Status: offline Hello, is there another newbie who would like to learn the game by playing an online game ? I'm totally new at MWiF and never played the board game. I just played a couple of turns in 'solo'.
I would like to start a Global War Campaign. Either side. Not sure how to play this NetPlay ? PBEM ? TeamViewer ? Other ? A combination of the above ?
Status: offline I'm up for another game. I'm in the US in Arizona. WhatsApp is a good way to chat and exchange orders. Let mw know if you are interested. Thanks.
Status: offline Hi and thank you for your answer. As I say I'm a total newb at WiF but I'm really willing to give it a try and learn it.
Should we wait for more players ? How do you think we should organise the game ? Allies vs Axis ? Should we run all available countries (It seems wqe have too as there's no AI).
I don't have whatsApp but can Install it. Otherwise I have Steam chat and discord. But no problem, can grab WhatsApp.
I guess you are an experienced player ?


Jean-Luc Godard's sci-fi film noir, on a budget, is Alphaville. Pre-dating 2001: A Space Odyssey's unforgettable HAL9000, and the sinister machines of Alien and THX-1138, Godard knew what we feared.
In 1965, technology and shiny, imposing architecture was the threat. We now know, fifty years into the future, that technology has fulfilled its promise of innovation and progress. With cinematic offerings of Ex Machina and Avengers: Age of Ultron in 2015, it seems as if the power wielded by computers remains a sinister part of modern society. Godard remains relevant and uses Lemmy Caution, "Secret Agent", to save the day.
Set in a monochrome dystopia, Alphaville uses urban Parisian streets and endless offices to depict the loveless society. Indeed, Alphaville is ruled by a "logical" system named Alpha 60. Overseeing the city in its entirety, Alpha 60 has outlawed elements of humanity deemed nonsensical. Emotion, mourning and love are all out. A cold, heartless world is an alien world: inhuman and broken. Lemmy Caution (Eddie Constantine) is undercover, sent from The Outlands, with three objectives. He needs to find his missing colleague Henry Dickson (Akim Tamiroff) and kill the architect of Alphaville, sunglassed Professor von Braun (Howard Vernon). His final objective is, of course, to destroy Alpha 60 itself. His entire mission is immediately compromised by von Braun's daughter, Natacha (Anna Karina). Though she has never met her father, she is beautiful and Caution is besotted.
We're told how fifty men are executed to every one woman after breaking the rules of Alpha 60. Godard has no shame in reminding us how emotionally charged men of the world can be (and interestingly, suggesting that women are accustomed to hiding/lacking emotion). The death squads aren't Blade Runners or robots, but come in the form of swimming pool rituals. Men walk to the end of the diving board, confessing their sins, before being gunned down. Falling to the water, synchronized swimmers artistically remove the body. Alpha 60's dark, robotic voice (created by a man with a voice box in place of his throat) booms throughout Alphaville, barking its ethos and questioning others. Is it transmitted across the city to keep people in check? Or a narration?
The Jean-Luc Godard season runs at the BFI Southbank throughout January and February. Click here to purchase tickets.


Chengdu Jinjiang·Taikooli Locals Apartment 00132500 is located in the Jinjiang district of Chengdu, 1.4 miles from Tianfu Square and 2.3 miles from Chunxi Road. Guests can enjoy free WiFi. The apartment has 3 bedrooms, a TV and a fully equipped kitchen that provides guests with a fridge. The air-conditioned apartment also has a bathroom with a bath. Wenshu Monastery is 3 miles from the apartment, while Kuanzhai Ancient Street is 3.2 miles from the property. Chengdu Shuangliu International Airport is 12 miles away.


text:
Трест «Донецькшахтопроходка» — державне відкрите акціонерне товариство. Створено в 1952 році для спорудження вертикальних стволів шахт Донбасу.

Сьогодні трест виконує роботи зі спорудження вертикальних стволів діаметром від 5,0 до 10,0 метрів, глибиною до 1 500 метрів як у звичайних, так і в складних гірничо-геологічних умовах із застосуванням буропідривного та спеціальних методів проходки (тампонаж водоносних порід, штучне заморожування, спускне кріплення). Використовуються такі типи постійного кріплення стінок стовбура: бетон, залізобетон з гідроізоляцією, чавунні тюбінги та піддатливе кріплення. При проходці у 1969 році вертикального ствола на шахті «17-17 біс» трестом було встановлений всесвітній рекорд швидкості проходки — 402,3 м готового ствола за місяць, який не перевершено до сьогодні. За 47 років свого існування трестом пройдено понад 175 000 метрів вертикальних стволів на 49 шахтах-новобудовах, та більше ніж 100 реконструйованих шахтах.

Число працівників — 1 823 чол.

Див. також
 Вугільна промисловість України

Джерела

Шахтобудівні підприємства України
Підприємства, засновані 1952
Підприємства Донецька

redpajama_set_name: RedPajamaWikipedia


Collectors the world over are interested, I believe, in what other like-minded collectors collect. What do they have that I can also enjoy or learn from? Any overlaps, new discoveries?
Collecting -- and using -- contemporary Japanese pottery is a passion for many here in Japan, with most collectors being in their thirties or over. Some, of course, are younger, yet I've never heard of anyone catching the pottery-collecting bug at five-years old!
Meet Atsuo Akai, a 30-something gentleman from Tokyo (left in below photo).
"I was standing in front of a kotto-ya or antique shop and I saw a beautiful T'ang period Chinese sansai (three-colored ware) cup and I really thought that was great," Akai-san told me one afternoon in Tokyo.
"I looked in the window and saw the price, one-zero-zero and a long line. This is a great opportunity! I can afford this, it's only a hundred yen!" he exclaimed to me, while his eyes gleamed as if he were seeing the piece in front of him again.
"How old were you then?" I inquisitively asked him. "Well, I guess I was about five or six," he matter-of-factly replied. I let out a hearty laugh. Gosh, what little kid has the sense to perceive that kind of beauty. Such a way of "seeing" fits in with Yanagi's way of thinking that one is either born with "an eye" or not. Obviously Akai was.
"So, I went into the shop and asked the man to sell it to me," he continued. "And the man looked at me and said, 'Little boy, that's a hundred thousand yen, run along now.'"
Even though Akai left the shop a bit disappointed, he never gave up on his collecting quest.
It was at his English lessons that he got to actually use some pieces from the collection of Hata Hideo. Hata was a well-known collector of the day. Akai's English teacher, a Japanese lady who spoke Queen's English, was friends with Hata and served Akai sencha from Hata's shokki Imari (early Imari) wares. Holding such refined pieces at such a young age certainly left an impression on Akai.
Akai's first purchase was a ribbed cup and a small water pourer that he bought from his English teacher and from a ceramic art gallery. He was still not yet ten-years old.
I had to ask him what in the world he did with these pieces.
"I used the cup for making sencha of course," he remarked. Fine enough I thought but what about the price -- a thousand yen is not easy to come by for a youngster.
"Oh, that was no problem," he said. "I saved up my otoshidama -- new year's money."
His progression into collecting chawan pieces began with small sencha cups, then moved into meishi-jawan (rice bowls), and finally turned to the larger chawan tea bowls used at a formal Way of Tea ceremony.
"I couldn't afford a chawan in junior high school so I bought mesihi-jawan," he explained.
Believe it or not, his first meishi-jawan was an early Shimaoka Tatsuzo piece.
On developing an eye for chawan he said, "I used to carry Kuroda Ryoji's chawan book in my school book bag and take it out in class during lectures. My friends got interested too and we'd choose our favorite ones! Mine was Arakawa Toyozo, he was my hero."
The first chawan was purchased a few years after and was a white Hagi chawan with a split-foot made by the late Udagawa Hosei.
"Offering a guest tea in a fine chawan is a way to show them respect. Like giving a friend your baby to hold, it's only done with those you trust and respect," he said.
He told me that the best chawan should have refinement or dignity (in Japanese, hin, which rhymes with the English pin). A discerning collector will say hin ga aru, a phrase that literally means "it has grace and refinement."
He then brought out a chawan that he felt represented hin. It was a Bizen chawan made by the late Kaneshige Sozan, the younger brother of Toyo.
Before he opened the box to take out the chawan, he was careful to take off all rings and even his watch. This is done to avoid inadvertently scratching the chawan.
How does one tell if a chawan has hin? It only comes out through seeing many pieces and by usage; one can only discover the grace in a chawan when it is placed before a guest. It often reveals itself slowly as well.
"Only after one can understand the hin in a piece can they go on to create a fine collection," was a piece of advice that Akai offered.
"Look at these two chawan," he told me. "They are totally different but fundamentally the same; they both have hin."
Shape is important in a chawan for Akai as is weight, the footring (which he considers part of the shape) and the way the lip is formed. In Akai's opionion, the kodai or footring shows the power of the potter.
He collects up-and-coming potters as well as the greats of the 20th century. No older pieces are in his collection for he feels the really good antique chawan are just being held prisoner in museum collections. They are rather costly as well. Another factor is that without use a chawan loses its seimei or life, and Akai can feel that.
So, he focuses his collection on modern and contemporary potters that include Kaneshige (Bizen), Arakawa Toyozo (Mino), Kawakita Handeishi (various styles), Okabe Mineo (Mino), Tanaka Sajiro (Karatsu), Kato Kozo (Mino), Hamamoto Hiroyoshi (Karatsu), and Ishiguro Munemaro (various styles).
Collectors like Akai are important for the cultural future of Japan. It doesn't matter if one collects on the level that Akai is on or is starting with more modest means. What counts is for folks to live with works that have hin; to make them part of their daily scene. With more and more younger people more interested in sports, fashion, and music, a sense of cultural identity is being slowly erased for many all over the world and even more so here in Japan. A little quiet time with a cup of tea would do them good.
The culture of Japan is deeply found in a chawan. Akai is the caretaker of his chawan, not the owner. His collection and way of thinking will serve Japan well to better understand its important place in the world's cultural heritage.
Akai-san -- thanks for sharing your time.
P.S. Akai brought along an Arakawa Toyozo Shino guinomi (sake cup) for he knows I have affection for them. A masterpiece (see below photo).


