soldier who begs one Playmate to pose exactly as she did on her centerfold, not the same Playmate's endless monologue about her birds, not the other girl's emotional collapse about posing nude, and not the punch line involving the horny 17-year-old inner city kid Sweet, who has been pacing around waiting for his turn.
It's wrong, wrong, wrong in part because the girls don't come off as characters, in part because it stops the film dead, in part because it's way too obvious that the film does what it can to get only the white soldiers laid, in part because procurement seems way out of character for the emotionally dead Willard, and in part because it defuses the tension that should be building at this point in the story — but mostly because it really has nothing to do with anything. The film has already made the presence of the Playmates, in the context of the war, grotesque; bringing them back for a little sex comedy adds nothing and subtracts a lot. Again, Coppola was correct to remove this scene in the seventies, and misguided to replace it now.
The longest of the film's restorations occurs way upriver, after Sweet's death, when the crew of the little boat discovers a crumbling plantation still occupied by its original French owners. The frenchmen live with their own private army, repelling assaults by both sides as they stubbornly hold on to that which they insist is theirs. There is a military funeral for Sweet, adding nothing, followed by a profoundly dysfunctional family dinner where the embittered frenchmen harangue Willard with a history of the french involvement in Vietnam. Some critics love this scene, considering it as surreal as anything that comes before or after. It is surreal, all right, but there are still problems with it, as the little history lesson (shouted in thick accents), feels way out of place in a film that otherwise functions better as a nightmare than it does as a realistic portrait of the average soldier's experience in-country. (I mean, give me a break). It also goes on way too long, and stops the film as dead as the second Playmate encounter, but that's a minor point. What's absolutely wrong, wrong, wrong, wrong, wrong, wrong, wrong, wrong, wrong, WRONG, is Willard's subsequent seduction by the beautiful french woman whose husband has been killed. This is the same guy who, we're told at the onset, returned from his first tour unable to speak a word to his wife until he said yes to a divorce. This is the same guy who needed a mission because he wasn't able to do anything else. Giving him a bittersweet encounter with a spacey french broad, whether she smokes a mean cigar or not, is the greatest mis-step in the re-edited version — and it's even worse when you consider that these scenes, which feature the french broad going on and on about the two sides of Willard's nature, also also include the only sappy syrup-music in the entire film. The brilliant making-of film, Heart of Darkness, shows us Coppola throwing a temper tantrum after several days of filming the sequence, cursing that it's shit and doesn't work. He was right then, and he should have resisted the temptation to restore it.
The most problematic sequence in either version of the film is the encounter with Kurtz, played by a Marlon Brando who showed up on the set weighing far too much to be a believable Green Beret (especially a dying one). Brando had yet to become comfortable with showing his increased weight on film, and insisted on being photographed only in extreme shadow. His mostly-improvised scenes are rough going even though he did produce a memorable monologue about an atrocity involving innoculations. Many viewers believe they don't work at all. I take the position that they work just fine in the original film, where the abrupt change in tone takes place at the end of a film that up until then moves like a rocket. I feel that, as cut, Brando gave the film precisely what it needed at that point. But the recut version places Brando after the second playmate encounter and after the interminable plantation sequence; i.e. after the film has already squandered its momentum and cannot afford anything that slows the story still further. Worse, it adds even more slow-motion Brando, who at one point reads at length from TIME magazine. By the time Willard finally gets off his ass and provides Kurtz with the mercy killing he desires, the film feels like it's been dead for more than an hour.
Apocalypse Now, whether Redux or not, still looks fantastic, with brilliant photography that accentuates every bead of sweat, astounding visuals that elevate warfare to the level of literal as well as figurative nightmare and surreal comic-opera performances from, in addition to those already cited, Frederic Forrest and Dennis Hopper. The original version was a flawed work salvaged from one of the great disaster-ridden productions in film history; among other things, it almost killed Martin Sheen. Coppola himself thought the film was a disaster until he heard the critical reaction. But he came closer to a disaster than he ever knew. Redux is that disaster. Somebody once said that writing is an exercise in killing your darlings, by which he meant that writers need the courage to remove the lines and scenes and little bits that fail to work as well as intended. With Apocalypse Now Redux, we learn once again that the same is true of filmmaking, and see, with perfect clarity, just how crippled even masterpieces can become when those murdered darlings are pulled moldering from their graves and returned to that which was vital and astonishing without them.


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A major international metropolis, London draws visitors from around the globe with its centuries of history, delightful culinary scene, and vibrant culture. Settle in and feel like a local with your pick of London vacation homes, and enjoy your stay in this cosmopolitan hotspot.
London enjoys a temperate oceanic climate, so the weather tends to be mild in every season. Though you might consider London to be a rainy city, it actually has ample sunshine, especially during the summer months. In July and August, temperatures generally top out around 75 degrees, while temperatures drop into the 40s in December and January.
Sticking to the left side of the road in London can be a challenge for visiting drivers, so plan to take public transportation or explore the city on foot. With such an extensive network of subways, trains, and buses, many London vacation homes are just steps from the city's numerous public transit options. If you'd rather take a car, hop in one of London's famous black taxis to get to your destination quickly.
