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Westfield (WHS) Class of 1956 Alumni List
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The Ten Commandments was the top movie in theaters in 1956, with a lifetime gross of over $80,000,000. Among TV shows in 1956, The $64,000 Question was the most popular of the year.
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(a) An "adjuster" is any individual who, for compensation, fee or commission, investigates and settles claims arising under property, casualty or surety insurance contracts, on behalf solely of either the insurer or insured. A licensed attorney who is qualified to practice law in this state is deemed not to be an adjuster for the purposes of this article.
(b) "Automated claims adjudication system" means a preprogrammed computer system designed for the collection, data entry, calculation and final resolution of portable electronics insurance claims which:
(1) May only be used by a licensed adjuster, licensed producer or supervised individuals operating pursuant to section four-a of this article;
(2) Must comply with all claims payments requirements of the insurance code; and
(3) Must be certified as compliant with this section by a licensed adjuster that is an officer of the entity which employs the individuals operating pursuant to section four-a of this article.
(c) "Company adjuster" means an adjuster representing the interests of the insurer, including an independent contractor and a salaried employee of the insurer.
(d) "Home state" means the District of Columbia or any state or territory of the United States in which an adjuster maintains his or her principal place of residence or business and in which he or she is licensed to act as a resident adjuster. If a person's principal place of residence or business does not license adjusters for the type of adjuster license sought in this state, he or she shall designate as his or her home state any state in which he or she has such a license.
(e) "Public adjuster" means an independent contractor representing solely the financial interests of the insured named in the policy.
(f) "Crop adjuster" means a person who adjusts crop insurance claims under the federal crop insurance program administered by the United States Department of Agriculture.

subset: commoncrawl


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President Donald Trump lashed out at ESPN on Twitter Friday after "SportsCenter" host Jemele Hill tweeted earlier this week that Trump was a "white supremacist" and "bigot."
Hill later apologized for her tweets and ESPN said Thursday it has accepted the apology.
Trump on Friday tweeted: "ESPN is paying a really big price for its politics (and bad programming). People are dumping it in RECORD numbers. Apologize for untruth!"
White House press secretary Sarah Huckabee Sanders on Friday also double downed on comments she made earlier calling Hill's comments outrageous and a fire-able offense based off of ESPN's previous history for suspending or terminating talent for making poltical commentary but adding "It's not my decision to make for a private company."
ESPN said in a statement that Hill has a right to her personal beliefs, but not to share them on a public platform that implies she is speaking for the network. ESPN said she's acknowledged that her tweets crossed the line.
U.S. & World
ESPN President John Skipper on Friday sent a company-wide email to staff about its social media policies and "issues of significant debate in our country," NBC News reported.
Skipper did not refer to Hill or Trump by name in the email sent Friday, but wrote that while "ESPN is not a political organization" its employees "are citizens and appropriately want to participate in the public discussion."
"At a minimum, comments should not be inflammatory or personal," Skipper wrote in the email. The email was not released by ESPN and was posted online, but an ESPN representative confirmed it was accurate.
In her own tweet, Hill said she regretted that her comments painted her company in an unfair light.
Earlier the Democratic Coalition, an anti-Trump Super PAC, filed an ethics complaint against Sanders with the Office of Government Ethics for her comments regarding Hill's employment status with ESPN.


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Far from backing off claims that Russia is providing Bashar al-Assad the heavy weapons that are killing Syrian civilians, the United States ratcheted up the charges Wednesday – asserting that Russian-supplied weapons are killing Syrians "on an hourly basis."
Firing back, Russian Foreign Minister Sergei Lavrov said his country is only supplying Syria with defensive weapons – before he went on to snipe that it is in fact the US that is supplying the region with its deadliest weapons.
The latest US-Russia row over Syria, touched off by Secretary of State Hillary Rodham Clinton's warning Tuesday that a shipment of Russian attack helicopters is on its way to President Assad's armed forces, comes as the Syrian conflict deteriorates to a point where a growing number of diplomats and regional experts are deeming it a full-blown civil war.
With Syria going from bad to worse before a divided and ineffectual international community, the public dispute between the two world powers may be part of an effort to place blame – especially, in the case of the US, with the Obama administration coming under increasingly harsh criticism for "dithering."
But the administration's campaign to shine a condemnatory spotlight on Russia may also be part of a broader international effort to convince Russia that it is time for it to give up on Assad and throw its weight behind a political transition in Syria.
Even as Minister Lavrov and Secretary Clinton were trading charges, European powers led by France announced plans to seek a United Nations Security Council resolution that would bind Assad to accepting an existing peace plan for Syria (one that envisions his transition out of power) and would authorize sanctions and even use of international military force if he did not.
Russia, joined by China, has vetoed two considerably weaker Security Council resolutions over the course of Syria's 15-month crisis. But European leaders on Thursday appeared set on convincing Russia that Assad has reached a point of no return.
France's new foreign minister, Laurent Fabius, called Assad's "a regime of death and blood," and said Syria was now in a "civil war." British Foreign Minister William Hague, meeting with Lavrov, said Syria is "on the edge of total collapse" and that he would press upon Lavrov to help convince Assad that his only choice is to accept the peace plan of UN Syria envoy Kofi Annan and step down from power.
The message for Russia, Mr. Hague said, is that Assad "is not going to get back on top of the situation" no matter how terrible the Syrian conflict becomes.
With its Western allies implementing a full-court press on Russia, Washington was hardly in a mood to back off its charges.
At the State Department, spokeswoman Victoria Nuland laid the spilling of Syrian blood at Moscow's feet. "On a daily basis, on an hourly basis, we are seeing Russian- and Soviet-made weaponry used against civilians in towns all across Syria," she said.
And Clinton said Thursday that US demands on Russia to stop arming Assad are not new. "We have repeatedly urged the Russian government to cut these military ties completely and to suspend all further support and deliveries," she said.
As for Lavrov's assertions that Russia is only fulfilling contracts signed well in the past and which are "solely for air defense," Ms. Nuland suggested the Russian foreign minister might not have correct information on the issue.
"I would encourage him to check with his own authorities," she said.
For his part, Lavrov tried to deflect the accusations of arming ruthless authorities by turning it back on the US. "We don't supply Syria or anyone else with things that are used to fight against peaceful demonstrators, unlike the United States, which regularly supplies that region with such special equipment," he said. The US, he continued, is providing arms to the Syrian opposition "that can be used against the Damascus government."
The US has only authorized providing the Syrian opposition with non-lethal supplies such as communications equipment, but it is also true that countries in the region, including Qatar, Saudi Arabia, and Turkey, are providing weapons to the Syrian Free Army – and with tacit US approval.
Lavrov's accusation that the US "regularly supplies that region with such special equipment" is in line with criticism over the past year from a number of human rights organizations that the monarchy in Bahrain, which purchases arms from the US, repressed demonstrations – resulting in scores of deaths – with the assistance of the US-supplied Saudi military.
But at the State Department, Nuland rejected the comparison. She said the US maintains "oversight" to ensure that US-supplied weapons are not used against civilians. And if Russia has such a system, she added, "it doesn't seem to be applied in this case."