H.I.V.E. Books with Author & Poet Ashley M. Jones – Saturday, 6/23 at 10:30 a.m.
Join us for H.I.V.E.'s monthly book club on Saturday, June 23rd at 10:30 a.m. at Seeds Coffee (174 Oxmoor Rd). This month, we read Magic City Gospel by Ashley M. Jones. We are thrilled that Ashley, award winning author, poet and teacher, will be joining us to read from and lead a discussion on her book. All are welcome (even if you haven't read the book!). Ashley will have copies of her book available for sale ($15 via check/cash/Venmo/Paypal).
← H.I.V.E. Meeting – Guns in America on Thursday, 6/21 at 6:30 p.m.


Brattleboro- Dorothy Roselene (Bates) Crawford, 98, a former resident of Melrose Terrace, and Forrest Street died late Thursday night, March 28, 2019 at Brattleboro Memorial Hospital. More recently she had been a resident at Vernon Green Nursing Home.
She was born in Brookline, Vermont on July 9, 1920 the daughter of Tracy and Hazel (Potwine) Bates. Mrs. Crawford was raised and educated in Brattleboro and was a graduate of Brattleboro High School, Class of 1938. She went on to attend the former Brattleboro Business Institute.
She had been employed by the Holstein-Friesian Association working in the public relations department where she retired from in 1983 following 23 faithful years with the association. Previously she worked in the law offices of Irwin Kendall and before that for Ralph Gates Insurance Company.
Mrs. Crawford enjoyed playing golf and was a former member of the Pine Grove Springs Country Club in Spofford. Of her other leisure time activities, she enjoyed music, dancing, sewing, crocheting, reading and time shared with her family.
A woman of faith, she attended First United Methodist Church in Brattleboro for many years.
On May 8, 1937 in North Hoosick, New York she was married to Francis H. Crawford who predeceased her on March 29, 1993.
Survivors include: two sons, Dana M. Crawford (Cynthia) of East Dummerston and Jay F. Crawford of Morrisville; two grandsons, Eric Dana Crawford of Hoosick, NY and Kyle Michael Crawford (Connie) of Ashland, Oregon; three great grandsons, Oliver, Andrew and Ryan Crawford; two great granddaughters, Sadie and Lexi Crawford; two step-granddaughters, Sarah and Melissa Holden and three step-great grandchildren, Jayden, Rhea and Jacoby.
She was predeceased by a granddaughter, Kimberly Francine Crawford who passed away on November 16, 1968.
Private graveside committal services in Riverside Cemetery in Brookline will be held later in the spring when the cemetery reopens.
In lieu of flowers, memorial contributions in Mrs. Crawford's name may be made to the Windham County Humane Society, P.O. 397, Brattleboro, VT 05302.


text:
Douglas Burnell "Bunny" Tubbs alias D. B. Tubbs (* 22. März 1913 in London; † November 1999) war ein britischer Sachbuchautor und Übersetzer.

Leben
Tubbs wuchs mit akuten körperlichen Behinderungen auf. Er studierte nach seinem Bachelor-Abschluss 1936 am Christ's College in Cambridge an der Harvard University in den Vereinigten Staaten.

Er begeisterte sich früh für Automobile, gehörte zu den frühen Mitgliedern des Vintage Sports-Car Club (VSCC) sowie der Guild of Motoring Writers (GoMW) und schrieb viele Jahre für das Magazin The Motor (später Motor). Einige seiner Bücher, vorwiegend zum Thema Automobile, erschienen in mehreren Auflagen, teilweise auch in anderen Sprachen.

Tubbs war verheiratet und Vater von drei Kindern. Er starb im Alter von 86 Jahren.

Publikationen
 Motor – Reference Yearbook 1960. Temple Press, 1960, 224 S.
 Vintage Cars in Colour. [Fotos: James Barron], B. T. Batsford, 1960, 71 S.
 The Rolls-Royce Phantoms. Erschienen in der Serie Hamish Hamilton monographs. H. Hamilton, 1964, 64 S.
 mit Pierre Dumont und Ronald Barker: Automobiles and Automobiling. Bonanza Books, New York 1965, 204 S. ISBN 0-517-10752-X
 Kent Pubs. B. T. Batsford, 1966, 144 S.
 The Jowett Javelin and Jupiter. No. 16 der Serie Profile Publications, London 1966, 12. S.
 The Talbots 14/45 – 110. No. 27 der Serie Profile Publications, London 1966, 12. S.
 The Austin Seven. No. 39 der Serie Profile Publications, London 1966, 12. S.
 The Lancia Lambda. No. 44 der Serie Profile Publications, London 1967, 12. S.
 The Wolseley Hornet & Hornet Specials. No. 70 der Serie Profile Publications, London 1967, 12. S.
 The 2-Litre AC `Six'. No. 92 der Serie Profile Publications, London 1967, 12. S.
 Horseless Carriages. A 19th Century Album of Early Designs. Edita, Lausanne 1968.
 Ferdinand Porsche. In: Ronald Barker, Anthony Harding: Automobile Design: Great Designers and their Work. R. Bentley, 1970, S. 165 ff.
 mit Pierre Dumont und Ronald Barker:  In the Age of Motoring. Viking, New York 1971, 85 S. ISBN 0-670-39677-X
 Lancaster Bomber. Weapons Book No 30 der Serie Ballantine's Illustrated History of the Violent Century. Ballantine Books, New York 1972. ISBN 0-345-09765-3, ISBN 0-345-02889-9
 Zeiss Ikon Cameras 1926–1939. Hove Camera Foto Books, 1977, 144 S. ISBN 0-852-42604-6
 Art and the Automobile. Grosset & Dunlap, New York, 1978, 144 S. ISBN 0-448-16425-6