A perennial favorite, Buckingham Palace is home to the Queen and the perfect place to spot royalty or watch the Changing the Guard. In the summer months, sign up for a tour and stroll through the luxurious rooms. To learn about the sinister side of British history, visit the Tower of London, which has served as both a palace and a prison. It might not look like much from the outside, but this infamous building has plenty of stories to tell inside. Get a whole new perspective of the city from the London Eye, one of the world's largest Ferris wheels. From the top of the Eye, you'll see highlights like St. Paul's Cathedral and the Palace of Westminster. Take in more London history with a tour of Big Ben, and listen to the famous clock strike the hour. Whether you arrive in London with a shopping list or you'd rather browse, you'll find plenty to peruse in London. For the city's best high-end shopping, make your way to boutiques in the luxurious Mayfair area or to swanky Harrods, which has delighted shoppers in Knightsbridge for nearly 200 years. For the city's best antiques and unique finds, visit West London's Portobello Road. For vintage clothes and punk-inspired fashion, head to the sprawling Camden Market.
No matter what time of year you visit London, you'll find a festival celebrating the best of the season. In April, join the London Marathon or the cycling trip to Paris, or fuel up at the London Coffee Festival. May brings the Brixton Beer and Bread Festival to town, along with the artsy London Craft Week. June heats things up with the Wimbledon Tennis Championship and the delicious Fork to Fork Food Festival.
With so much to enjoy in London, you might want to extend that weekend getaway for a week, or even a month. Whether you're planning a short getaway or a longer trip, book your stay in your choice of London vacation homes and make your trip one to remember.


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Men's Wearhouse explains why it canned Zimmer
Men's Wearhouse provided more details today on why it fired George Zimmer from his position as executive chairman of the company last week.
"Mr. Zimmer had difficulty accepting the fact that Men's Wearhouse is a public company with an independent board of directors and that he has not been the chief executive officer for two years. He advocated for significant changes that would enable him to regain control," according to a company statement.
The statement offered several examples of contention between Zimmer and company leadership.
After selecting Doug Ewert as the new CEO and picking other key executives, "Mr. Zimmer eventually refused to support the team unless they acquiesced to his demands," according to the company, and "Mr. Zimmer expected veto power over significant corporate decisions."
On Monday, Zimmer resigned from the Men's Wearhouse board because he said the board has refused to address his growing concerns about the company.


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Welcome to the VMware vSphere API Reference documentation. This API reference provides comprehensive information about all data structures available through the vSphere API:
The vSphere API is exposed as a Web service, running on VMware vSphere server systems. The API provides access to the vSphere management componentsthe managed objects that you can use to manage, monitor, and control life-cycle operations of virtual machines and other virtual infrastructure components (datacenters, datastores, networks, and so on).
This vSphere API Reference is a core component of the VMware vSphere Web Services SDK. You can use the vSphere Web Services SDK to create custom solutions for managing virtual components, and to integrate existing datacenter management solutions with VMware technologies. For example, using the vSphere API, you can quickly create, customize, or migrate virtual machines.
Descriptions in the API Reference use the label Since vSphere API 5.1 to identify new managed object types, data object types, properties, and methods. The following summary pages provide listings of new API elements:
The following links provide access to the API Versions Reference page, which lists all of the API elements. This reference page shows which versions of the API support the various elements. The API elements are organized by type.
The vSphere API Reference is an HTML frameset. Click an entry in the left-hand pane to display information in the right-hand pane. To find the description of a specific object type, click the appropriate category name and then refine your search by entering the object name in the search text field.
To quickly find an entry, start typing its name in the Quick Index field.
For conceptual and how to information, see one of these vSphere Web Services SDK technical publications:
The most recent published versions of these guides are available at:


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Spring is the season of love, which is advantageous for two bachelor Sims (and one's bachelorette SimBot). The symbol for spring is flower. As you can see from the screen shot, early spring can still produce some snow storms depending on the temperature, but all the snow will melt usually by the second or third day.
Sims actually develop relationships faster in spring, and all flirty actions have a slightly better chance of working. That doesn't necessarily mean Pyro can walk down the street and leave a wake of fawning, curvy Sim girls trailing along behind him. It does mean however that if there's a girl Pyro has his eyes on, he stands a better chance of romancing her.
The relationship boost is minor, but it can add up when spring is fairly long. If your Sim is in the Political or Fortune Teller career track, you can game the system a bit by extending the length of spring and taking advantage of the boost to get your Charisma skill as high as possible.
Spring Festival[edit]
Most activities in spring are limited to the festival, but there is quite a bit to do, especially for single Sims. All three Falkons hit up the festival on Love Day, the name of the spring holiday. Love Day itself brings all Sims a buff that give them a huge boost to relationships gains, as you can see here.
The first attraction Pyro hits up is the kissing booths, because at this point, the only way Pyro gets kissed is if he pays for it. By giving a measly five bucks to the booth attendant, he gets a smooch! But then, he realizes there are two booths: one with a girl, and one with a guy. Pyro figures there must by dozens of eligible girls in Riverview that would like to kiss him so he elects to man the red booth himself!
Meanwhile, three attractions make their return from other seasons. The roller rink, photo-taking booth, and face painting booth are still around, and Pete tries them all. At this point, he's a master of skating and impresses everyone with his tricks.
Becki the SimBot still doesn't quite know what this "human love" thing is all about, but there's a special device exclusive to the Spring Festival to help her out. A small "Love Tester" machine sits in the corner of the lower floor, and with a small fee, Becki takes the handle into her metallic hand to see how lucky in love she is. It's for entertainment only and grants no buff or debuff to any actual romantic interactions, but it's fun to use. (Although apparently the machine didn't have much fun in Becki's grip.)