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Samsung Takes Its Flagship Smartphone Into a New Galaxy
It's a scene familiar in the tech world.
The press is lined up hours before the event starts. Competitors are trying to get in on the act.
But it's usually Apple, not Samsung, that gets this kind of attention.
That the Galaxy S IV launch is commanding this sort of spotlight is a testament to just how much Samsung has grown its smartphone standing in just the couple of years since the first crop of Galaxy S devices. While the iPhone is still the product most talked about in the industry, the Galaxy S has become not only the best-selling Android model and the most common reference point for those talking about the operating system.
A lot is known about the phone and its features, thanks to the usual array of leaks. But there's still a big unveil to be done as well as time to ruminate on what Samsung is showing.
Lauren Goode is on the scene at Radio City Music Hall and Ina Fried is back in San Francisco to take in the Webcast and offer additional commentary. The doors don't open for a while yet but check back for intermittent updates and then live coverage once things do really get going.
3:14 pm: As mentioned, Samsung's rivals have been busy trying to make sure their message gets heard. LG took out this Times Square billboard playing off Samsung's use of the number 4.
Meanwhile, Apple gave interviews and HTC is outside Radio City Music Hall showing their new HTC One flagship device to those arriving early for Samsung's event.
3:18 pm: As we noted in our story this morning, all eyes will be on the hardware, but what's most important is how relevant, useful and well-executed are the new Galaxy's software features.
3:20 pm: Lauren Goode has checked in with her frozen fingers barely able to type. It looks like the line is split at least three ways — consumers, broadcast media and other media — with all lines wrapping around the block. There's a fair bit of chaos to go along with the frostbite.
It's about 69 degrees here at my keyboard in San Francisco. Of course, it's only fair. When Lauren and I teamed up at CES a few years back for our infamous Footballmer blog, she got the BCS championship game in 3-D and I got Steve Ballmer.
3:36 pm: A few more frozen fingers, but not much new to report. Stay tuned.
3:44 pm: Meanwhile, it looks like I have company in choosing to watch the event from afar.
More than 120,000 people are tuned into the YouTube Webcast and there's nothing happening yet.
3:46 pm: "Ladies and gentleman, the show will begin in 15 minutes," or so says the voice on the Webcast.
3:47 pm: Gotta love this tweet from fauxTimCook.
3:54 pm: For those who want to capture every minute of things, the YouTube Webcast is here, but we'll make sure you get all the details, some analysis and have some fun along the way.
3:55 pm: Five minute warning. Which reminds me, time to grab a snack. I ate all the ice cream sandwiches and my key lime pie hasn't arrived. Guess I'll have some jelly beans.
4:05 pm: And now we wait. We're now told the show will begin in a few minutes.
7:11 pm: Hi Ina! Lauren here. Looks like Samsung couldn't afford good Wi-Fi … until now!
4:11 pm: 5, 4, 3, 2 …
4:11 pm: Things kick off with a video of their bow-tie clad kid carrying the box to the "unpacked" event.
First Rockette joke of the night. Do a shot, everyone.
Jeremy is the kid's name. He's on stage with Will Chase.
Chase offers the kid a candy bar to see what's in the box. No dice.
(There are 365,000 people watching the YouTube stream, btw.)
4:14 pm: Cue Samsung's JK Shin.
"In the past several weeks we have heard an amazing combination of rumor and speculation about what I am going to unveil tonight," Shin said, before launching into a talk on Samsung's commitment to innovation.
He's teasing some features, recording sound with photos, seeing yourself in a shot, the eye-tracking smart scroll and smart pause features.
Some sort of translator feature as well as a new "group play" feature.
"We imagine that great things can come from this."
7:16 pm: Also: Samsung S Health, for activity tracking, and S Knox, for security.
Devices could help with health, divide between work and home (featuring its newly-branded Knox business features), etc.
4:19 pm: Galaxy S4 being shown now. Looks a lot like the Galaxy SIII and Galaxy Note.
And yes, it's S4, not S IV. (In many ways, that was the biggest unanswered question.)
4:21 pm: 327 operators in more than 150 countries will carry the S4, which will come in 3G and 4GLTE varieties starting in April.
It's 7.9mm thick, thinner than SIII and weighs less too, even with its larger 5-inch screen.
"There's less to hold and more to see," according to the onstage sales pitch.
It will come in a polycarbonate case in "Black Mist" and "White Frost."
4:25 pm: A bunch of LTE specs that were over even my head, but can support really fast uploads and downloads. I think.
There's also Bluetooth 4.0, infrared LED for remote control features and a bunch of flavors of Wi-Fi. Main camera is 13MP with a 2-megapixel front-facing camera.
7:26 pm: Lauren here. That infrared remote control feature should also work with non-Samsung smart TVs, too.
16GB of storage built-in with options for 32GB or 64GB as well as MicroSD slot for even more storage.
A bunch of sensors, too, including gesture-sensing and temperature and humidity gauges.
Bigger 2,600 mAH removable battery should help power all that.
7:27 pm: Oh my, Ina. Pop-up elementary school on stage. Little girl in a tutu chides father for having crappy smartphone camera.
4:28 pm: Broadway performers are a new twist on showing a product in "real-world scenarios."
Samsung showing off cool dual-camera mode. User can record him/herself in frame while shooting video/taking pictures.
That's cool for families that have one main photographer who never seems to be in any photos. (I have a little firsthand experience here.)
7:30 pm: Sound and shot feature lets you add up to nine seconds of audio with a photo.
Tap-dancing children!
4:33 pm: Eraser feature lets you take out people you don't want from your picture.
No more cutting out the bystander or ex with scissors.
4:34 pm: Now showing S Translate feature for when two people don't share a language. This tech, being shown in different ways by different companies, is truly amazing.
S Translate understands nine languages (10 if you count British English different from Yankee speak).
No pig latin yet. A reader app can translate menus, magazines, etc.
4:37 pm: An adapt display changes settings based on what you are doing, be it reading text or looking at a video of a five-legged cat.
Next up: A story album feature designed to automatically sort photos into folders and then make better use of them. It even knows when you are away from home and sets up an album.
Partnership with Blurb lets you send a printed photo album for $10-$30.
And, if you happen to have a Home Sync device, you can see the photos as they are being taken. Think Apple TV (only you've never heard of it).
It was announced at Mobile World Congress, has 1TB of storage.
It has NFC for tap and connect, but can connect to other kinds of devices too.
7:40 pm: And after this, Samsung execs will be appearing at the Stardust Diner to show off their newly-acquired Broadway skills!
They are now doing "A day in the life of an actor"
4:43 pm: A Smart Switch program is designed to allow one to move from a rival smartphone to a new Galaxy.
Meanwhile, S Voice Drive does what you think it would in terms of directions, but also gets other information like weather and email via voice navigation.
It seems like the Galaxy S4 can act like a sort of personal assistant. (Hmm…)
Like the touchscreen on Nokia's Lumia 920, the S4 works with gloves.
4:46 pm: Things are still cooking here, but if you can multitask, here's Lauren's writeup on the Galaxy.
Onstage, Samsung is talking about Knox, the business software it introduced at last month's Mobile World Congress. A key feature of Knox is the container approach that separates work and personal information.
The Galaxy S4 is the first device to feature Knox.
7:48 pm: Now we're in Miami, Ina. I'll take it. I could use some sun.
Yes Lauren, but when this schtick is over you will still be in frigid NY and I'll still be in San Francisco.
7:49 pm: Still waiting for the powerful-businesswoman use-case for this phone, Ina. #LeanIn, Samsung.
The Miami scene is to show off the "Group Play" feature.
Don't know about that, but I should note there are now 412,000 people tuned into this.
It's a good thing it is a tech product launch, because I think if it were a Broadway show it would only run for one night.
4:53 pm: An "Air Gesture" feature lets you scroll though photos or Web pages without touching the phone itself. A wave of the hand can also answer a phone.
When you look away from the phone, the "smart pause" feature puts a video on hold. (LG pre-announced a similar feature for its Optimus G earlier this week.)
4:54 pm: Some attachments can make the phone a useful health monitoring tool to measure weight, heart rate and other information.
7:55 pm: It's official, Ina, according to this skit: Females are vapid consumers that think S Health can replace marrying a doctor.
4:56 pm: As the event is wrapping up, we just got a note from Samsung's mSpot music unit noting it is expanding its Silicon Valley presence with new digs in Palo Alto and plans to hire more workers.
mSpot became part of Samsung in May 2012.
4:58 pm: Things are winding down onstage. Here's the advantage for Lauren and the folks that braved the cold — they get some hands-on time with the new phone.
All us remote folks can do is watch the YouTube numbers drop (383,000 and falling).
I did catch some handy specs on screen.
And things are clearing out quick.