Übersetzungen:
 Piero Taruffi: The Technique of Motor Racing. [Vorwort von Juan Manuel Fangio], Robert Bentley, 1958, 125 S.
 Piero Taruffi: Works Driver. The Autobiography of Piero Tartuffi. Temple Press, 1964, 222 S.
 Joseph Jobe: Extended Travels in Romantic America. Being a Nineteenth Century Journey through the most Picturesque Portions of North America. Reconstructed From Accounts By European Visitors. Edita, Lausanne, 1966.
 Jac Remise, Jean Fondin: The Golden Age of Toys. International Book Society/Time-Life Books, 1967, 254 S. ISBN 0-850-59021-3
 Christian Moity: The Le Mans 24-Hour Race. 1949–1973. Chilton Book Company, 1974, 210 S. ISBN 0-801-96290-0
 Michel Auer: The Illustrated History of the Camera from 1839 to the Present. New York Graphic Society, 1975, 285 S. ISBN 0-821-20683-4
 Halwart Schrader: Scupercharged Mercedes. [Zeichnungen: Carlo Demand], Patrick Stephens Ltd, 1979, 93 S.
 Daniel Marty: The Illustrated History of Phonographs. Dorset Press, 1989. ISBN 0-880-29388-8

Literatur
 Tubbs, Douglas Burnell. In: Two-in-one Special Edition of the International Authors and Writers Who's Who. International Who's who in Poetry. International Biographical Centre, 1982, S. 650 ()
 Bunny Tubbs (Nachruf); In: Classic & Sports Car, Heft 1/2000, Haymarket Specialist Publications Ltd.
 D B "Bunny" Tubbs (Nachruf); in: Motor Sport, Heft Februar 2000, S. 89.

Weblinks
 D. B. Tubbs bei LibraryThing

Einzelnachweise

Autor
Übersetzer aus dem Deutschen
Übersetzer aus dem Französischen
Übersetzer aus dem Italienischen
Übersetzer ins Englische
Absolvent der Harvard University
Brite
Geboren 1913
Gestorben 1999
Mann


Shoei have been making crash helmets in Japan since 1959 and they're now established as one of the foremost makers of good quality, high-end motorcycle helmets. Their range covers the entire range of styles, from open-faced to flip-ups to full-face helmets and are generally regarded as being at the cutting edge of helmet technology.
Below, you'll find all our Shoei helmets articles and reviews.


text:
Steven Spielbergs Heroine Actress Olivia Cooke
Steven Spielberg's heroine actress olivia cooke, The actress, who has participated in films tells us in Los Angeles how it has been to work with King Midas of Hollywood.Well, something intresting, yes. The week before the call they made me go to the production offices to read the entire script. They gave me two hours of time, and I saw myself with the casting director, Susan Lewis, who told me that everything looked great. But I knew how all this was going, so I tried not to get too excited. I expected the best and prepared for the worst.
The longest and most complicated, sure. In Los Angeles they made me read with six boys for two days, three boys every day. And also in New York, with six other girls. And the boys and girls with whom I did the tests did not know that there were other candidates, they did not see each other, they had everything prepared in detail, like a well-oiled machine ready to work.My mother has always supported me a lot and she is very proud, but I am still her Olivia and she keeps shouting and fighting me and, like all mothers, feeling frustrated when I do not do things as I think I should do them.

redpajama_set_name: RedPajamaCommonCrawl


The success of web based services like Readability, Pocket (or Read It Later) and Instapaper have proved that people prefer reading web pages in a clutter-free environment – one that is devoid of advertisements, widgets, social buttons and everything else that distracts the eye.
Even the latest version of Apple Safari browser has Readability like features built-in – see the demo above – to help people enjoy web pages in a more beautiful layout.
It will obviously be difficult for web publishers to switch to an ad-free layout, we all have families to feed, but what most of us can do is offer an alternate "comfortable" view should anyone wish to read our stories in a clutter-free layout.
I have been experimenting something similar on my WordPress blog for the past few weeks and some visitors do prefer this alternate view especially for reading longer stories like these. If you haven't had a chance to try the reading view on Digital Inspiration yet, open any article page – like this one – and click the book icon at the top.
Step 1: Open your WordPress dashboard and create a new Page under Pages – > Add New.
Step 2: Give the page a title (like "Reader Friendly"), set the page URL (slug) as "read" and save the changes. You don't have to put anything in the body of the page.
Step 3: Open the WordPress .htaccess file and add the following line of code at the top.
Step 4: Next download the page-read.php.txt file to your WordPress templates folder and then rename this file to page-read.php. The template uses the rel=canonical tag so even if someone links to the reader-friendly version of your blog, the Google Juice will still get passed to the original version.
Step 5: We are done creating a reader-friendly version of the blog. Now all we need to do is create a link in the blog that visitors can click to switch to the reader-friendly layout. Open the single.php file and add the following code somewhere near the title.
If you have trouble implementing this, let me know in the comments. Good luck!


Are you looking cerritos shirts	and cerritos hoodies?. There are many Sweatshirts, Tank Top, V-neck, Hoodies, Meaning, T-Shirts, Sweaters, Longsleeve Tee about your name Cerritos here. Check it now!
Its a CERRITOS Thing, You Wouldnt Understand!
CERRITOS-- Its Where My Story Begins!
Its A CERRITOS thing, you wouldnt understand !!


text:
Vintage Bands & Orchestras
Wedding, Party & Show Bands
Acoustic Roaming Bands
Wedding Ceremony Music
Vintage Dancers
Tech Spec & Rider
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Gig list Album Store Next public show: 17 January, online Next public show: 17 Jan, , online
Down for the Count at Rosalind & Oliver's Wedding Reception
"We hunted highand low for a band with a broad repertoire, high quality vocals and instrumentals. None quite matched up to Down for the Count. We found it very scary hiring a live band - if it went well, it would be amazing and so much better than a DJ, but if they were late, too loud, not up to scratch the whole day could be ruined.
From our first enquiry through many follow-up requests Mike was helpful and efficient every step of the way. He also managed to liase with me, the bride, and my Mum, keeping secrets where appropriate!
Our wedding wasn't until 4pm, so our guests had plenty of time to get there and get ready. We also had plenty of time to get ready, which was great for the bride and bridesmaid, but allowed the groom to get a little nervous about his speech and our first dance. Our guests assembled from around 3.30pm with Mike playing a selection of romantic songs from our favourite musicals on the keyboard.
Before we knew it 4pm had arrived and the bride entered to "The Arrival of the Queen of Sheba" which everyone felt was very appropriate! The ceremony flew by, we hardly heard our vows, as we were concentrating so hard on what we were saying. Mike played "Jesu Joy of Man's Desiring" and "Ave Maria" while we signed the register, which was wonderfully calming. Once the ceremony was complete we made our way outside to Handel's "La Réjouissance".
I'd like to say we remember that bit but we were a bit overwhelmed by that point. However after a quick sprint Mike joined his bandmates in the next room, to play a favourite of the mother of the bride, Louis Armstrong's jazz version of "Here Comes the Bride" from the film "High Society". This was secret Mike had kept from the bride, and a very lovely surprise it was too.
The jazz band continued to play as we drank champagne and had photographs taken in the sunshine. After dinner the rest of the group had assembled to form the full 9-piece function band and we were ready for our first dance, "The Way You Make Me Feel', specially arranged and learnt at our request. This was the most nerve-racking part of the day, as we had practised with the recorded version but obvioulsy hadn't heard the band. Their performance was spot on and kept to just three minutes, as requested. The original is over five minutes and therefore far too long to keep dancing for!
The dancing continued all evening, with a bit of something for everyone, including a few current songs on our iPod while the band took their breaks. The dancefloor was heaving all night and everyone enjoyed the music immensely. They wrapped our evening up for us with a final dance of "Rock With You", after which we left everyone else to dance a little longer, and we headed down the road in a personalised London taxi!
A huge thanks to everyone in Down for the Count, especially Mike. We hope you choose to invite them to perform at your wedding - whichever part of the day you want them for, we know they can cover whatever you might want, just as they did for us!"
Rosalind & OliverWedding Reception, Buckinghamshire
Photos courtesy of Brown Box Photography
Anthony & Becky
"Mike, the band leader, was incredibly professional, courteous and enthusiastic, which instantly put our minds at ease, and we felt that we could put our faith in this band."
George & Jo
"It's a lot of responsibility to make a recommendation of any kind for someone else's wedding but I am enthusiastically recommending Down for the Count"
Rosalind & Oliver
"Whichever part of the day you want them for, we know they can cover whatever you might want, just as they did for us!"
Natalie & Andrew
"Anyone who organises a wedding knows how many things there are to do. Down for the Count really took the stress out of hiring a band and did an amazing job."
Jenny & Dan
"Down for the Count were really fantastic and many people commented on how the music really topped off an amazing day."
If you'd like us to perform for you, please don't forget to include the DATE and LOCATION of your event.
How to book the band
Wedding Suppliers Directory
mike@downforthecount.co.uk
Down for the Count Ltd is a registered company in England and Wales, number 10694876
Website design by Mike Paul-Smith
and Simon Joyner.
Website design, text and photography
Copyright 2015-2020 Down for the Count.
Photos courtesy of Marcus Charter at Charter Photography:
Additional photography courtesy of:
Simon Callaghan Photography
Etch Photography
Barker Evans
Twinwood Festival
Daniel West
Your Event show
Our Bands show
Our Story show
Rosalind & Oliver's Wedding Reception with Swing band Down for the Count at The Compleat Angler, Marlow-on-Thames, Buckinghamshire. Photo courtesy of Brown Box Photography (www.brownboxphotography.co.uk).