The Spring Festival tends to be the most populated festival of them all. Even if you have no interest in finding a significant other here, you may still want to visit it to make more contacts and friends, especially if you're going after a high Charisma skill.


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So, I was walking through the office yesterday and someone asked me, "Jillo – if you had to pick one thing you were good at, what would it be?" "Well," I said. "I tend a lovely garden. I'm very good with dogs. And I can explain frames in terms even my mother could understand:the picnic."
Imagine, if you will….
It's summer. It's somewhere in the Midwest. You're on vacation, so you drop in to see your mother (of course — my god! You fly over the Midwest, you have to visit your mother), and in your honor she holds a picnic.
So there you are. Dad, of course, is at the barbecue, making sure the beer cooler is always full, and the kids stick to the soda cooler. And Mom is spreading a buffet table out on the deck, with glorious amounts of food piled high in metal bowls, Tupperware, straw baskets, and the like.
So you pick up your plate, and it's not just any kind of plate — it's a special sturdy picnic plate (probably made by Coronet or some other fine brand) that has separators. You know the kind. It has a big part for the meat product, and a little portion for the salad, and a little portion for the dessert.
Now, in a few minutes you'll be thinking of this separated plate as your frame document, but let's not go there just yet. Let's continue our picnic before we talk shop.
So you cruise down the buffet table and you see the chicken — aah … barbecued chicken. You pick up a piece and put it in the big part — the chicken part — of your plate. Then you see the salad — your mother's fabulous salad, with tricolor bow-tie pasta, raisins, and broccoli — with lots of mayonnaise, of course. So you get some of that to make your mother feel good, but you put it in the little portion, because, well, it's really pretty gnarly. And then you go for the Jell-O. The layered Jell-O salad. You get a few cubes of that and off you go, ready to eat.
Then you sit down and think:"How nice this is. I have everything I need, yet everything is in its own compartment. Nothing touches anything else, unless I want it to."
Now, to get to the point (and I do have one) you can think of this nicely separated paper plate as your frameset. In the same way the plate sets up little spaces for your food, a frame document sets up little spaces for your HTML pages.
Your frame document, using this elaborate metaphor, would be called picnicplate.html. And within this page, you'd have three sections, set up for three different pages — the chicken.html, the pastasalad.html, and the jellocubes.html. And so picnicplate.html sets aside space for each of the sections, and then pulls each page into its space, keeping them separate — yet related — and allowing you to enjoy all of them at once.
Every frames page begins with a <frameset> tag, which replaces the <body> tag you find in normal HTML pages. The frameset (or framesets – they can be nested inside each other) describes how the page will be divided up, and it can be defined in terms of either rows (horizontal units) or columns (vertical units), but not both. These columns or rows can then be further divided by nesting additional framesets.
For our picnic page, we'll define our initial frameset in terms of columns. There are two columns:The left-hand column will hold the chicken.html, and the right-hand column will hold both pastasalad.html and jellocubes.html.
So the next questions is:How big do we want each column to be? We can size them either by percentage of the screen width, or by absolute value (in pixels). In this case, let's say that we really like chicken, and we want chicken.html to take up about two-thirds of the screen, leaving only one-third for the other portions.
Our frameset will be defined like this:
<frameset cols="66%,34%">
So there are two columns. The first (or left-hand) column will take up 66 percent of the screen width, and the second (or right-hand) column will take up 34 percent of the screen width. (Note:Values are separated by a comma.)
Now that we've defined the frameset, we'll go ahead and describe the frames within it. Each frame, or region, in a document is described by a single <frame> tag. The <frame> tag has several attributes, but we'll only go into two of them today:the source and the name. The source is essential, because it tells the browser which document to pull into the frame; the name becomes important when you start linking between frames.
Frames are always described from left to right, and top to bottom — so the first frame we describe in picnicplate.html will be the chicken section:
<frame src="chicken.html" name="chicken">
So again, "src" (source) indicates the HTML document that will be pulled into that frame, and "name" is just the name of the frame (which doesn't necessarily have to correspond with the name of the HTML document).
So far, our frame document looks like this:
<frameset cols="66%,34%"> <frame src="chicken.html" name="chicken">
Here's where it gets fun. We're up to the second, or right-hand, frame, which will actually be divided into two frames that sit on top of each other (pastasalad.html and jellocubes.html). To do this, we need to create a second frameset, and nest it inside the first.
The second frameset will describe how the right-hand frame should be divided (how much space each of the horizontal regions gets). We can do this one of two ways:We could divide it by percentage as we did with the first frameset, or by absolute value. What the heck, let's do it by absolute value….
You never want to define the absolute values for all the frames in a frameset, because the total number of available pixels varies with the size of a user's monitor. Instead, you'll want to assign a fixed size to one of the frames, and leave the other frame undefined (indicated by *), so it can fill the remaining space.
In our case, we'll give the pasta salad, oh, let's say about two inches, or 100 pixels (which, to be perfectly blunt, is more than enough for my mother's pasta salad), with the rest of the space going to Jell-O cubes.
We'd indicate this by writing:
<frameset rows="100,*">
So the top frame will be 100 pixels high, and the bottom frame, marked off with an asterisk, will vary in size depending on the height of the monitor.