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Wednesday Comics Thursday: AMANDA CONNER Brings The Cute
Welcome back to our weekly miniseries covering DC Comics' broadsheet Wednesday Comics. Our musings on the first six issues can be found at our Wednesday Comics Topic Page, and this week, we present the third in our series of interviews with the creators behind the project.
Amanda Conner, the artist of the outstanding Supergirl strip, took time out — before coffee even! — to chat from Brooklyn about this project and her diabolical plan to out-cute the comic book world. Can you believe this lady drew The Pro?
Newsarama: Were you a fan of the old Sunday newspaper comic sections when you were growing up?
Amanda Conner: I was any kind of comic fan! If it had pictures and words, I read it. My cousin and I would go over to our Grandmothers when we were a lot younger, and the fun thing to do was eat BooBerry cereal and read the Sunday comics! I didn't really get into the serial comics when I was younger — I really liked the one-shot humor comics — but I read them all, even the ones I wasn't that crazy about!
NRAMA: So, was that the attraction to working on this project, or was it getting a chance to work with Mark [Chiarello, editor]?
CONNER: I think mostly, I thought how fun it would be to work with Mark. And then, after I was slated to do the comic, I started thinking about how fun it would be to work in that format, because it is kind of a different thing from what I normally do. Part of it, also, was that back in the 1980s I tried to do a comic strip with someone, and, of course, it didn't get picked up by a syndicate. That was my own attempt at the format years and years ago, so honestly, it is really nice do this and actually see it in print!
NRAMA: You are the only female artist on the title. Did you feel any extra pressure because of that? You are kind of a standard-bearer for female artists in the industry these days.
CONNER: No, not really. Years and years ago I did use to feel extra pressure, but I think that when you're first starting out, and you're new to the game, you're going to feel pressure whether you're male or female. I've gotten pretty comfortable with the work over the years so the pressure isn't so bad. Part of the reason for that is that I work with people I really like, who are really smart, and who don't make me feel like I am different. This is great and really important. But I've also been doing this for so long that for me, it's no longer really an issue.
NRAMA: Your strip in Wednesday Comics is pretty different from everyone else's — you're one of the few that is not referencing a classic genre or paying homage to the format. Why did you choose to present Supergirl the way you did?
CONNER: Well, once I found out the lineup I was going to be with, it was hugely intimidating. I thought "This is so daunting that I don't think I can keep up with all those amazing people!" I knew I wasn't going to be able to do Joe Kubert or Kyle Baker, or Ryan Sook —and all those other guys who are all really amazing; So, I decided to do what I am really comfortable with. My angle was going to be to make everything disgustingly adorable and cute. It may be boastful of me, but I am really good at disgustingly cute! Although so is Kyle. Thank God he's not going with that. Honestly, I got all panicky and then I just figured I'd play to my strengths.
NRAMA: Is that why the Super-Pets make an appearance?
CONNER: I definitely love the Super-Pets! You don't get chances to draw cute animals in mainstream comics very often in the first place. But the fun, for me, is making them act like regular cats and dogs would act, with the added components of super-speed and super-strength! Anyone who has had a pet knows they are fun and a source of a lot of joy but there are also times they drive you nuts. On occasion pets do stuff that make you want to jump out a window! So, the fun is in putting Supergirl, who is usually out saving the world, in that kind of situation. And Krypto and Streaky are usually pretty well behaved… what if we take them and make do things that regular dogs and cats do when they piss us off? This is something she can't punch her way out of. Now she's got to figure out a way to help her little buddies, which is a situation most regular people have been in often, but times 100 because of the powers.
NRAMA: Would you like to do a funny animal comic?
CONNER: I wouldn't mind drawing funny animals. See, unfortunately, every so often someone comes along and says "we're going to do so and so, and make it kid friendly," and all this — and they usually end up paying crap, which is a shame. Also, a lot of times when stuff is written for a younger audience, it ends up talking down to them a little. I say write it a little more grown-up and smart, and the kids will usually rise up to it. It would be fun to have stuff like that for a younger audience, but make it riveting enough for older readers. You see them do it in animated features all the time. Why not comics? That being said, I wouldn't mind doing it, but I also really enjoy the work I'm doing now that is a little more involved and more mature. I wish I could clone myself and then I could do it all!
NRAMA: Are you surprised by the reaction to your strip, which has been universally complimentary?
CONNER: I'm absolutely flabbergasted! When you consider the lineup — I mean, I am extremely surprised and really pretty humbled. But I'm really glad every one likes it a lot. It's been a ton of fun for me to do. Oh, and in the middle of the series, we have Aquaman make an appearance (Newsarama Note: Wanna see it? Click the image above for a BIG version of the full page!). He was tremendously fun to do, and I think folks are really going to like it.
Next week: Geek Notes and our recaps return in a double-sized Wednesday Comics Thursday… because this week, Jamie's stuck working at his day job, covering a sport that inexcusably plays games midweek. You can follow along with his European travails on Fox or on Twitter at @jamietrecker.


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Heyman on Length of Battle of Hogwarts for Deathly Hallows: Probably Be 30 Minutes
Jul 16, 2009
DH Film
Harry Potter producer David Heyman has given a new interview to Collider.com where he discusses at length the upcoming Harry Potter and the Deathly Hallows. Among the many topics such as the forthcoming Ultimate Collectors DVD, info on why Scrimgeour was cut from Half-Blood Prince, we also learn that the scripts are both around 120 pages long, and notably some new (slight spoilers) about the highly anticipated end of DH Part Two, including the Battle of Hogwarts. Quotes of interest:
With the 2 parts that you're filming now, what is the longest part of the shoot? Like what scene are you guys planning on spending the most time on? HEYMAN: The final battle.
I'm a huge fan of the book. The ending of Book 7 is really climatic in so many ways. Is that going to be like a 20-minute part of the movie or a 30-minute part of the movie? Have you guys already started thinking about that? HEYMAN: Absolutely. I mean we've got a script version of it. I think it'll probably be 30 minutes, they get the Hogwarts fairly early on, but there's a lot of build up before the battle happens, you know? And there are 2 parts to the battle. There's the first part and then there's the post-death of Harry part, if you know what I mean.
I know exactly what you mean. HEYMAN: Yeah, so in a way there's a couple of different parts to that battle.
Well, it's almost like the ending of Book 7 and the ending of movie 2-part 2 is almost like what people have been waiting for all the movies to see, which is the big, big showdown. HEYMAN: It's funny, yes I think that's true and the showdown will be¦that poses its own challenges in terms of adaptation. Not only the expectation of that final showdown but also what I love about Jo's work is that's it's emotionally rooted. And in the book, actually, Harry doesn't do much fighting back. In fact, he's¦I'm not going to use the word but he has the "blank" beaten out of him. I just said well, there's more engagement in our version of the final battle.
I was going to ask you about that because that's one of the things, to me, is amazing about the ending of that book is that Harry accepts his fate without knowing what's going to happen. It can go either way, you know? And it's sort of he's¦ HEYMAN: That's true up until¦when he's reborn, Harry is aware that Voldemort is vulnerable and is a defeated man. And that's something that we're wrestling with and determining right now just so that it works in cinematic terms and not just on a¦yeah that it works cinematically."
Thanks so much Steve!


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A strong system and cold front will dive and carve through the West this weekend. Widespread mountain snow is expected for the favored terrain, as some winter storm watches have been issued. This system will then evolve into a multi-hazard storm of heavy rain, flooding and severe thunderstorms early to the middle of next week, from the Lower Mississippi Valley through the saturated Mid South. Read More >
The National Weather Service (NWS) API allows developers access to critrical forecasts, alerts, and observations, along with other weather data. The API was designed with a cache-friendly approach that expires content based upon the information life cycle. The API is based upon of JSON-LD to prommote machine data discovery.
The API uses the request headers to modify the response returned. See the FAQ tab for more information. Example of parameters include:
A User Agent is required to identify your application. This string can be anything, and the more unique to your application the less likely it will be affected by a security event. If you include contact information (website or email), we can contact you if your string is associated to a security event. This will be replaced with an API key in the future.
The API is located at: https://api.weather.gov
Endpoints typically have a GeoJSON default format, given the inclusion of geometry data. Additional formats may be requested using the request header. See the Specification tab for details on each endpoint. Below are common formats available by the API.
The API uses linked data to allow applications to discover content. Similar to a web site that provides HTML links to help users navigate to each page; linked data helps applications navigate to each endpoint. The /points/location endpoint is the most common endpoint to discover additional API content given the popularity of weather data based upon a location (latitude and longitude). For example, to discover the endpoint of the raw forecast, the application would first request:
This response tells the application where to find relative information–including office, zone and forecast data–for a given point. The application can then use the linked data in the previous response to locate the raw forecast:
The new API will use headers to modify the version and format of the response. Every request, either by browser or application, sends header information every time you visit any website. For example, a commonly used header called "UserAgent" tells a website what type of device you are using so it can tailor the best experience for you. No private information is shared in a header, and this is a standard practice for all government and private sites. Developers can override these headers for specific purposes (see the "API Specifications" tab for more information). You can get full details by visiting the header field definitions page at the World Wide Web Consortium site.
Before contacting us, please review the following list of issues that have been identified for a future update.
Delayed observations
An infrastructure issue is causing delayed processing of observation station data. Observations may be intermittently delayed or not available. This is being worked, and will likely take several weeks to resolve.
Updated 09/05/2018
Upstream Issues
HCE does not provide Alaska Region marine products
HazCollect Extended (HCE) creates the CAP products that are provided by the API /alerts endpoints. Alaska Region does not issue alerts in a manner that is processed by HCE, therefore the marine products are not returned on the API. The National Weather Service is investigating a resolution.
Updated 06/08/2018
The following issues have been recently resolved.
There are no recently resolved issues to report
Important! Only the following endpoints are considered operational. Changes to operational endpoints are subject to PNS and SCN notices. All other endpoints are subject to change without notice.
Note: All times generated by the API are in ISO-8601 format.