This is often a child's main driver when an argument is occurring. An angry child will generally just consider "me"…what they want. Missing will be a consideration of "you" and what you may want, and "us" and what is best for the relationship.
When your child uses the word "me" (or a similar word like "mine", "I", etc), let it remind you of the two most important words to help invite them other back to a conversation and cooperation…Maybe and Enough.
Taking the "one down position" and not resisting their combativeness, so they are less likely to escalate further to try to dominate you. You are not saying yes or no, you are saying maybe…let's think about it, I'm happy to consider it. Maybe its unfair, maybe its not. Maybe they cannot do it, maybe they can.
You are inviting them to be even handed. That there may be another possibility. You are inviting them to wonder and be curious, rather than to be dogmatically knowing about how it should be. "Maybe you can…it will depend on other things I guess".
to an angry child, everything is all or nothing, black or white, full or empty, perfect or flawed. If you can use the word "enough", you are acknowledging that there is a spectrum of possibilities. Things can be fair enough, or even enough, or good enough.
When you child is trying to control-combat-avoid with their "me" comments, see if responding with the words "maybe" and "enough" can help bring back a more playful and cooperating interaction.


We are a young team trying to support traditional Romanian products and for this we opened a shop in Cluj-Napoca in Cora parking lot in April 2010 and we have the opportunity to offer our clients white table and DOC wines from Lechinta (Transylvania) and red wines from Coteşti Vineyard (Vrancea). All varieties of wine come from Romanian producers.
We want to offer you the wine of Lechinta, wine for own consumption, wedding wine or other events and together with you to revive the beautiful memories of childhood or youth and not to forget the traditional Romanian products and crafts.
"The night, love and wine do not urge anything sparingly."
"The wine and the woman corrupt the best."
"A friend is like a bottle of wine: The older it is, the better it is."
We wish that together with you to revive beautiful memories from childhood, from youth, let's not forget the traditional Romanian products and crafts.


text:
/*
 * This library currently works only with Twitter, although I'd like to
 * spend some more time to make it generally compatible with other services
 * too.
 *
 * Sample use with Twitter:

 // create a new OAuthAdapter instance by passing by your consumer data and signature method
 var oAuthAdapter = new OAuthAdapter(
 'your-consumer-secret',
 'your-consumer-key',
 'HMAC-SHA1');

 // load the access token for the service (if previously saved)
 oAuthAdapter.loadAccessToken('twitter');

 // consume a service API - in this case the status update by Twitter
 oAuthAdapter.send('https://api.twitter.com/1/statuses/update.json', [['status','Hey @ziodave, I managed to use the #oauth adapter for @titanium consuming @twitterapi']],'Twitter','Tweet published.','Tweet not published.');

 // if the client is not authorized, ask for authorization. the previous tweet will be sent automatically after authorization
 if (oAuthAdapter.isAuthorized() == false)
 {
	 // this function will be called as soon as the application is authorized
     var receivePin = function() {
        oAuthAdapter.getAccessToken('https://api.twitter.com/oauth/access_token', function(){
          oAuthAdapter.saveAccessToken('twitter');
        });
     };

	 // show the authorization UI and call back the receive PIN function
     oAuthAdapter.getRequestToken('https://api.twitter.com/oauth/request_token', function(token){
       if(token){
         oAuthAdapter.showAuthorizeUI('https://api.twitter.com/oauth/authorize?' + token , receivePin);
       }
     });
 }

 */
/*
 * The Adapter needs 2 external libraries (oauth.js, sha1.js) hosted at
 *  http://oauth.googlecode.com/svn/code/javascript/
 *
 * Save them locally in a lib subfolder
 */
Ti.include(path_lib+'sha1.js');
Ti.include(path_lib+'oauth.js');

// create an OAuthAdapter instance
var OAuthAdapter = function(pConsumerSecret, pConsumerKey, pSignatureMethod)
 {

	Ti.API.info('*********************************************');
	Ti.API.info('If you like the OAuth Adapter, consider donating at');
	Ti.API.info('https://www.paypal.com/cgi-bin/webscr?cmd=_donations&business=T5HUU4J5EQTJU&lc=IT&item_name=OAuth%20Adapter&currency_code=USD&bn=PP%2dDonationsBF%3abtn_donate_LG%2egif%3aNonHosted');
	Ti.API.info('*********************************************');

    // will hold the consumer secret and consumer key as provided by the caller
    var consumerSecret = pConsumerSecret;
    var consumerKey = pConsumerKey;

    // will set the signature method as set by the caller
    var signatureMethod = pSignatureMethod;

    // the pin or oauth_verifier returned by the authorization process window
    var pin = null;

    // will hold the request token and access token returned by the service
    var requestToken = null;
    var requestTokenSecret = null;
    var accessToken = null;
    var accessTokenSecret = null;

    // the accessor is used when communicating with the OAuth libraries to sign the messages
    var accessor = {
        consumerSecret: consumerSecret,
        tokenSecret: ''
    };

    // holds actions to perform
    var actionsQueue = [];

    // will hold UI components
    var window = null;
    var view = null;
    var webView = null;
    var receivePinCallback = null;

    this.loadAccessToken = function(pService)
    {
        Ti.API.debug('Loading access token for service [' + pService + '].');

        var file = Ti.Filesystem.getFile(Ti.Filesystem.applicationDataDirectory, pService + '.config');
        if (file.exists == false) return;

        var contents = file.read();
        if (contents == null) return;

        try
        {
            var config = JSON.parse(contents.text);
        }
        catch(ex)
        {
            return;
        }
        if (config.accessToken) accessToken = config.accessToken;
        if (config.accessTokenSecret) accessTokenSecret = config.accessTokenSecret;