Now let's go ahead and define these frames:
<frame src="pastasalad.html" name="pastasalad"> <frame src="jellocubes.html" name="jellocubes">
Now we just have to close off both of our framesets, and we're done with our frame document. So, to recap, picnicplate.html will look something like this:
<html> <frameset cols="66%,34%"> <frame src="chicken.html" name="chicken"> <frameset rows="100,*"> <frame src="pastasalad.html" name="pastasalad"> <frame src="jellocubes.html" name="jellocubes"> </frameset> </frameset> </html>
Now, everyone will be able to visit picnicplate.html and delight in a home-cooked meal chez Atkinson.
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text:
- New
18K gold plated brass and handcrafted porcelain.
Packages are generally dispatched within a working day after receipt of payment. We ship either from Vilnius, Lithuania or from Riga, Latvia, depending on actual stock availability.
To Baltic states (Lithuania, Latvia and Estonia) we offer free express shipping for orders above €150. To international addresses orders above €150 are shipped for free via registered mail, unless agreed otherwise.
If you have concerns about sizing or shipping method - please email us at firstname.lastname@example.com


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Paddle board extreme
Paddle boarder riding the Oma Swells at The Spi, Noosa
- Published: 25 Feb 2019
- surf, Oma, paddle board, the spit, Noosa, life portraits, lp commercial photography...
- From AndyJ 4 Photos
- 2619 Views
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North Bondi
3-4 ft - N winds @ 0 knots Cloudy. 22.6°C, water 22°C
3-4 ft - N winds @ 0 knots Cloudy. 22.6°C, water 22°C
Manly - Fairy Bower
3-4 ft - N winds @ 3 knots Cloudy. °C, water 22°C
Cyclone Uesi: Mind Blowing Kirra Barrels
You gotta see this!
Cyclone Uesi: Pulsing Snapper Thursday
Joel and Mitch Parkinson, Asher Pacey, Sheldon Simkus, Damon Harvey, Nick Vasicek and more score pumping waves at Snapper Rocks as Cyclone Uesi pushed swell in from the east.
Taj Leaves Billabong, Channel 7 To Broadcast the WSL, and Mason Ho x Tommy Peterson x Sweet Hawaiian Sandbank
This Week In Surfing: Ten Things from Surfing & the Internet on the Week That Was February 14, 2020
Swell Alert: Tropical Cyclone Uesi is Inbound
Tropical Cyclone Uesi is primed to rock your world.
The Hinako Islands and Six Need to Know Facts
An escape from reality with amazing waves, crystal clear water and friendly locals.


text: Thank you for your continued support of Deadspin. We'll have more tonight, including a few thoughts on the SEC title game, which is happening right now, and looks likely to end dramatically, so stick around for that. Otherwise: enjoy the weekend, come back tomorrow for Sean, Tim, and a day of NFL games that will be different from most days of NFL games.


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site located on the northern bank of Wadi Gaza, 2 km (1.2 mi.) from the Mediterranean coast and 6 km (3.6 mi.) southwest of modern Gaza (31°29′ N, 34°28′ E; map reference 0934 × 0976). The site is poorly preserved as a result of encroaching dunes and seasonal flooding; it is at least 8 ha (20 acres) in size and rectangular in shape.
William M. Flinders Petrie excavated Tell el-῾Ajjul for the British School of Archaeology from 1930 to 1934. Ernest H. Mackay and Margaret A. Murray briefly continued the excavation In 1938. Less than 5 percent of the site has been excavated. Petrie claimed that Tell el-῾Ajjul was ancient Gaza. However, Aharon Kempinski (1974) notes that ancient Gaza was probably located within the confines of the modern city and correctly suggests that Tell el-῾Ajjul is the city of Sharuhen, mentioned in both biblical and Egyptian sources. The size of Tell el-῾Ajjul, along with its great quantity of Hyksos scarabs and the wealth of its gold hoards, supports this identification. Petrie's excavation and publication of the site are, thus, problematic, and basic aspects of stratigraphy and chronology remain confusing and controversial. William Foxwell Albright (1938), James R. Stewart (1974), Kempinski (1993), and William G. Dever (1992) have all attempted to rework the dating of Tell el-῾Ajjul. [See the biographies of Petrie and Albright.]
Except for the site's Early Bronze IV tombs, there are scant traces of early settlement. Tell el-῾Ajjul reached its zenith during the Middle Bronze Age. In the Late Bronze Age, occupation was limited, but new cemeteries appeared. There are a few Iron Age II burials and a smattering of material that dates to the Hellenistic, Roman, and Late Arab periods.
Cemetery 1500 (EB IV) is located west of the tell and includes approximately forty-two single, articulated burials in rectangular tombs with square shafts. [See Burial Sites; Tombs.] Grave goods were often limited to a single bronze dagger. [See Grave Goods.] Kathleen M. Kenyon (1956) suggests that only the earliest tombs contained daggers. Cemetery 100–200 (EB IV) is located east of the tell and contained approximately fifty burials. Its tombs shafts and chambers tend to be rounded. Grave goods included ceramic bowls and deep cups but very few daggers.
The earliest material from the tell itself comes from the Courtyard Cemetery. Its tombs were cut into the soft marl in the northern corner of the site. There is a total of twenty-five human burials and evidence of eighty animals. Burials were usually of single individuals. Six phases of burial types have been identified dating to MB IIA. Noteworthy is the burial of a child wearing gold jewelry found beneath palace II.
The Canaanite city ceased to function in the Late Bronze Age and a series of three large cemeteries began to develop to the north and east of the tell. The lower cemetery to the north of the site, the eighteenth-dynasty cemetery to the northeast, and the eastern cemetery to the east contained three hundred and five simple pit burials and eight elaborate pit burials. The pit burials were simple shallow rectangular or oval pits dug into the ground.