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Yes! I am so excited that my book has a new title. I was technically on a blogging break when this happened, so here it is, in all its Control-ishness.
When I first wrote my book, the original title, THE FOUNTAIN, was the first thing that popped into my mind. Somehow, it managed to stick like Gorilla glue with an OCD complex.
I knew it had to change. I knew from the very beginning. The title didn't encompass more than a single aspect of the book, and that wasn't good enough for me.
Plus, Darren Aronofsky already has a movie with this title. It scored slightly more rotten than fresh by critics on Rotten Tomatoes. I don't know about you, but when I'm eating a tomato, "slightly more rotten than fresh" doesn't cut it. Call me a food snob, but...
...anyway. I digress.
So I made a huge list of other titles that were mildly sucktacular. Possibly stinktacular. I submitted them to my über-editor, Kathy Dawson, but luckily, this one popped into her brain.
It has several meanings (none of which I can go into, for spoiler reasons.) But when I first heard it, I admit I was surprised. I guess I thought my title would end up being something like:
But instead, it was simply CONTROL. And it's perfect.
Me = Happy.
So--how do you find the perfect title for your work? Do you get it on the first try, or go through many changes? Oh, and if you can--tell me the title of your current WIP! Pretty please? With non-FD&C-red-and-preservative-free cherries on top?


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There are 14 item(s) tagged with the keyword "FSCS".
Displaying: 1 - 10 of 14
- 1. "Product providers can help reduce the FSCS levy"
I make no apology for returning to the subject of the Financial Services Compensation Scheme (FSCS), as the deadline for responding to the Financial Conduct Authority's (FCA) consultation paper is the end of January.
- 2. "It's time to put pen to paper on the FSCS levy"
The first thing I want to highlight is the opportunity you have right now to help stop the grotesque injustice of the current system of Financial Services Compensation Scheme (FSCS) funding.
- 3. SimplyBiz chair blasts 'disgraceful injustice' of FSCS levy
SimplyBiz chair Ken Davy has upped his criticism of Financial Services Compensation Scheme funding after the lifeboat fund announced another additional fee call.
- 4. A New Year message from Ken Davy
SimplyBiz Group Chairman, Ken Davy provides an update on the year ahead, regulation, our services, and his campaign to reform the FSCS funding system.
- 5. "FSCS funding should be fair and affordable"
Rather than making a knee-jerk rejection, the Association of British Insurers (ABI) should follow Aegon UK's lead by focussing on fairness and affordability when considering the latest Financial Services Compensation Scheme (FSCS) funding proposals.
- By Ken Davy
- 6. "Times change, but savings advice is still needed"
One of the most notable years for me was 1963. Jennifer and I had just bought our first house for the princely sum of £1,400, which back then seemed an awful lot of money.
- 7. "Scottish Widows addresses FSCS funding issue"
As regular readers of this column will know, I have campaigned for more than two decades for the regulator to radically change how the FSCS is funded.
- 8. "Three cheers for FAMR one year on"
Regulator released Financial Advice Market Review recommendations and updates on progress
- By Ken Davy
- 9. 'Platforms should contribute to FSCS levy' - Ken Davy
Ken Davy has called on platforms to contribute to the Financial Services Compensation Scheme's (FSCS) levy alongside advisers, in response to the regulator's consultation on the scheme's funding system.
- By Ken Davy
- 10. Davy: providers should pay lion's share of FSCS fees
Product providers should contribute most of the running costs of the Financial Services Compensation Scheme, Ken Davy has said.
- By Ken Davy
Displaying: 1 - 10 of 14


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Guimand Bed - King Size 6/6
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This fall, the incoming college freshman of Seton Hall's Class of 2016 will a little something extra, on top of their meal plan and course catalog and extra-long twin bed: A Nokia Lumia 900.
Apparently born out of the New Jersey college's partnerships with both Nokia and Microsoft, each matriculating student will receive his or her own Microsoft phone, as part of the school's Mobile Computing Initiative.
As PC World reports, this isn't the first time the school has given mobile devices to its students; "In the 2008-09 and 2009-10 school years, students in various programs were issued Nokia smartphones and Amazon Kindles, and in 2010-11, Apple and Android tablets were handed out to those in select majors."
However, in a deal of undisclosed terms, this will be the first time an entire class is given a gadget.
The phones seem intended to make the transition into college life a little easier, with access to the school's own SHUmobile app.
SHUmobile includes, among other school-specific features:
• Access to faculty and employee directory
• Browse course catalog
• View Campus map
• Get Setonian News
• SHUfly tracking
• Browse library catalog
The housing & roommate info and advisor/advisee communication feature, in particular, are a novel new approach to facilitating the typical functions of collegiate life.
[Oprah voice, fade out...] And you're getting a Nokia Lumia 900, and you're getting a Nokia Lumia 900, you're getting a Nokia Lumia 900! And one for you, and you, and you!
SHUmobile is also available for iOS, Android, and Blackberry.


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I am happy to do a fairy tattoo. The watercolor backgrounds are done brilliantly by Aurora at DeviantArt. Please visit this genius artist at her account page by this link: http://aurorawienhold.deviantart.com/ I hope you find this tutorial enjoyable (rhymes anyone?). Let me know what you think of this more simplified tut by commenting, faving or clicking on "Love It"! Peace n love to ya!
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Glorious by name, glorious by nature. Tenderly embraced by lush rainforest, the endearing mountain hamlet of Mount Glorious is just 45 minutes drive from Brisbane on the magnificent D'Aguilar Range.
Accessed by a winding mountain road, the tiny village is surrounded by mountainous National Park and protected forests. The drive up the mountain is peppered with breath-taking lookouts, picnic spots and points of natural interest. Be sure to stop a while and enjoy the view.
At 680 metres above sea level the village is sometimes shrouded in cloudy mist. The cool mountain air makes Mount Glorious a particularly glorious place to visit during the hot summer months.
In and around Mount Glorious you'll find a range of attractive accommodation options from weekend retreats and rainforest chalets, to bed-and-breakfasts and cosy cottages complete with fireplaces.
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Note: Information on listed products and services are provided by the operator and were correct at the time of publishing. Rates are indicative based on the minimum and maximum available prices of products and services. Please visit the operator's website for further information. All prices quoted are in Australian dollars (AUD).


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BYB, (Build Your Business) Breakfast
Date and Time
Friday Feb 14, 2020
8:00 AM - 9:00 AM PST8:00 a.m. every Friday morning (except observed holidays)
Denny's Restaurant
1019 E. Main St.Santa Maria, CA
Fees/AdmissionThere is no cost to join us.You can order from the menu if desired.
Contact Information
805-925-2403 ext.814
Send Email
DescriptionThis weekly networking breakfast meeting provides a great opportunity for Chamber members to meet and connect with fellow Chamber members of the Santa Maria Valley Chamber of Commerce's business community and enjoy a casual and informal setting where you can come and invest time in networking, marketing your business products and/or services, and increase your referral base!The program includes 60-second self introductions for all members, one 12-minute showcase, leads & testimonials and general Chamber announcements.To be eligible for the showcase you must be a Chamber Member in good standing and have attended at least 4 breakfast club meetings.Chamber Members are encouraged to pass out business cards, fliers and brochures and may also bring prizes to give away in the weekly prize drawing (winner chosen from lead slips passed out that morning).
Upcoming Events


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grip diameter rod body with size (diameter). In the installation is not out of the question. The size (diameter) generally have a rod body. 560580600620 inches. For men the most common size. 600 and 580 inches and the lady the most common size is 560 inches. General to the 600 most common. Therefore, in the purchase of grip you will notice an important specification coresize is corresponding to the shaft (diameter). Get a grip size correctly to ensure. Have a look the best to use gage to measure. Because your rod if. 600 but with a 580. Maybe you can fill in, but the installation is very laborious and grip diameter may become larger. If you stick as. 580 but with a diameter of. 600. It is never mind. Just stick a layer of glue to increase the rod body diameter can be. A plateau: grip size bigger than you. Choose core. 600 is not wrong. In prepared handle the required materials and tools, and then proceed to the next step.
2, fixed cue and an old grip
put the club to club fixture protect to Vise Fixed (toe -toe up to fit new handle to the clamping handle,, about 10-15 centimeters below). The knife handle to old open (in the case of carbon rod body should be careful to avoid injury of the rod body), stripping the grip part first, then with a knife cut double-sided tape part can be (can also heat gun warm after peel). Be sure to clean. Then you can proceed to the next step.
1, defining what you need to handle specifications
replace the grip you need to consider the two specifications,xxio7,. Grip size can be divided into inner diameter and outer diameter. Outside diameter in relation to you hold up the feeling. Grip size right for the top hand grip, the middle and ring fingers touch the palm. Measurement diameter from top down about 5 centimeters. General grip size can control you use gloves size. Can be divided into Small, Standard, Large. Extralarge. Standard size should meet the needs of most people. If the hand is smaller or larger are available for Small or Large size your. A lady without ladysize can consider using smallsize.
tape has two kinds,XXIO7, one is a straight stick (pictured above) width of about 5 centimeters (2 inches). Another kind is curled around (see below) width of about 2 centimeters (3/4 inches). Tape at the end of the rod body when you need to stay about 2-3 cm, will show some volume to rod body push. This is to prevent the end shaft edge hurt grip, on the other hand, to avoid the liquid to flow
3, using double-sided adhesive tape affixed to grip (no wrinkles)
no wrinkles
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Wine Tasting Thank You Card
Anniversary Thank You Cards
Wine Tasting Thank You Card, Item# TYAI4320
Note: Sparkles are simulated and will not light up.
Wine Tasting Thank You Card, Item# TYAI4320
Note: Sparkles are simulated and will not light up.
Wine Tasting Reply Card Set
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Wine Tasting
Our fold-over Anniversary note card, "Wine Tasting" features a striking image of sleek wine bottles. Pop the cork and get ready to celebrate with this classic design.
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photo 1 of 121
UFC® 139 Event Photo Gallery
November 19, 2011
121 Photos
UFC 139 at the HP Pavilion on November 19, 2011 in San Jose, California.
Getty Images reserves the right to pursue unauthorized users of this image or clip. If you violate our intellectual property you may be liable for: actual damages, loss of income, and profits you derive from the use of this image or clip, and, where appropriate, the costs of collection and/or statutory damages up to $150,000 (USD).