        Ti.API.debug('Loading access token: done [accessToken:' + accessToken + '][accessTokenSecret:' + accessTokenSecret + '].');
    };
    this.saveAccessToken = function(pService)
    {
        Ti.API.debug('Saving access token [' + pService + '].');
        var file = Ti.Filesystem.getFile(Ti.Filesystem.applicationDataDirectory, pService + '.config');
        if (file == null) file = Ti.Filesystem.createFile(Ti.Filesystem.applicationDataDirectory, pService + '.config');
        file.write(JSON.stringify(
        {
            accessToken: accessToken,
            accessTokenSecret: accessTokenSecret
        }
        ));
        Ti.API.debug('Saving access token: done.');
    };

    this.clearAccessToken = function(pService){
        var file = Ti.Filesystem.getFile(Ti.Filesystem.applicationDataDirectory, pService + '.config');
        if (file == null) file = Ti.Filesystem.createFile(Ti.Filesystem.applicationDataDirectory, pService + '.config');
        file.write(JSON.stringify(
        {
            accessToken: null,
            accessTokenSecret: null
        }
        ));
        accessToken = null;
        accessTokenSecret = null;
    };

    this.clearActionsQueue = function(){
        while ((q = actionsQueue.shift()) != null){
          var p = q.parameters || [];
          if(p.onError)
            p.onError({error:'clearActionsQueue() was called'});
        }
    };

    // will tell if the consumer is authorized
    this.isAuthorized = function()
    {
        return ! (accessToken == null || accessTokenSecret == null);
    };

    // creates a message to send to the service
    var createMessage = function(pUrl, method)
    {
        var message = {
            action: pUrl ,
            method: (method) ? method : 'POST' ,
            parameters: []
        };
        message.parameters.push(['oauth_consumer_key', consumerKey]);
        message.parameters.push(['oauth_signature_method', signatureMethod]);
        return message;
    };

    // returns the pin
    this.getPin = function() {
        return pin;
    };

    // requests a requet token with the given Url
    this.getRequestToken = function(pUrl,pCallback)
    {
        accessor.tokenSecret = '';

        var message = createMessage(pUrl);
        OAuth.setTimestampAndNonce(message);
        OAuth.SignatureMethod.sign(message, accessor);

        var client = Ti.Network.createHTTPClient();
        client.onload = function(){
          var responseParams = OAuth.getParameterMap(client.responseText);
          requestToken = responseParams['oauth_token'];
          requestTokenSecret = responseParams['oauth_token_secret'];
          Ti.API.debug('request token got the following response: ' + client.responseText);
          pCallback(client.responseText);
        };
        client.onerror = function(e){
          Ti.API.debug(e);
          Ti.API.debug({error:'[' + client.status + '] ' + client.responseText});
          pCallback(null);
        };
        client.open('POST', pUrl, true);
        client.send(OAuth.getParameterMap(message.parameters));
    };

    // unloads the UI used to have the user authorize the application
    var destroyAuthorizeUI = function()
    {
        Ti.API.debug('destroyAuthorizeUI');
        // if the window doesn't exist, exit
        if (!window) return;

        // remove the UI
        try
        {
	        Ti.API.debug('destroyAuthorizeUI:webView.removeEventListener');
          webView.removeEventListener('load', authorizeUICallback);
          /**
           * This is causing missing callbacks by some reasons but there
           * is no choice to make things simpler... I would rather
           * correct HTTPClient.open() for android so that it works
           * correctly in sync mode....
           */
          window.hide();
          Ti.API.debug('destroyAuthorizeUI:window.close()');
          window.close();
          Ti.API.debug('destroyAuthorizeUI:window.remove(view)');
          window.remove(view);
          Ti.API.debug('destroyAuthorizeUI:view.remove(webView)');
          view.remove(webView);
          Ti.API.debug('destroyAuthorizeUI:nullifying');
          webView = null;
          view = null;
          window = null;
        }
        catch(ex)
        {
            Ti.API.debug('Cannot destroy the authorize UI. Ignoring.');
        }
    };

    // looks for the PIN everytime the user clicks on the WebView to authorize the APP
    // currently works with TWITTER
    var authorizeUICallback = function(e)
    {
        Ti.API.debug('authorizeUILoaded');

//        var val = webView.evalJS("document.getElementById('oauth_pin').innerHTML");
        var val = webView.evalJS("document.getElementsByTagName('code')[0].innerHTML");
        if( val ){
          pin = val;
          if (receivePinCallback) receivePinCallback();
        }
    };

    // shows the authorization UI
    this.showAuthorizeUI = function(pUrl, pReceivePinCallback)
    {
        receivePinCallback = pReceivePinCallback;

        window = Ti.UI.createWindow({
            modal: true,
            fullscreen: true
        });
        var transform = Ti.UI.create2DMatrix().scale(0);
        view = Ti.UI.createView({
            top: 5,
            width: 310,
            height: 450,
            border: 5,
            backgroundColor: 'white',
            borderColor: '#aaa',
            borderRadius: 20,
            borderWidth: 5,
            zIndex: -1,
            transform: transform
        });
        closeLabel = Ti.UI.createLabel({
            textAlign: 'right',
            font: {
                fontWeight: 'bold',
                fontSize: '12pt'
            },
            text: '(X)',
            top: 10,
            right: 12,
            height: 14
        });
        // android用補正
        if(Titanium.Platform.osname === 'android'){
            view.left   = 5;
            view.right  = 5;
            view.top    = 5;
            view.bottom = 5;
        }

        webView = Ti.UI.createWebView({
            url: pUrl,
            top: closeLabel.height + closeLabel.top,
            width: view.width - view.borderWidth * 4,
            height: view.height - closeLabel.height - closeLabel.top - view.borderWidth * 4,
            autoDetect:[Ti.UI.AUTODETECT_NONE]
        });
        Ti.API.debug('Setting:['+Ti.UI.AUTODETECT_NONE+']');
        webView.addEventListener('load', authorizeUICallback);
        view.add(webView);

        closeLabel.addEventListener('click', function(e){
            destroyAuthorizeUI();
        });
        view.add(closeLabel);

        window.add(view);
        window.open();

        var animation = Ti.UI.createAnimation();
        animation.transform = Ti.UI.create2DMatrix();
        animation.duration = 500;
        view.animate(animation);
    };

    this.getAccessToken = function(pUrl,pCallback)
    {
        accessor.tokenSecret = requestTokenSecret;

        var message = createMessage(pUrl);
        message.parameters.push(['oauth_token', requestToken]);
        message.parameters.push(['oauth_verifier', pin]);

        OAuth.setTimestampAndNonce(message);
        OAuth.SignatureMethod.sign(message, accessor);

        var parameterMap = OAuth.getParameterMap(message.parameters);
        for (var p in parameterMap)
          Ti.API.debug(p + ': ' + parameterMap[p]);

        var client = Ti.Network.createHTTPClient();
        client.onload = function(){
          var responseParams = OAuth.getParameterMap(client.responseText);
          accessToken = responseParams['oauth_token'];
          accessTokenSecret = responseParams['oauth_token_secret'];
          Ti.API.debug('*** get access token, Response: ' + client.responseText);
          processQueue();
          destroyAuthorizeUI();
          pCallback();
        };
        client.onerror = function(e){
          Ti.API.debug(e);
          destroyAuthorizeUI();
          pCallback();
        };
        client.open('POST', pUrl, true);
        client.send(parameterMap);
    };

    var processQueue = function()
    {
        Ti.API.debug('Processing queue.');
        while ((q = actionsQueue.shift()) != null)
        send(q);