The practice of pit burials continued from the Middle Bronze Age, but the MB burials were intramural, whereas the LB cemeteries were not. However, there are a few LB intramural burials on the tell. The pit burials contain a high percentage of imported Cypriot pottery. Other grave goods include Mycenaean IIIA pottery, gold and bronze jewelry, metal objects (e.g., toggle pins, needles, daggers, arrowheads, a blade, razor, adzer, and axe), and Egyptian objects, especially scarabs. The cemeteries decline in use in LB IIB.
Eight elaborate pit tombs that include a dromos and a stone-lined cist are unique to Tell el-῾Ajjul and date to LB II. This evolution from simple pit burials probably accommodated elite families. Both the structure of the tombs and the grave goods are more elaborate. The grave goods included a great number of weapons, Egyptian objects (a gold ring, scarabs), and Egyptian-inspired objects (lead fishing-net weights, duck-shaped bowl). The "governor's tomb" is particularly outstanding and was reused several times throughout the Late Bronze Age. It has a stepped dromos, walls lined with sandstone slabs, and a gabled roof. Grave goods include a gold ring with the name of Tutankhamun, a scarab of Rameses II, thirty-five arrowheads, a bronze wine set, fishing weights, and an duck-shaped ivory bowl.
Other LB burial types include cave burials and loculi burials. Rivka Gonen (1992) considers the limited use of these burial types to be evidence of foreign populations, with pit burials reserved for the indigenous population. A group of loculi burials was found in the eastern cemetery. Each cave had a wide entrance and the loculi were carved into the walls. The caves measured at least 3.5 m in diameter, with the largest measuring 3.5 × 6 m. They may have had vaulted ceilings. Each loculus had the remains of at least two individuals and several contained the dismembered skeleton of an equid (tomb 411 contained the remains of an entire horse). A cache of limbs from a variety of species including ass, gazelle, horse, and ox, as well as human bones, was found near the entrance to these loculi. Gonen (1992; p. 131) compares the horse burials to one from Marathon in Greece. An odd use of a burial cave is one cut into the MB fosse: a shaft leads to a central chamber, off of which two burial niches contained the remains of four distinct burial groups. A total of fourteen people was found.
There is some indication of Phoenician-style cremation burials in cemetery 1000. Thirteen simple graves contained cremation urns along with metal (bronze and iron) and Egyptian objects (faience cup, scarabs, amulets). Cypro-Phoenician vessels, Cypriot vessels, and some Philistine pottery were also found. The cremation jar burials date to the tenth–eighth centuries BCE.
The site was protected by a fosse that surrounded the mound on three sides and was up to 6 m deep. The fosse was created by digging out the soft marl and sandstone, which in turn was used to build a steep rampart. The fosse and rampart date to late MB IIA. There is some evidence for a mud-brick wall crowning the rampart that would have been contemporary with palace III. Entrance to the site was from the northeast, where a strip of marl was left intact, acting as a causeway across the fosse. A series of enigmatic shallow tunnels emerged from the causeway and continued out to the coastal plain. Olga Tufnell (1993) suggests that these tunnels may be part of an irrigation system. [See Irrigation.]
A planned city was constructed inside the ramparts in the MB IIB. A ring road encircles the inside of its fosse, and a major southeast–northwest road runs through the center of the tell. Palace I (43 × 55 m) is located in the northwest part of the mound. A rectangular structure, it consists of a large central courtyard surrounded by rooms and is constructed of large blocks of sandstone, probably cuttings from the fosse. Palace I bears some similarities in plan and construction to the MB palace at Lachish, including embedded orthostats in the lower part of plastered walls—a Canaanite architectural tradition. [See Lachish.] City III was partially destroyed in the early sixteenth century BCE.
City II was built along the same general plan as City III and dates to MB IIC. The residential quarter, in the southeast part of the mound, is divided by long streets that create an orthogonal plan similar to MB Megiddo. Houses had several rooms and often included a small interior courtyard. Patrician houses ranged in size from 190 to 270 sq m and sometimes had second stories; the houses belonging to individuals of lower status were one story and only 70–100 sq m in size. Palace II is built above palace I, but it is smaller and made entirely of mud brick, without orthostats.
Several very significant gold hoards were found in contexts most likely associated with City II prior to its destruction. These hoards suggest that Tell el-῾Ajjul was a wealthy city. These particular hoards may reflect the stress felt by the inhabitants during Ahmose's campaign in Canaan, when the Egyptians besieged the city of Sharuhen for three years. The City II palace was thus probably destroyed in about 1530 BCE.
The city declined steadily in the Late Bronze Age, when a series of large cemeteries was in use. The palace, which was rebuilt several times throughout the Late Bronze Age, was converted into an Egyptian fortress that controlled the coastal road to Gaza. Palace III dates to LB IB, Palace IV to LB IIA, and Palace V to LB IIB. There is some evidence of an Iron Age occupation. Albright (1938) suggested that Palace V might date to the tenth century BCE. [See Palace.]
Material Culture.
The use of bichrome decoration, the arrangement of motifs, and the vessel morphology at Tell el-῾Ajjul all reflect Canaanite ceramic traditions. A bichrome ware sometimes referred to as ῾Ajjul Painted Ware is distinctive because red and black paint were used to depict both geometric and anthropomorphic motifs. The decoration is frequently arranged in a frieze of metopes or triglyphs in which bulls, birds, and fish are depicted. Typical ceramic forms at the site include the krater, jug, and bowl. Some forms are more typically Cypriot, however, as are the anthropomorphic motifs.