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Democrats say GOP senator lives outside district
Party files a complaint with the Government Accountability Board
MADISON, Wis. — Wisconsin Democrats are accusing GOP state Sen. Frank Lasee of living outside his district, and are seeking to keep him off the ballot.
The party filed a complaint with the Government Accountability Board this past week alleging that the senator uses a De Pere apartment as his primary address, but lives with his wife and kids in Racine. The complaint said his declaration of candidacy and nomination papers should therefore be declared invalid.
Lasee said the complaint is frivolous. He said he and his family live in in his district at an address in the town of Ledgeview, and that his children attend public schools in his district.
Government Accountability Board staffers plan to review the complaint over the next few days. The board will make a decision June 10.


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Pauls Story
I wrote this article a couple of years ago for a commemorative book on Motor magazine, founded over 100 years ago and one of the UK's leading weekly motoring magazines - and a fierce rival to the country's other motoring weekly, Autocar. Although not specifically Jaguar, it does serve to tell how I came into the field of motoring photography and journalism. I have slightly amended the original draft to include a few more Jaguar references.
'At the beginning' by Paul Skilleter
I joined Motor at Bowling Green Lane, EC1, on April 1 1966, and I can't exaggerate the importance of the magazine in my life. It was the launching pad for everything that followed and, in some ways, provided the peak experiences of my working life to date. Certainly, the chance of that position in 1966 was the 'lucky break' that everyone needs in their career.
For me, that break came pretty early. You have to set what happened in context to appreciate just how fortunate I regarded myself: I was 19 years old and just completing a three-year course in photography when I wrote 'on spec.' to Motor. I wanted to combine my new-found photography skills with cars and, having failed to find employment in a motor manufacturers' photographic department (including Jaguar's! They turned me down very nicely, I remember), next I tried the magazines - and Motor was the title I had bought on and off (my pocket money being fairly meagre) since around 1957.
A reply came from a Mr Arnold Clifford along the lines of "something might be available later on and we will be in touch." That was it, I thought, and resigned myself to a career in some dull provincial studio. But then the miraculous happened: a letter arrived calling me up to Bowling Green Lane for an interview. The journey from Bournemouth to EC1 was easily the longest distance I and my 1950 Hillman Minx had ever driven, but it was accomplished with eagerness. At no. 33 I saw Mr Clifford (a kindly, white-haired man) and Mr Harold Nockolds, but not at that time, as I recall, the-then editor of Motor, Mr Richard Benstead-Smith. I remember being asked what I would like as a salary. "Enough to live on", I said. Money was absolutely and completely irrelevant: if I got the job, I would already have achieved Nirvana.
Goodwood in 1966 where I was sent as a try-out by Philip Turner. The leading Imp was driven by Nick Brittan who I would later work with (he's being chased by that great Imp tuner and driver, Roger Nathan)
The interview was apparently satisfactory, but there was to be a test: on March 15 1966 a letter came from sports editor Philip Turner confirming that I should attend the BARC Goodwood race meeting on March 19. It was to see if I could manage motor racing photography, as I had none in my portfolio. I duly attended the meeting, comprehensively ill-equipped - I'd never been to a race circuit before and also had a most inappropriate, twin-lens reflex Yashicamat camera. But by standing close to the chicane, and back home putting the enlarger at the top of its column, I managed to produce a set of prints which were deemed suitable. I was offered the job of, I think it was termed, "photographic trainee".
one of my first tasks was a sad one
Starting work at Temple Press in April 1966, one of my first tasks was a sad one: collecting what was to be my equipment (Leica M4, Mamiya C33, Mecablitz wet-cell flashgun) from George Moore. George had been a photographer with Temple Press from pre-war times, and had produced some magnificent work - including that wonderful, low-angle shot of NUB 120 on the 1952 Alpine Rally. But he had health problems and was retiring some years early, thus creating an opening for a young photographer at Temple Press for perhaps the first time in 20 years. That was my "lucky break." I had applied at exactly the right time.
George Moore's wonderful, low-angle shot of NUB 120 on the 1952 Alpine Rally
It was not until someone remarked on it at the Motor centenary reunion that I realised in retrospect that the editorial offices at Bowling Green Lane were indeed dark and dingy. To me, barely out of my teens and in awe of everything, that didn't register: here was where the legends had worked - Lawrence Pomeroy, Christopher Jennings, Joe Lowry - as now did their successors: Dick Benstead-Smith, editor, Charles Bulmer technical editor, Philip Turner sports editor, Roger Bell road tests, Michael Bowler road tests, Tony Kydd travel and leisure, Tony Curtis road tests, Cyril Posthumous general and historic features, Eric Cushion accessories, RAB Cook deputy editor, Brian Hatton art department, and, of course, photographer Maurice Rowe, to whom I would be no. 2. Henry Fuller and Barry Watkin were in charge of layout. Harold Nockolds was editorial director, Paul Jennings was deputy chairman and managing director of Temple Press, and I think Richard Dangerfield - of the family which founded the company - was chairman.
Based away from Bowling Green Lane were Harold Hastings, Motor's Midlands editor, along with photographer Harry Roberts - a grizzled little man but a great Brummy character. The editorial secretaries I recall are 'Snowy' White and Maureen Argyll, but there were a couple more, I think.
My first job for Motor was to photograph the last HRG, a GRP-bodied Vauxhall VX 4/90-engined two-seater that had been built in 1965. This was to accompany a "Farewell to HRG" feature for the April 16 1966 edition by Cyril Posthumous, as HRG were due to be wound up on July 6. My second job was to photograph the assembly from a kit of parts a Lotus Elan at Charles Bulmer's house in Camberley (Charles still lives there); this article appeared in the issue of April 30 1966. On reflection, quite an appropriate juxtapositioning for my first jobs: an old name about to vanish alongside one of Britain's (and the world's) most advanced light sports cars.
my first credit as a photographer
Looking back through old issues also seems to pin-point my first credit as a photographer - the Crystal Palace meeting report in the issue of August 13 1966. Chris Irwin, Mac Daghorn and Robin Widdows were racing single-seaters, while Keith Holland won the marque sports car race in his E-type. The same issue carried the road test of a Moskvitch saloon, which I think I did the photographs for; whatever, I certainly remember the car well, and quite admired the tough old bus - while who could forget its tool kit? You could have rebuilt the entire car with it.
Incidentally, one task which fell to us photographers was to assess the boot (trunk) capacity on road test cars. When I joined, various sizes of white-painted plywood boxes were used, the idea being to fit as many as possible into the trunk, note their combined cubic footage, then stack them alongside the car for a photograph. Later these heavy old boxes were replaced by a set of Revelation suitcases and squashy bags.
Some road versions of the Le Mans winning GT40 were produced and I photographed a couple of them at the time. This is the car that belonged to Robert Danny back then. It was the first GT40 I drove.
August 1966 also provided a rather more exciting task: sitting alongside John Rhodes in his works Mini Cooper as he demonstrated Mini racing techniques round Brands Hatch. This was at a time when the tyre-smoking Coopers were dominating their class and even achieving overall wins in saloon car racing. The resulting article by Tony Curtis appeared in the August 27 issue.
I celebrated my 21st birthday on October 11, 1966, an event generously recognised by my new-found friends on Motor: Barry Watkin (who with Henry Fuller did the layouts) drew a huge card featuring an XK Jaguar, and (I discovered only recently), it was the editor's secretary 'Snowy' White who organised a collection which resulted in my present - an XK 120 factory workshop manual with XK 140 supplement. This was for the ten year old, pastel blue XK 140 drophead which by now had succeeded the Minx (thanks to a small legacy from a pseudo aunt). I no longer have the XK 140 but I still have that workshop manual with its supplement.
I need to record that these people were outstandingly kind to me during those early months. To say I was wet behind the ears was an understatement: I was the archetypal innocent abroad, young - if not downright immature - for my age and utterly bereft of any knowledge of the big wide world. But there was no arrogance or contempt, just good-natured help and guidance whenever necessary - all the way from editor Dick Benstead-Smith, through the staff to Len Roffey and Jimmy Leat in the tiny photographic department on the floor above the editorial offices. Then, within the first week or two, my old Hillman Minx was towed away for illegal parking (I had yet to have a company car and thus access to the company car park). This was a total disaster as I thought it had been stolen. But RAB Cook spent an hour or so of his own time driving me round in his 'long-term test' Rover 2000 looking for it, before we realised that it was in the police pound. Funny how these little kindnesses stay in the mind.
This extraordinary demonstration of a Dan Dare type jet back-pack took place at a Brands Hatch festival of some sort, probably around 1968. The noise it made was excruciatingly loud. Made a change from the cars, though
memories from the 1960s in particular are vivid
It was the unflappable and hugely tolerant Maurice Rowe who mainly allocated me my jobs, including a number of Grands Prix a year. The memories from the 1960s in particular are vivid: those earlier years overlapped what could be termed the older generation of motoring journalists, and the sight and sound of Gregor Grant playing the spoons alongside someone playing the piano in a hotel at the Nurburgring will always remain with me. As will the 1968 German Grand Prix, when the mists descended and the cars loomed out of the swirling grey fog for, it seemed, just a few seconds before disappearing once more. Today the race would have been stopped. Then, it continued (and Jackie Stewart won).
A lot more has changed in motor racing since those days, not the least for the photographers as Maurice will also recount. In the 1960s and early 1970s you could get ridiculously close to the action - one of our favourite spots was at Copse or Stowe at Silverstone, where you could stand on the exact apex of the corner so that the drivers set the car up using you as their marker. Judge it right and the car would appear to be heading straight at you. Then it would pass literally two feet from you, with only the silly little breeze-block wall in between.
The photograph of Jochen Rindt which was selected for exhibition - the event was the Oulton park Gold Cup meeting in 1970
Immensely long telephoto lenses were therefore not essential (though many GP photographers did have 300mm or 500mm lenses). I mostly used a 135mm on the Leica, and sometimes, because of that closeness to the subject being possible, even a wide angle lens. It was using such on the idiosyncratic old bellows Mamiya C33 that I took the only photo of mine that ever came near to claiming fame - one of Jochen Rindt at the Oulton Park Gold Cup meeting of 1970. Shot with a low shutter speed, and from almost overhead, only Rindt's head was sharp. This picture was hung at the British Press Pictures of the Year exhibition of probably that same year.
Mind you, some of the continental photographers were much more adventurous than we were, and the most extraordinary sight I remember was at a continental circuit when one of them placed a round goldfish bowl - complete with water and goldfish - on a stand next to the track, obviously with the intention of shooting the cars through it. But even back then the marshals baulked at such antics, and he was hustled off clutching bowl and goldfish.
Often I would work alongside Grand Prix regulars such as Mike Cooper, Nigel Snowden and, most often, Geoff Goddard, who with Maurice was one of the outstanding photographers of the period. On reflection, I think Maurice probably nominated Geoff as a sort of minder for me in the early days, to show me the ropes at the various tracks. Anyway, we would normally share a hire car back to the airport after the race. I liked and had an immense respect for Geoff - still do of course - but he was one of the rudest people I ever knew at airports, where if anything went slightly wrong he would make the life of the check-in staff a misery. Me, the early-twenties shrinking violet hovering nervously on one leg in the background, was filled with awe and admiration as Geoff told these people what they could do with their aeroplane, airline, airport, organisation and all that they contained.
Motor covered the arrival of the original XJ6 in depth and I went to Browns Lane in September to do the photography. Riding in that car for the first time was an eery experience, so refined and quiet did it seem
another unforgettable character
Another unforgettable character was, needless to say, Denis Jenkinson. Even before I joined Motor I knew his book The Racing Driver virtually by heart (I believe it should still be required reading - even now I see power-slides described as drifts), so to work alongside this living legend was unutterably wonderful. Mind you, he could be, and often was, sarcastic and he did not suffer fools gladly. He just about tolerated me when I plucked up courage to ask a silly question, but despite being about two foot shorter than me, somehow he always managed to give the impression he was looking down on me from a great height. Intellectually, he was.
Not that I cared: his knowledge of motor racing and the drivers was probably second to none, and ten minutes spent listening to Jenks was worth reading several of other people's books. Randomly, I recall being with him and Michael Bowler driving back from, probably, a Spanish GP at Barcelona, and diverting slightly to visit Sitges. Today this is, I believe, noted for other things but for us was interesting in that on its outskirts was supposed to be an abandoned, banked circuit dating from pre-war times. We found it too, a bright, thin white ribbon of concrete under the fierce Spanish sun - but, rather like Brooklands, already invaded by an industrial estate. Maureen Argyll, who was with us, was for some reason afraid that the area was private and we'd get shot at by irate Spaniards, so we didn't stay long. I have often wondered since if that track still exists.
Everybody went to Le Mans, of course, and it was a race which still made the headlines in the daily papers. I went every year from 1967 to 1974, so saw the GT40s and 917 Porsches in full flight. But I never witnessed the end of the race. My job was to fly home on the Sunday morning with the first batch of film, with Maurice returning after 4pm with the finish pictures. My patch was the start down to Terte Rouge. I drove round the circuit in a C-type this year with Jaguar development test driver Norman Dewis and found it almost completely unrecognisable from 30 years ago. It is still the world's best motor race, though, and it's a shame it doesn't get the media coverage it deserves.
In due course Motor obtained a road test XJ6 which I took out and photographed near Highgate. The Mamiya C33 twin lens reflex I was using would produce an attractive flaring effect sometimes, but I don't think this particular shot was ever reproduced at the time
Drama of a different sort was provided by rallies. I covered the occasional international event, including the 1968 Alpine (one of the last). That was with Hamish Cardno, who I think I also accompanied on the Tulip - an event which taught me that, at a pinch, one can get away with missing one night's sleep, but not two... At least, I couldn't. But almost more enjoyable were the Welsh, Scottish and RAC Rallies: seeing the likes of Roger Clark and Erik Carlsson at full flight (literally) over the forest stages was spectacular. Funny how enthusiastic one is when young - I recall happily driving all the way from London to Scotland in my first company car, an 850 Mini (MLX 186D), to cover the 'Scottish.' No big deal, you say. But it was summer, and I had the heater full on all the time, there and back. The head gasket had blown and no other car was available.