        Ti.API.debug('Processing queue: done.');
    };
    var oauthParams = "OAuth realm,oauth_version,oauth_consumer_key,oauth_nonce,oauth_signature,oauth_signature_method,oauth_timestamp,oauth_token".split(',');
    var makeAuthorizationHeaderString = function(params) {
        var str = '';
        for (var i = 0, len = oauthParams.length; i < len ; i++) {
            var key = oauthParams[i];
            if (params[key] != undefined) str += key + '="' + encodeURIComponent(params[key]) + '",';
        }
        Ti.API.debug('authorization header string : ' + str);
        return str;
    }

    var removeOAuthParams = function(parameters) {
        var checkString = oauthParams.join(',') + ',';
        for (var p in parameters) {
           if (checkString.indexOf(p + ",") >= 0) delete parameters[p];
        }
    }

    var makePostURL = function(url,parameters) {
        var checkString = oauthParams.join(',') + ',';
        var query = [];
        var newParameters = [];
        for (var i = 0 , len = parameters.length; i < len ; i++) {
           var item = parameters[i];
           if (checkString.indexOf(item[0] + ",") < 0) {
                query.push(encodeURIComponent(item[0]) + "=" + encodeURIComponent(item[1]));
           } else {
               newParameters.push[item];
           }
        }
        parameters = newParameters;
        if (query.length) {
            query = query.join('&');
            return [url + ((url.indexOf('?') >= 0) ? '&' : '?') + query, parameters];
        } else {
            return [url, parameters];
        }
    }
    var makeGetURL = function(url, parameterMap) {
        var query = [];
        var keys = [];
        for (var p in parameterMap) {
           query.push( encodeURIComponent(p) + "=" + encodeURIComponent(parameterMap[p]) );
        }
				query.sort();//(9.1.1.  Normalize Request Parameters)
        if (query.length) {
            query = query.join('&');
            return url + ((url.indexOf('?') >= 0) ? '&' : '?') + query;
        } else {
            return url;
        }
    }

    var send = function(params) {
        var pUrl            = params.url;
        var pParameters     = params.parameters || [];
        var pTitle          = params.title;
        var pMethod         = params.method || "POST";
        var resultByXML      = params.resultByXML || false;

        Ti.API.debug('Sending a message to the service at [' + pUrl + '] with the following params: ' + JSON.stringify(pParameters));
        if (accessToken == null || accessTokenSecret == null)
        {
            Ti.API.debug('The send status cannot be processed as the client doesn\'t have an access token. The status update will be sent as soon as the client has an access token.');
            actionsQueue.push(params);
            return;
        }

        accessor.tokenSecret = accessTokenSecret;
        var message = createMessage(pUrl, pMethod);
        message.parameters.push(['oauth_token', accessToken]);
        for (p in pParameters) message.parameters.push(pParameters[p]);
        OAuth.setTimestampAndNonce(message);
        OAuth.SignatureMethod.sign(message, accessor);
        var parameterMap = OAuth.getParameterMap(message.parameters);
        for (var p in parameterMap) Ti.API.debug(p + ': ' + parameterMap[p]);
        if (pMethod == "GET") {
            pUrl = makeGetURL(pUrl, parameterMap);
            parameterMap = null;
            Ti.API.debug('url for GET:'+pUrl);
        }
        var client = Ti.Network.createHTTPClient();
        client.onload = function(){
          Ti.API.debug('*** sendStatus, Response: [' + client.status + '] ' + client.responseText);
          if ((""+client.status).match(/^20[0-9]/)) {
            if(params.onSuccess){
              params.onSuccess(client.responseText);
            }
          } else {
            if(params.onError){
              params.onError({error:'[' + client.status + '] ' + client.responseText});
            }
          }
        };
        client.onerror = function(e){
          Ti.API.debug(e);
          if(params.onError){
            params.onError(e);
          }
        };
        client.open(pMethod, pUrl, true);
        client.send(parameterMap);
    };
	this.send = send;

	// PostParameters for TwitPic
	this.getParamatersForTwitPic = function(pKey){
		return {
			key: pKey,
			consumer_token: pConsumerKey,
			consumer_secret: pConsumerSecret,
			oauth_token: accessToken,
			oauth_secret: accessTokenSecret
		};
	};
};

redpajama_set_name: RedPajamaGithub


EURGBP- The cross faces further upside pressure after resuming its short term uptrend the past week. Support lies at the 0.9000 level where a violation will turn focus to the 0.8950 level. A break will expose the 0.8900 level. Resistance resides at the 0.9050 level where a violation if seen will turn risk towards the 0.9100 level. Further up, resistance resides at 0.9150 level followed by the 0.9200 level. Its weekly RSI is bullish and pointing higher suggesting further strength. All in all, EURGBP remains biased to the upside further bullishness.


Uncategorized – Simply foodolicious! おいしい! 好吃! 맛있는! délicieux! delicioso! 好食!
Leading a pretty stressful life we city beings are, food, apart from travel, forms a major part of the many activities that we seek solace and joy in. What started off as just a personal blog, still remains as a truthful diary till this date that hopefully could brighten up your day as you join me for a gastronomic experience! Happy reading!
Voting ends on 30th September 2016.
Dark chocolate Chai. This hot chocolate was beautifully cut through by the light spices and we loved the light spicy aftertaste. £2.90.
Okra fries that have been fried to render a light crispy,spicy overcoat while retaining the stretchiness within. Definitely a very addictive appetiser! £4.20. (Vegetarian) And that is it, at this point, we know we are set for a great lunch!
Chicken Ruby. Redolent with spice and flavour, this is definitely a good thick bowl of curry while the tender chicken is brilliantly soaked in this rich silky Makhani sauce. £8.50.
And how else to finish every drop but to mop it up with the crispy, fragrant garlic naan. £2.50 for 2 pieces.
Chicken Berry Britannia. This biryani, slow-cooked and layered beautifully in a pot, was thoroughly perfumed by the light curry-like spices and refreshing cranberry aroma. Where's the chicken we remarked and we then realised a generous portion buried right underneath. £8.90.
Mango Kulfi on a stick. I have had kulfi in Singapore before and felt that that overly thick creamy texture overpowered any other tastes. But the one over here was not only creamy and thick, the mango flavour came through strong yet not tasting too artificial. We like. £3.50.
And there we go, everything spot on the first time at a London Bombay cafe with the great balances in the numerous spices used. Just to emphasise how good it is, Dishoom was revisited just after a few days during the precious 9 days in the United Kingdom (turned precious due to a last minute meeting scheduled with the collaborators).
And these two foodies were satisfied!
6 months ago, during the transition into the blazing summer season, Iyemon Salon Cafe was visited for its super delectable lunch sets that are priced at an almost unimaginable affordable rate. And this autumn, we have decided to revisit it for dinner which definitely has raised the bar on our expectations for cafe food back in our own home.
Lipton TeaHouse リプトンティハウス店 – So hearty!
If not for the fabulous experiences at the Japanese cafes (Hoshino Coffee, Watanabe Coffee, Muji Cafe etc) opened recently in Singapore, I could have regrettably skipped this genre of 'Japanese cuisine' during this trip to the Kansai region. Not strictly Italian fare, the cafes here however, have cleverly turned it into a successful tantalising Italian-Japanese hybrid. And Lipton TeaHouse, though was a random cafe we chanced upon that rainy night, left us with an extremely satisfied tummy thereafter. Not stingy in serving, yet presented with perfected techniques and creativity, this is definitely a place highly recommended.
Western Style bento. It was almost impossible to resist such an oxymoronic item on the menu. As without a hint of Western plating, the chef has undertaken the 5-colour rule to turn it into a beautiful Japanese bento. Served in the bento: A plump breaded salmon, creamy stuffed croquette, juicy beef hamburg steak complemented with the impeccably poached egg with Japanese rice at the side topped with the lightly sweet chestnuts (once again, the evident subtleties in Japanese cooking), al dante flavourful speghetti with saute shrooms. The most expensive set on the menu at ¥1800 but with so many going on, this could be the heartiest of all too!
And we ended the perfect meal with a moist chestnut sponge cake.
And as you might have guessed already, this is indeed a very worthy meal as the bill didn't pass S$35 per pax. What a steal!
Bridges, you would soon realise, is an integral form of architecture in the kansai region as they give these cities their unique character and charisma. While those in the more modernised Osaka exuberate a grander, sky-scraper laced skyline, those in Kyoto consolidate its rustic charm. Now we may seem to be slightly out of point here, but the gorgeous view you would get en route to Jiki Miyazawa 食宮ざわ じき宮ざわ from Gion Shijo subway is definitely unignorable.
Having searched for quite a few Japanese michelin restaurants previously, we have grown wiser to keep a lookout for the less conspicuous and quieter side road. And there we were, got past the curtain, ushered promptly to our comfortable counter seats, and got a Lager Kirin beer while waiting for the ¥3500 set lunch.
Starter – Plump and refreshing crab meat forming the base, topped with the lighter radish and salmon roe.
Clear soup – Perfumed throughout with the shimeji mushroom fragrance, while its refreshingness is further lifted by the citrusy yuzu zest; all with the purpose of bringing out the natural sweetness of the scallop encased tofu.
These Spanish mackerel sashimi were lightly steamed at the side yet still maintaining its tenderness, while the rawness is preserved within, thereby increasing the complexity of its overall texture.
Showcasing its culinary acumen, the Sesame tofu, topped with a blob of savoury sesame sauce and lashed with sesame sprinkles on top is definitely the star of Jiki Miyazawa. Lightly sweet, savoury, fragrant, the nuances in the sesame flavours have been brought out by the different textured ingredients. With so many elements in just a seemingly simple course, this is definitely not straightforward but has been prepared with much finesse. Notably, the tofu has a thicker and bouncier consistency yet still maintaining its silkiness, this is the first kind that I ever have had.
Rice course: Together with the peppercorn sardine, it was a good finish to the meal. Do not be shy to ask for more if you need more carbo as they will gladly scoop more for you!
Considered as the fruit in Autumn or winter, the fuyugaki (literally winter persimmon), with a meltingly soft flesh, tasted very sweet and juicy. All ended by the sweet hojicha macaroon counterbalanced by the ultra bitter quality matcha.
While I wouldn't say that this lunch is mindblowing as most of the tastes, we were already familiar with. However, at just ¥3500, that includes the brilliant sesame tofu, I say it is worth a visit.