Bichrome Ware begins in MB IIC and continues in use until LB IA. It has a wide distribution in the eastern Mediterranean but is found primarily along the southern coast of Palestine, in the Shephelah, along the Syrian coast, on Cyprus, in the Egyptian Delta, and in Cilicia. Neutron activation analysis has demonstrated that most of the Tell el-῾Ajjul Bichrome Ware was produced in eastern Cyprus, which was a major production center for this ceramic type (Artzy et al., 1973). [See Neutron Activation Analysis.] Some of the Bichrome Ware from Tell el-῾Ajjul was also produced locally. Other imported Cypriot pottery found at Tell el-῾Ajjul includes Red-on-Black, Black-Slip II, Monochrome, Black Lustrous, Base-Ring I and II, White-Slip I and II, and White-Painted IV and V Wares.
Tell el-῾Ajjul is well known for gold jewelry found in several hoards and in tombs. Unique gold crescents, pendants, earrings, toggle pins, and bracelets were made in a variety of sophisticated techniques such as granulation, cloisonné, and repoussé. [See Jewelry.] Gold-foil pendants with schematic representations of a fertility goddess, similar to examples from Gezer, were also found. [See Gezer.] The gold itself was probably imported from Nubia. [See Nubia.] The jewelry found is also made of silver, electrum, and lead. The floruit of jewelry production was in MB IIC.
Tell el-῾Ajjul has produced scores of fifteenth-dynasty, or Hyksos, scarabs and eighteenth-dynasty scarabs. [See Hyksos.] Egyptian royal seals from several kings were found, including Amenemhet III, Neferhotep I, and Ma-ib Re Sheshi. Other Egyptian artifacts include a jar with cartouches of Hatshepsut and Thutmosis III, a gold signet ring with the name of Tutankhamun, and scarabs of Thutmosis III. The last royal name found is that of Rameses II, indicating that the cemeteries were used until 1200 BCE.
[See also Ceramics, article on Syro-Palestinian Ceramics of the Neolithic, Bronze, and Iron Ages; and Fortifications, article on Fortifications of the Bronze and Iron Ages.]
- Albright, William Foxwell. "The Chronology of a South Palestinian City, Tell el-῾Ajjul." American Journal of Semitic Languages and Literature 55.4 (1938): 337–359.
- Artzy, Michal, et al. "The Origin of the 'Palestinian' Bichrome Ware." Journal of the American Oriental Society 93.4 (1973): 446–461.
- Dever, William G. "The Chronology of Syria-Palestine in the Second Millennium B.C.E.: A Review of Current Issues." Bulletin of the American Schools of Oriental Research, no. 288 (1992): 1–25.
- Epstein, Claire. Palestinian Bichrome Ware. Leiden, 1966. The most comprehensive analysis of bichrome pottery from a stylistic perspective. Though a bit dated and written prior to Artzy et al.'s important work, this is still worthwhile.
- Gonen, Rivka. Burial Patterns and Cultural Diversity in Late Bronze Age Canaan. American Schools of Oriental Research, Dissertation Series, 7. Winona Lake, Ind., 1992. See especially pages 70–82, 118ff.
- Heurtley, W. A. "A Palestinian Vase-Painter of the Sixteenth Century B.C." Quarterly of the Department of Antiquities in Palestine 8 (1938): 21–37. The first comprehensive look at bichrome pottery; remains valuable for its stylistic analysis.
- Kempinski, Aharon. "Tell el-῾Ajjûl—Beth-Aglayim or Sharuḥen?" Israel Exploration Journal 24.3–4 (1974): 145–152.
- Kempinski, Aharon. "The Middle Bronze Age." In The Archaeology of Ancient Israel, edited by Amnon Ben-Tor, pp. 159–210. New Haven, 1992. Kempinski's overviews of Tell el-῾Ajjul are invaluable for understanding the importance of the site and the material's broad implications (see esp. pp. 189ff, 203ff).
- Kempinski, Aharon. "Tell el-῾Ajjûl." In The New Encyclopedia of Archaeological Excavations in the Holy Land, vol. 1, pp. 52–53. Jerusalem and New York, 1993.
- Kenyon, Kathleen M. "Tombs of the Intermediate Early Bronze–Middle Bronze Age at Tell Ajjul." Annual of the Department of Antiquities of Jordan 3 (1956): 41–55.
- McGovern, Patrick E. Late Bronze Age Palestinian Pendants: Innovation in a Cosmopolitan Age. Sheffield, 1985. Excellent detailed treatment of Canaanite pendants; Tell el-῾Ajjul's many such pendants are prominent.
- Negbi, Ora. The Hoards of Goldwork from Tell el-Ajjul. Studies in Mediterranean Archaeology, vol. 25. Göteborg, 1970. Valuable overview of the gold jewelry from the site, with important commentary on its dating and stylistic influences.
- Petrie, W. M. Flinders. Ancient Gaza. 4 vols. London, 1931–1934.
- Petrie, W. M. Flinders. City of Shepherd Kings and Ancient Gaza V. London, 1952. Excavation reports by Petrie to be read as catalogs.
- Stewart, James R. Tell el-῾Ajjul: The Middle Bronze Age Remains. Studies in Mediterranean Archaeology, 38. Göteborg, 1974.
- Tufnell, Olga. "The Courtyard Cemetery at Tell el-῾Ajjul, Palestine." Bulletin of the Institute of Archaeology 3 (1962): 1–37.