Motor sports were only a small part of our work, however - though before leaving the subject, I must mention Philip Turner. A most kindly man, a complete gentleman of the old school and someone whose knowledge of the sport was very great. Just some things he wasn't very good at - when, at a continental circuit, the right passes didn't materialise on signing-in, the approved technique was to shout while banging your fist on the race official's desk. Yes, Philip would sort of speak more loudly then usual, but his fist banging was, to say the least, unimpressive. It just wasn't him. But he always got the requisite passes.
Road tests were an important element of Motor's output, and there was fierce competition between us and Autocar. Secrecy was also needed when either of us were attempting to scoop the other with a first-test of a new model, but this was difficult when, under the aegis of IPC, the Temple Press titles were moved to Dorset House in Stamford Street near Waterloo - Iliffe's domain.
I usually ended up feeling sick
Photographing road test cars was an almost weekly job, and so were visits to MIRA, where I also began to help the road test team - which soon included Tony Dron, Gordon Bruce, Rex Greenslade and Mike McCarthy (the latter one of the hardest working people I have ever known, and perennially good-humoured too). I would assist in such ways as holding the Tapley meter for the brake fade test. This was not my favourite task and I usually ended up feeling sick after - what was it? - ten ½g stops from perhaps 100mph. I also used to get what I privately called my MIRA headache, possibly caused by the constant bright light from the former airfield's open skies. Nevertheless, it was interesting stuff and sometimes I'd get to see Norman Dewis circulating in the next new Jaguar (little did he or I know that 30 years later I'd be writing his biography!).
'Maxing' the Daimler Double Six 'Series 1' on the continent, c. 1973. Tony Curtis was driving, I took the pictures. Here the speedo is showing an indicated 150mph at about 6,250rpm
Modified cars featured in the test programme too, and those I most respected came from Downton Engineering who achieved miraculous results in terms of increased horsepower and decreased fuel consumption - especially with the BMC A, B and even C series engines. The genius behind the company was Daniel Richmond, an almost aristocratic figure who kept a suite of rooms at, if I recall correctly, the Park Lane hotel. He was also a gourmet and connoisseur of champagne; during one visit, several bottles were consumed over lunch at a restaurant in Downton village as Daniel and Tony Curtis discussed not only gas flowing techniques but also the relative merits of various champagne houses. It was a good job I didn't drink and so could drive an only marginally coherent CAC home in his long-term Austin 1300.
There were sadnesses, too. It was travelling to MIRA one morning that I had the experience of being the last person someone spoke to before they died. Chris Hartley, an affable young man of about my age, had joined the road test team in the early 1970s. We had arranged to travel up in one car and he was driving. A few miles from our destination, I noticed Chris had stopped talking, and indeed wasn't really responding to anything I said. Still, he drove into MIRA all right and parked as arranged near the horizontal straight, though pulling up with an uncharacteristic jerk. He still wasn't speaking and, while looking quite relaxed, he was clearly uncomprehending of anything around him. Tony Dron and I took him to the canteen, sat him down and called for an ambulance. It turned out he'd had a brain haemorrhage; shortly afterwards he went into a coma and later died.
We also lost Jim Tozen, a big, beefy, outspoken man who always seemed too large for his chosen branch of motor sport - Formula 4 racing. He committed suicide after his wife apparently ran off with another journalist (not one from Motor). I liked Jim Tozen, whose regular jobs included writing the new 'Motoring Plus' column about performance modifications. Tony Scott, an excellent feature writer with a great future ahead of him, also died young, from a form of leukaemia I believe - but after he left the magazine. Gordon Bruce kept in touch and did much to assist him. These members of the team should also be remembered.
I recall going to Stuttgart to photograph the Mercedes-Benz C111 prototype of 1969/70, an extraordinary car powered by a 280bhp Wankel rotary engine and capable of 190mph
we (naturally) rated ourselves above Autocar
I was immensely proud of that team: I felt at the time (and now, come to that) it was the best in the business - technically erudite in a way that seems to be the exception on motoring magazines today, experienced, well-read and good writers all. We (naturally) rated ourselves above Autocar and regarded those on Car magazine as mere dilettantes. No other British magazine figured in our sights at all.
They were fine drivers too, these staffers. Roger Bell was a regular winner in Group 1 racing with BMW, Gordon Bruce was highly competitive in anything (including in the fiercely fought Escort Mexico series, not to mention on the hills with his 500 racer), and in my view Tony Dron was of nothing less than Formula One quality (and might have got there but for being a few inches too tall). He excelled elsewhere, though, and I recall witnessing him pitching for a works Dolomite drive with Ralph Broad in the latter's Southam office.
I also used to be highly impressed by Charles Bulmer at the Silverstone Guild Test Days (I could never have braked that late into Stowe!), while of course Michael Bowler was a top flight historic racer in his own Sebring Frazer Nash (in 1971 I began racing in historic events too, with my alloy-bodied XK 120; this produced similar lap times to the 'Nash but we never coincided in a race). Later, Michael moved on to BMW 328 MM and Lister-Jaguar.
I learnt to drive properly with these folk, notably on the Group Tests which were started by Motor in 1967. I missed the first one, but always tried to wheedle my way onto as many as possible thereafter. The format was simply to take four or six comparative cars from London to, usually, mid-Wales, swapping drivers every fifty miles or so. It proved highly educational, the direct comparisons bringing out strengths and weaknesses of rival marques which were often hitherto unexpected. I found it fascinating (even if I was there only to do the pictures, something Roger Bell had occasionally to remind me of), and it was following the likes of Michael Bowler, Roger Bell, Tony Dron & Co. at eight-tenths (thank you, Jenks) through deserted Welsh valleys that taught me a lot about car control.
This is the first E-type I ever drove - Jaguar's 1968 'Series 1 1/2' press car in pale yellow. Although I had it for a weekend, I can't find any of my own pictures of it, and this is a Jaguar hand-out of the time
I acquired a reputation on the staff as being something of a driver
Quite accidentally, I seemingly acquired a minor reputation on the staff as being something of a driver myself. This was and is entirely undeserved as I am not within a million miles of being in the same league as those just mentioned. Nevertheless, one of the remarks I most treasure was made by Tony when he once said he thought I was "quite quick." Emphatically I am not, aspiring to nothing more than occasional flashes of near-competence; nevertheless, Tony said it and no-one can take it away from me.
This might have won Tony my accolade as my favourite Motor journalist, but he is at least matched by Roger Bell. Why? Because some time in 1968 I found a note on my desk, together with a bunch of car keys. The note said, "Seeing your interest in Jaguar, you might like to take the E-type for the weekend." The keys were for JDU 877E, the 4.2 press roadster which had just returned from a group test I hadn't been on. And this beautiful yellow Jaguar E-type was mine, all mine, for a whole two days! I drove it to my parents' home in Bournemouth and I don't think the engine ever got cold as I drove it around the area with my enthralled younger brother at my side. I was just 23, and my gratitude to Roger for this gesture remains with me to this day.
This photograph illustrates the consequences of spinning off through the low breeze block wall at Stowe. The Iso Grifo was an expensive write-off; so would any of us photographers had we been standing in the wrong spot But we didn't seem to think much about risks in those days
More good driving experiences came with Motor's coverage of the international motor shows - Frankfurt, Geneva, Paris, Turin and Brussels. Usually, two or three of us would drive there in the same car, providing plenty of high-speed continental motoring, including over the Alps on occasion. I recall highly exciting journeys in such as the-then new Silver Shadow, Daimler Double Six and V12 E-type (yes, three-up in the latter, with me sitting crosswise in the back - and in moderate comfort, too) The shows themselves were good fun - not only were there often genuinely new models on display, but the coachbuilders always had fascinating new designs to be ogled at. I also enjoyed the technical challenge of producing good, clear pictures by the careful balancing of flash and available light (the Metz was very simple - just half or full flash, so sometimes the right result was not easy to achieve).
Also, at that time manufacturers vied with each other to induce journalists to visit their stands and press conferences by means of blatantly extravagant gifts. For example, the cry "Lancia is giving away electric typewriters!" would ring out, to be followed by a surge of hacks (mostly from foreign or minor titles, we liked to think) engulfing the relevant stand. I don't recall getting anything very exotic, but I still have my beautiful mohair Lancia blanket and a more brightly coloured one from Fiat (blankets must have been in the in-thing that year).
an interminable speech during which a working majority of us fell asleep
Talking of Fiat, during a Turin show there was usually the statutory visit to the company's works by coach. The first time I went, the fleet of coaches approached the vast factory but, to my amazement, instead of stopping for us to decant, they all drove straight into the building through huge doors. There usually followed an interminable speech by Giovanni Agnellli (God rest his soul), during which a working majority of us fell asleep.
In the evenings, we would adjourn to a fashionable restaurant - which almost always ended up being funded by PR guys such as Alfred Wolf. I recall him huddling together with others of his ilk, working out how on earth to allocate the obviously mammoth bill between them. Sometimes we would be joined by motor industry figures, and I remember Trevor Fiore - then working for Fissore if I recall correctly - lending a touch of Italian glamour to our particular table one year. Then finally it was back to the hotel, to listen for a while to the unceasing squeal of tyres on the cobbles as Fiat 124s, 850s and so on raced around the squares, pursued by the usual hordes of buzzing Lambrettas and Vespas.
This 1971 article in Motor was I think my first to be published outside of a club magazine. It told the story of the XK 120, centred around photographs I'd taken of my own car at the time, LXK 48 (chassis no. 670144, one of the alloy-bodied cars). The main picture was taken at Stowe school near Silverstone
Back home, every week there was a cover picture to be produced, except that for a spell, outside 'names' or studios were hired. Sometimes we would be accompanied by an 'art director'. One such was the long-suffering Arnold Lerner. Only twice have I left a public road unintentionally in a car, and the first was with Arnold as a passenger. We were on our way to photograph an Alfa Romeo Duetto at a chalk quarry, and I was having great fun extracting the best from the little red Alfa on the approach to the quarry when, on an unexpectedly tight bend, we understeered harmlessly off the tarmac. As we sat waiting for the dust to subside, Arnold said in a resigned sort of way, "I knew that was going to happen."
A successor to Arnold was Clive Ranger; he it was who arranged for a 5am photo-shoot involving beach buggies - a late-60s craze which persisted for some years. In fact prior to that I'd been driven at somewhat illegal speeds round London by contributor (and ace saloon car racer) Nick Brittan in another of those Beetle-based machines - this one shod with ex-GP race car tyres of outrageous width. The grip levels were simply enormous. Nick and I also borrowed Tommy Steele's Excalibur, accepting the keys from the man himself at, I think, Boreham studios. We photographed that spectacular machine in a London street market.
the horrible things that went wrong with the (mostly BL) company cars
One other contributor who should be mentioned is Tony Temp, National Trade Press fleet manager at Bowling Green Lane. He wrote Service Diary, this column based on the horrible things that went wrong with the (mostly BL) company cars. It was popular, too, but I think one of the biggest surprises (I will not say shock) we had was when a readership survey revealed that Tony Kydd's touring column, and Eric Cushion's accessory pages, were every bit (or more) popular than anything else in the magazine.
In 1974 I moved from Motor to Thoroughbred & Classic Cars magazine. This is just one of the many cover photographs I did over the following couple of years
Occasionally I would write for the magazine too, usually on Jaguar, my adopted marque. I wrote and illustrated (including the cover) an article on the XK 120 Jaguar in 1971; this centred around my own aluminium-bodied car LXK 48 (670144), and it was entitled '20 Years a Classic' (which it was then). The article pursued the theme that a new generation of old-car enthusiasts had grown up to whom the cars of the 1950s were the ones that rang the bells. Up to about that time, old-car enthusiasm was defined by vintage or PVT cars - that is, basically pre-war machines with running boards and big P100 headlamps. The word 'classic' was not then applied to cars outside of the US and few regarded 1950s cars as 'collectable'. I find that this article is still remembered by some even today.
I also compiled a supplement for Motor on Jaguar's 50th anniversary in 1972. These efforts must have been all right because it was around this time that Charles - now editor - asked me privately if I would swap over and become a journalist on the magazine. For various reasons I felt I couldn't make the transition (not the least being that I could see the road test team in particular were very hard worked!); I was quite content with my lot as a photographer, mainly keeping my writing activities to my editorship of the Jaguar Drivers' Club monthly journal.
Indeed, I might have stayed on Motor for many more years, but for the creation in 1973 of another Dorset House-based magazine, Thoroughbred & Classic Cars; the inspiration of Autocar man Lionel Burrel, Michael Bowler was its first editor and, with my increasing interest in the newly-defined 'classic car', transferring to this seemed an appropriate move when in 1974 a photographer/journalist was required. With some trepidation I went to see IPC director John French, a figure in the 'C.J.' mould with a loud and quite terrifying manner. But he granted me the necessary permission and around mid-1974 I left Motor.
I would not say that everything I have done since has been an anti-climax, but those heady nine years-odd were unique, and Motor remains the journal I rate the most important in my career.
To be continued: life with T&CC, penning my first Jaguar book, and entering the world of magazine publishing.
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Brooklyn, Denis Hamill, Help Me Howard, Hurricane Sandy, Kelly Breen, Mickey Breen, New York Daily News, PIX 11 News, Real Estate Agent, Staten Island
It's just like back in the old days on 12th street where Denis Hamill would grab a stickball bat, step up to the plate and smash a home run!
Denis hits this one three sewers!
Do yourself a favor and read this article by Denis from today's New York Daily News; one part has to do with Mickey Breen's daughter Kelly, who lives in Staten Island and the other about a Staten Island native who was saving people left and right during Sandy.
Thanks to Willy and Gladys for passing this clip along from 'Help Me Howard' courtesy of PIX 11 News – a solid report on Kelly's ordeal with a real estate agent.