Each day during our celebration we will focus on a single aspect of the Foundation. Today THF Education Committee Chairpersons Brad Bennett and Jeannie Martin tell us about the variety of educational resources to be had on the THF site.
Each day during our celebration we will focus on a single aspect of the Foundation. Today THF president and board member discusses one of the stalwart features of the Foundation, Book of the Week.


text:
Delmonico's Is Recreating Historical Dishes Served in the White House
For just one week, the Manhattan restaurant is serving classics like crab à la newberg and turkey à la king—Teddy Roosevelt and John F. Kennedy favorites.
By Sam Dangremond
More than a dozen American presidents have dined at Delmonico's since it opened as the country's first restaurant, in 1837. And now, for only one week, the downtown Manhattan restaurant is offering a special menu of historical dishes served to commanders-in-chief within its walls and at the White House.
For the "Presidential Palates" menu, Delmonico's executive chef Billy Olivia teamed up with former White House chef John Moeller to recreate—and in some cases tweak for today's tastes—dishes like crab "flake" à la newberg (served to Teddy Roosevelt on his birthday), turkey à la king for two (above), served to John F. Kennedy, and a wagyu beef cheek goulash Richard Nixon ate at Delmonico's.
Roast duck and sweet potato bisque, served to President Van Buren at Delmonico's.
Thomas Jefferson loved rice pudding, and a recipe with lavender essence, peach compote, and pistachio sponge, inspired this dish on the menu.
Moeller served in the White House from 1992 through 2005, making him one of the longest-tenured chefs across three presidential administrations (both Bushes and Clinton). Recipes from his book, Dining at the White House: From the President's Table to Yours, that are also on the Delmonico's menu included things like pistachio-crusted lamb chops (served at a Clinton Christmas dinner at the White House) and warm flourless chocolate torte (below).
White House Chef John Moeller's chocolate torte was a Laura Bush favorite.
Osso Buco of Salmon and diver scallops, a recipe served in honor of the Prime Minister of Italy's visit to the White House during the Clinton Administration.
To see the full menu, scroll down. Better yet, try it for yourself in person for lunch and dinner at 56 Beaver Street through November 8.
The 10 Most Important Restaurants in America
Sam Dangremond Contributing Digital Editor Sam Dangremond is a Contributing Digital Editor at Town & Country, where he covers men's style, cocktails, travel, and the social scene.
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text:
English and American Literature Studies
English and American Literature Studies / Literary Studies
Literary Studies / Forschungsfelder
German Literature Studies
Literary Theory and Literary Studies
Romance Literature Studies
Slavic Literature Studies
Literary Studies / Reihen
andererseits – Yearbook of Transatlantic German Studies
Contemporary Literature
Düsseldorfer Schriften zur Literatur- und Kulturwissenschaft
How We Read: Essays on the History, Practise, and Future of Reading
Interkulturelle Germanistik
Literalität und Liminalität
Literature – Media – Aesthetics
The Middle Ages and Popular Culture
Ahrens, Lisa
Lisa Ahrens (Dr. phil.) worked as a research assistant at the University of Paderborn where she taught English Cultural and Literary Studies.
Amato (verst.), Viola
Viola Amato (deceased in 2017) earned her PhD in North American Literature and Culture from Humboldt University of Berlin. Her research focused on queer movements, social class, and higher education in neoliberalism.
Arghavan, Mahmoud
Mahmoud Arghavan (Dr.) coordinates the unit for Help for Refugees, Migration, and Integration at the Innere Mission in Munich. He completed his PhD in 2013 at the Free University of Berlin with a dissertation on Iranian American literature. From 2014 to...
Auguscik, Anna
Anna Auguscik teaches English Literature at the University of Oldenburg, Germany. She is a postdoctoral fellow in the Fiction Meets Science research group. Her research interests include the novel in the literary marketplace, the history and current state...
Basler, Sebastian
Sebastian Basler lebt in Karlsruhe und ist Lehrer für die Fächer Englisch und Spanisch. Er studierte und promovierte an der Universität Konstanz.
Basseler, Michael
Michael Basseler (Dr. habil.), born in 1976, works as Academic Manager at the International Graduate Centre for the Study of Culture at the University of Gießen. His research focuses on US-American literature and culture as well as literary and cultural...
Bauer, Gero
Gero Bauer (Dr. phil.) ist Literatur- und Kulturwissenschaftler und Geschäftsführer des Zentrums für Gender- und Diversitätsforschung der Universität Tübingen.


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Auckland, New Zealand's largest city, is considering introducing light rail lines to replace some of its most heavily used bus routes. Many of these new light rail lines, if built, would reuse the routes of Auckland's former tram system. Light rail systems have been proposed in Auckland throughout the late-20th and 21st centuries following the closure of the tram system in the 1950s.

In 2015, the city's transport agency Auckland Transport proposed a new light rail network - with a focus on a line between the Auckland CBD and Auckland Airport. In subsequent years, various technology types and modes have been proposed by local and central government - including traditional street tramways and light metro. The most recent form of the project, proposed by the Sixth Labour Government of New Zealand, would see the construction of a hybrid underground/surface route.

History

Background

Auckland was served by a network of traditional tramcar routes with horse-drawn trams (1884–1902) and electric trams (1902–1956). The original tram network was  in length at its fullest extent from the mid-1930s until closures began in 1949.

Initial proposals
In 2015, Steve Hawkins, Auckland Transport's Chief Engineer, said that the bus routes on Symonds Street and Fanshawe Street require as many as 150 buses each.  The light rail study is considering replacing the bus routes on Dominion Road, Manukau Road, Mt Eden Road, Symonds Street and Queen St with light rail routes.  All of these bus routes replaced routes on Auckland's former tram network.

Stuff quoted Auckland Transport officials who described how the study was considering the option of building light rail routes with dedicated right of way versus routes where rail vehicles shared the road with other vehicles, as with a traditional streetcar system. Officials projected that the maximum passenger capacity of a segregated light rail line would be 18,000 passengers per hour, while that of a street-running system would be 12,000 passengers per hour. This compares with a bus on a shared path shifting 2,500 people and a bus on a priority path's 6,000 people an hour.

In 2015, then Auckland Mayor Len Brown pointed out that the city's ten-year plan did not include funding for building new light rail routes.