- Tufnell, Olga. "A Review of the Contents of Cave 303 at Tell el-῾Ajjul." ῾Atiqot 14 (1980): 37–48. This and the article by Tufnell above represent some of the best analyses of the Tell el-῾Ajjul material by someone who was present at the excavations.
- Tufnell, Olga. "Tell el-῾Ajjûl." In The New Encyclopedia of Archaeological Excavations in the Holy Land, vol. 1, pp. 49–52. Jerusalem and New York, 1993.
J. P. Dessel


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New Website is All About Magnetics
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Wednesday, September 1, 2010
Storch Magnetics, Livonia, MI, has updated its website to make it a one-stop source for information on all types of magnetic equipment—steel-hinge belt conveyors, magnetic-slide conveyors, scrap shakers, magnetic die clamping, skate rails, lifts and sheet fanners, magnetic sweepers and magnetic products for lifting, holding, filtering, separating and automation. Visit the site, www.storchmagnetics.com, to view informative articles and order products.
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Slim Randles' Home Country
Development vs. fishing
Send a link to a friend
22, 2014]
If there's one
thing you can honestly say about Delbert McLain, he's as persistent
as a winter cough. As our chamber of commerce here (he's it, you
see), his fertile brain never ceases its search to turn a sleepy
little valley into a cross between Wall Street and Pittsburgh.
The next
valley over would experience phenomenal growth, and we'd still be
left without the "big box" stores.
We would be everlastingly condemned to buying our food at the
Soup 'R Market, buying our reading material at the Read Me Now
Bookstore, getting a new "do" at Curl Up 'N Dye beauty salon and
sipping our coffee at the Mule Barn truck stop, where the waitresses
know everything there is to know about us, whether that's OK with us
or not.
[to top of second
But it's a snowy day, and no one has dropped by wanting to
subdivide the old Johnson place or anything, so Delbert threw his
tie over his shoulder to get it out of the way and took his
fly-tying vise out of the desk drawer.
He was in a streamer mood and smiled as he tied the colorful
tails on the longer hooks, dreaming of the retrieves his friends
would make in Miller pond for the bass there. Delbert doesn't enjoy
fishing, just tying the flies. He likes the streamers better than
the bass plugs, even if they don't catch as many fish. They just
look classier.
So Delbert went on, tying flies for one way of life, and planning
how to bring us another way of life, and smiling. Because he had no
idea he was doing it.
[Text from file received from
Slim Randles]
Tired of having to turn down the TV because
it's too loud for others? Free hearing test. Beltone 1-866-867-8700.
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text:
Gratz. but not impressive. They did it with 5% buff 4+ months ago. Now they're all 277 gear + shadowmourne + experience of having killed him 50x?
Good that someone finally killed LK without buff but with that kind of gear and experience and so much time after 1st kill, not impressive at all.


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Dear Technical Support,
Just took delivery of the 16 pin TSSOP SMT Test Socket. It is a 28 pin TSSOP socket with a space limiter limiting the pinout to 16 pins. I would like a pinout for the module. I presume it maps as follows but would like any confirming documentation you may have:
PCB Pin # --> Test Socket/TSSOP Package Pin#
7 to 14 --> 1 to 8
15 to 22 --> 9 to 16


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By Bruce Young
For Susan Meiselas the still frame is her "point of engagement, where it all begins but not where it ends." Her love for photography is rooted in her deeper love for exploring, understanding, and sharing cultures at the edge of change.
Her first project was photographing New England carnival strippers. At the time she wasn't really a Photographer, a professional with a capital P. She was someone with an idea, a concept born of her interest in anthropology. She discovered still photography while studying for a master's degree in visual education at Harvard, on her way to becoming a teacher in the New York City public schools. Photography became her medium almost by default. "It could just as easily have been a compact video recorder," she told Harvard magazine in 2010, "if such a thing had existed at the time."
At first carnival strip show operators wouldn't let her shoot. She stuck at it – she worked during the summer carnival season for three years – and slowly gained the trust and access she needed to fully explore and capture the complex "multiplicity of views" that fascinated her.
From the start Meiselas wanted the voices of the people she was photographing to be heard. So she made audio recordings of her interviews with the women, their bosses and even some of the patrons. "I don't think the photograph in and of itself tells all," she said at a 2011 lecture at Parsons The New School for Design, "I … wanted the voices of the people who are the subjects to participate and to shape our understanding of how we see them."
Carnival Strippers was first viewed as an exhibit in 1975. Although the gallery wanted a traditional show of framed pictures with captions, she wanted the interviews playing in the background as gallery viewers looked at the photos.
Published as a book in 1976, Carnival Strippers got the attention of the legendary Magnum photo agency. Meiselas was invited to join. She was 27 years old. "I don't think I realized what a big deal it was and I didn't really know what being a professional photographer, so to speak, was going to mean," she said later in an interview. "I sort of landed and discovered a world that I became immersed in very fast."
It was Magnum that encouraged her to cover the revolutions in Nicaragua and later El Salvador. She went at her own expense, and she still laments the magazine industry's drift away from that time when a photographer with an idea and some passion could get a commitment to cover a story on spec along with a bag full of film from an interested editor. That journey produced what is perhaps her best-known book, Nicaragua, in 1981.