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Dear Colleagues,
On behalf of the organizing committee, we are pleased to announce that the 6th International Conference on Engineering and Natural Sciences (ICENS 2020) will be held from June 03 to 07, 2020 in Belgrade, Serbia. ICENS provides an ideal academic platform for researchers to present the latest research findings and describe emerging technologies, and directions in Engineering and Natural Sciences issues.
The conference seeks to contribute to presenting novel research results in all aspects of Engineering and Natural Sciences.
The conference aims to bring together leading academic scientists, researchers and research scholars to exchange and share their experiences and research results about all aspects of Engineering and Natural Sciences. It also provides the premier interdisciplinary forum for scientists, engineers, and practitioners to present their latest research results, ideas, developments, and applications in all areas of Engineering and Natural Sciences.
The conference will bring together leading academic scientists, researchers and scholars in the domain of interest from around the world.
The scientific program will focus on current advances in the research, production and use of Engineering and Natural Sciences with particular focus on their role in maintaining academic level in Engineering and Applied Sciences and elevating the science level.
The conference's goal will to provide a scientific forum for all international prestige scholars around the world and enable the interactive exchange of state-of-the-art knowledge. The conference will focus on evidence-based benefits proven in clinical trials and scientific experiments.
Best regards,
Prof. Dr. Özer ÇINAR
Conference chairman