When she organized an exhibition of her pictures from that work, she again decided to defy conventional gallery form. "So I ripped up the book," she said in the Parsons lecture. Literally. The display showed several lines of framed pictures, magazine tear sheets, galley proofs and outtakes. "I felt people didn't know what they were missing, meaning what they weren't seeing being in a magazine, or what the process had been to arrive at a narrative."
However, it sometimes seems as if Meiselas isn't really a "photographer" – or at least a still photographer – in the traditional sense at all. She seems to approach nothing with the mentality of just making pictures. Her love for photography is rooted in her deeper love for exploring, understanding and sharing cultures at the edge of change.
Often, she has done this at the sacrifice of chasing the hot story – as she indicated when explaining her choice to stay in Latin America rather than rush to "Peru or Haiti or South Africa." Speaking with The Brooklyn Rail in an extended interview in 2008 she explained why she hadn't chased the high profile story of Yugoslavia's extended dissolution.
"Since everyone else went there I didn't feel I needed to be there," she said. Later in the interview, on how she relates with the locations of her stories: "It's a psychological violence that you put yourself through, to disrupt yourself, to uproot, throwing yourself into places where you don't belong and you try and find a reason to be there that makes that act coherent and justified and that's what I mean. It's not just about pictures; it's about the whole role."
"I still find these boundaries very blurry," She told The Brooklyn Rail. "The differences between ethnography, photojournalism, and documentary had already been raised from time to time." But she has slipped back and forth.
"I think about my photographs as fragments of relationships," she said at Parsons. "There are photographs I continue to think about and want to find the people in those photographs," like she did in Nicaragua. "Sometimes assignments helped get me somewhere or help me to stay," she said. But she would rather move in with a story for the long haul … and with her own agenda.
Over the years, the multimedia has remained part of the organic whole of her approach, if not grown to overtake it. Returning to Nicaragua in 1991, she made a film in parallel with her photographic journey, searching out the subjects of her photos to see where they were and what had happened a decade after the war they shared.
"We take pictures away and we don't bring them back," she told The New York Times. "That became a central quest for me – relinking, revisiting, the repatriation of work: it's become a kind of motif in my thinking."
In 1991, in the aftermath of the first Gulf War, she traveled to Kurdistan with Clyde Snow for Human Rights Watch. Meiselas found she "couldn't photograph the present without understanding the past," as she told Harvard magazine. She began a six-year project to curate a hundred-year photographic history of the region encompassing northern Iraq, eastern Turkey and western Iran. The result was a website (an exhibit, the book Kurdistan: In the Shadow of History and a multi-screen show of her pictures with narration.
"What I suddenly see is that there's a whole timeline of people like me," she explained.
Again, in 2004, Meiselas returned to Nicaragua and hung billboard-sized prints of her pictures at the locations where they had been made, reminding a new generation what had happened there. And then she made a film of that … which she included with a reissue of the original book, Nicaragua.
"Am I preoccupied with whether my projects will be designated Art with a capital 'A' or a small 'a'?" she asks herself in an ASX.TV interview, before reviewing her unusual choices when organizing exhibitions. "It is not easy to reinvent new contexts for images and make them matter," she says later. "Images are generally, still, trapped in limited ghettos. As a consequence rarely do images have any kind of effect. So in a quiet way that's why the Kurdistan project was important. The images were embraced by communities for whom the project was a meaningful process and exchange. In the broader scope this is a small thing but I do wonder just how much change images can effect. Probably not very much in the end."
"But enough to matter," interviewer David Campany says.
"Yes, enough to matter and want to continue making them." After all, as she said elsewhere: "The camera is an excuse to be someplace you otherwise don't belong. It gives me both a point of connection and a point of separation."
Carnival Strippers, 1976 (Revised and Reprinted in 2008)
Nicaragua, 1981 (Revised and Reprinted in 2008)
Kurdistan, 1997
Pandora's Box, 2002
Encounters With the Dani, 2003
In History, 2009
El Salvador (out of print)
Chile From Within (out of print)


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Fat Trel - Respect With The Teck (Produced By Lex Luger) [Unsigned Hype]
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For more than 50 years, we've managed only properties we own ourselves which means large, updated apartments and townhomes with impeccable landscaping and green space in convenient metro area locations.


text:
Sodium is a naturally occurring mineral that the body needs to
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Salt is the most familiar source of sodium. Sodium is often hidden in
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Healthwise Staff
Medical Review:
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Drupal Hell: Video thumbs not generatingNov 26th, 2012 | By admin
Well this was a good one, and the solution is insanely easy and simple. Go and check the path to ffmpeg in your video transcoder setting. When transfering over from my old server the path was /usr/local/bin/ffmpeg (bsd) and on my current debian server it is /usr/bin/ffmpeg so yeeeaaaa that will screw you up something
[continue reading…]


text:
Eau Claire 2nd in nation in construction jobs
Eau Claire ranks second in the nation in percentage of new construction, mining, logging jobs
EAU CLAIRE, Wis. — New figures show Eau Claire is second in the nation in the percentage of new construction, mining and logging jobs.
The Associated General Contractors of America compared last month to June of 2012. Only Pascagoula, Miss., was stronger with a 33 percent gain in construction jobs tied to busy shipyards.
The Eau Claire area had 4,200 jobs in the construction category in June, up 31 percent from a year earlier. Officials say more construction at the University of Wisconsin-Eau Claire, manufacturing plant expansions, highway work and a new county jail were all factors in the employment surge.
Eau Claire Economic Development Corp. executive director Brian Doudna told the Journal Sentinel a frack sand processing plant was also built in the last year.