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1 Up & Down the Waves 6:26
2 Is not Easy to Fly 6:04
3 Two Ships 6:02
4 Several Thousand Questions 6:23
5 Brain Flight 6:16
6 Smurfs in Space 12:57
7 Coral Iceland Memories 7:04
8 The Search 7:56
9 Heaven's Gate 6:22
10 Moonshadow 10:48
SynGate | CD-r RH02 (CD-r/DDL 76:23) ***½
(Mix of New Berlin School and dance EM)
Rhythms! Lot of them. The very lively rhythm of "Up and Down the Waves" will remind to some of you a kind of mix between Somekind of Wonderful, from Grand Funk Railroad, and It's only Rock'n'Roll to Me, from Billy Joel. And for those who know a little the repertoire of Rudolf Heimann, we remember having vaguely heard this music on his Tide album in 2010. Normal! After a career of 25 years, including a thin discography of 7 albums and following the good response among fans regarding the album Into the Unknown in 2013, Rudolf Heimann proposes in "Perpetuum Mobile" a compilation of 10 tracks of EM where its sometimes noisy rhythms moves the senses and charms the ears with all their nuances.
If "Up and Down the Waves" bites our feet immediately with a steady and very electronic rock rhythm, "Is not Easy to Fly" proposes a very New Berlin School track where the kind of ambient Space Rock a la Software floods our ears of some beautiful memories of the 80's. The rhythm is ambient and upward. Perch on a delicate meshing of sequences and percussions, which trace a slow delicately jerky ambient spiral, and adorned with harmonies weaved in the riffs of a sort of e-guitar and nice floating fluty voices of mist, this track is an ambient bouquet which caress our senses up until the solos of Morpheus embrace them. This is a great piece of music, just as the too wonderful "Moonshadow" which was the highlight of Into the Unknown in 2013. "Two Ships" is lively, a bit wild and extirpates us from the arms of Morpheus. The track swarms on hopping sequences and on percussions which hammer them. Only the synth solos, which are quite well sculpted, and the organic language remind us that we are in the spheres of EM, the New Berlin School style, instead of a synth-pop fed of spasms and artifices. The same goes for "Several Thousand Questions" which is a techno, rather original I might add, which would easily compete for the genre of Element 4. It's quite musical for a rhythm so furious and the harmonies of the piano bring back debate to know if Rudolf Heimann does in New Age or in the dance music without filters. I may have tried, but I did not hooked on the very old-fashioned sound of "Brain Flight" which awakens in me some painful memories of a Tangerine Dream mutating of skin to please an American audience. "Smurfs in Space" is a long synth-pop splits in a cosmic envelope. There are small things here which please the hearing and which weave some tireless earworms. The same goes for "The Search", here the musical itch lays on the play of sequences and percussions, which is, on the other hand, more in a mood for dancing. "Coral Iceland Memories" plunges us in the golden years of the Innovative Communication label. These years when Software has reinvented the kind of electronic dance music with some Chill out approaches on rhythms a bit groovy which hop in cosmic atmospheres. The track breathes of an interesting approach a bit Reggae. Well done! "Heaven's Gate" reveals a slow, heavy and languishing rhythm always perfumed of these cosmic moods and these intuitive melodies which mark out the music, sometimes a little too much dance, of Rudolf Heimann who offers in "Perpetuum Mobile" an honest compilation which makes a fair glimpse of his career. There are small jewels in there, as there is some music inspired for those who like dancing, those who like caressing the floors of kicks with robotics tap-dancing.
Sylvain Lupari (April 29th, 2015)
You will find this album on the SynGate web shop here
You can also watch a video trailer here


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Shelly Mellott
Shelly Mellott is the deputy executive director of the Texas Department of Motor Vehicles (TxDMV).
In this role, she oversees the day-to-day operations of the agency's motoring services divisions (Vehicle Titles & Registration, Motor Vehicles, Motor Carrier, Enforcement, Consumer Relations and the Automobile Burglary & Theft Prevention Authority) to ensure they are constantly improving and identifying opportunities to become more efficient and effective in service delivery.
Mellott came to the TxDMV from Alaska's Division of Motor Vehicles where she most recently served as deputy executive director and acting executive director where she led a major initiative to modernize and improve the customer service experience. Previous positions at the Alaska DMV include oversight of all large field offices and leading the driver licensing program.
Mellott serves on the American Association of Motor Vehicle Administrators Unconventional Vehicle Working Group and has worked collaboratively with representatives from across the country to develop best practices for states to follow when it comes to titling rebuilt, reconstructed and re-bodied vehicles.
She grew up in a family that operated a trucking company and spent several years as a truck driver giving her first-hand experience of the importance and challenges of the motor carrier industry.