A line from the airport east to Botany Downs has also been proposed with a new interchange at Puhinui railway station, planned to be built in two stages, the first of which is said to be an early deliverable component of the Airport to Botany rapid transit line, planned to be operational by the end of 2020/early 2021. This encompasses a new at-grade bus/rail interchange and enhanced station. Buses will still use the existing local road (Bridge Street) to cross the railway line to/from Manukau, along with local traffic. The second phase provides a rapid transit overbridge across the railway line to provide a more direct and bespoke rapid transit connection. The new rapid transit link will integrate with the new interchange station on the overbridge. The first stage is estimated to cost $59 million to construct. The line will also go through Manukau railway station before ending in Botany.

On 26 April 2018, Mayor Phil Goff and Transport Minister Phil Twyford announced the Auckland Transport Alignment Project 2018 with $NZ28 billion of investment in Auckland transport infrastructure over ten years, including the fast-tracking of light rail to Auckland International Airport.

On 9 May 2018, in a pre-Budget announcement, Twyford and Finance Minister Grant Robertson made the surprise announcement that work on two routes would commence immediately, with an open-tender process for funding, construction, and operation of the lines:
 A line from Wynyard Quarter along Queen Street with one route to Auckland Airport via Dominion Road.
 A second line, also travelling along Queen Street, then via Karangahape Road and Great North Road to Westgate via a Northwestern Motorway dedicated light-rail corridor, with extensions indicated to Kumeu and Huapai, running past the currently disused Kumeu and Huapai railway stations on the North Auckland Line. Passenger services on the Western Line do not currently operate north of Swanson and do not serve these stations.

In May 2018, it was announced that the New Zealand Superannuation Fund had expressed an interest in financing, designing, building and operating Auckland's light rail network, in a consortium with CDPQ Infra, a Canadian infrastructure company. The consortium was named NZ Infra.

By early 2019, the cost of the two lines had been estimated at $6 billion, with an underground alignment through Queen St under consideration.

In August 2019, Mayor Phil Goff announced that work on the light rail network might begin the following year. The same month, two delivery partners for the project were shortlisted; NZ Infra and NZ Transport Agency, but it was stated that a 2020 start date would be unlikely. By late 2019, two different types of technology were being considered by the New Zealand Ministry of Transport. The original proposal from the New Zealand Transport Agency consisted of surface level light rail; the other from NZ Super Fund explored fully grade-separated, driverless light metro technology, with an underground alignment through Queen St and elevated sections elsewhere, with fewer stations between the city centre and airport.

In May 2020, it was reported that the light rail project had been placed on hold due to the impact of the COVID-19 pandemic in New Zealand. In June, Twyford confirmed that the Ministry of Transport was still committed to the project, but as a fully grade-separated light metro line between the city and airport; stating that "Our policy is that light metro is the form of rapid transit that Auckland needs. We've decided very clearly that we need a rapid transit system that's not competing with pedestrians and other cars in the road corridor. A light metro system just like you see in London, New York, Tokyo, Paris, is actually faster and more efficient. It would allow you to get from Queen St to the Airport in 30 minutes as opposed to the 47 minutes that was projected for the old streetcar model Auckland Transport developed." The ministry did not release the updated cost of the new light metro proposal, or any time frame for its construction. However industry commentators have estimated the decision to use the metro mode will increase cost of the two lines from $6 billion to more than $20 billion, with a new design and construction period of 8 to 10 years beginning from 2021 at the earliest.

Final proposal
In January 2022, the New Zealand government confirmed it had endorsed a $14.6 billion "Tunnelled Light Rail" line from the city centre to the airport, featuring an underground line between the city centre and Mount Roskill, which would then emerge to the surface and continue to the airport via Māngere. Minister for Transport Michael Wood indicated construction could begin in 2023 and last six to seven years.

Route
The City Centre-Māngere line is, as of 2022, proposed to run from Wynyard Quarter to Auckland Airport; via the Auckland CBD, University of Auckland, Kingsland railway station, Wesley, Mount Roskill, Onehunga and Māngere. There would be a total of 18 stops with trains running every five minutes. While the line between Wynyard Quarter and Mount Roskill would be tunnelled, the rest of the network would be a surface line running alongside State Highway 20.

See also
 Rail transport in New Zealand
 Trams in New Zealand
 Auckland Airport Line
 Public transport in Auckland
 Light rail in Wellington

References

External links

Proposed rail infrastructure in New Zealand
Light rail in New Zealand


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Home / News / Books / 2012 / Chronicles of the Black Company
Chronicles of the Black Company
Posted by robert on Sat, 25/08/2012 - 17:46
Every now and then I rummage through the giant TBR pile and come across something that I know I should have read but for some reason it just passed me by. Glen Cook's Chronicles of the Black Company, an omnibus of his first three Black Company novels, 'The Black Company', 'Shadows Linger' and 'The White Rose' is one such thing, and with a blurb from Steven Erikson on the cover stating that Cook "single-handedly changed the face of fantasy" I'm amazed it's taken me so long to get round to this terrific and utterly gripping series.
The Black Company are a band of mercenaries, last of the Free Companies of Khatovar and the last of the Twelve True Companies. Time was their number could be counted in the thousands, but time has seen that dwindle to a few hundred tired souls led by a dozen or so aging die-hards, those who have been enlisted so long the Black Company is in their souls, those with nowhere else to go, and there are precious few new recruits volunteering. We meet them cooling their heels in the service of the loathed ruler of a small coastal city but a change of circumstance sees them switch sides to ply their trade for The Lady, a powerful sorceress seeking to smash a rebellion that threatens her reign.
The books are narrated by Croaker, company Physician and Annalist, a middle-ranking soldier trusted by the brass and by grunts alike and what really sets them apart is that Croaker's story has gaps, not because he's particularly an unreliable narrator, but because he's not in charge. He doesn't know everything that's going on and he's not likely to be told either, which means we get chapter and verse of the stuff he knows and is involved in, and best guesses at what he doesn't so that the truth of some episodes goes unknown. He also doesn't write down everything that goes on. The Black Company are a band of mercenaries, vicious, brutish and violent and he sees no profit in recalling every grisly detail of their deeds, but similarly, like any band of brothers living and fighting together for extended periods, they josh and argue, exchange banter and play pranks on each other to let off steam and it's this sweep from one extreme to the other embues the books with real authenticity.
The cast of is as good as you'll find anywhere, Croaker being joined by One-Eye, Silent, Elmo, Goblin, Raven and many more, each beautifully drawn, well-rounded and fully fleshed out characters that you'll grow to love, warts and all. It's worth noting that Cook's own life includes time in the military during the Vietnam war and it's not hard to see how that influences the way his characters talk to each other and how they behave, they are professional soldiers before, during and after battle.
To begin with the writing isn't exactly poetry, wavering as it does between flowery and almost factual, but it does improve from book to book as Cook finds his voice. The tone leans towards gritty but is rather more matter of fact than that, although it suits the no-frills portrait that Cook paints of the lives of these men, especially given the abscence of a large number of the usual tropes you expect to see in this kind of (un)heroic fantasy and the propensity they have for large amounts of violence. The pacing too is a little uneven at first but given that the life of a soldier is one of enormous periods of quiet followed by short burst of frenetic fighting it does match the mood of battle.
Overall though the three books will reward the reader with a fascinating and beguiling tale of men at war, internally and externally. They are mismatched friends and bitter enemies both and, truth be told, Cook pulls you right inside the story from the get-go and I couldn't put them down once I'd started reading. It's hard to say whether they truly "changed the face of fantasy" but it's not hard when reading the likes of Abercrombie, Redick, Lynch, Sykes and many others to see how he might well have had some influence.
Chronicles of the Black Company is published by Gollancz and is available with free delivery from The Book Depository and on the high street from Blackwell and all good book stores.


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College Park, GA 30337
City of College Park » Departments » Communications » Broadcast Policy
Government Access Channel Policy – College Park TV 23
Purpose: The purpose of this policy is to provide guidelines for the operation and programming of the City of College Park's government access cable channel – TV-23.
Scope: This policy outlines the mission and operating parameters of TV-23, and provides guidance on programming selection, restricted programming, minimum technical standards, and operating procedures.
Introduction: TV-23 is a 24-hour Government Access channel programmed and operated by the City of College Park. TV-23 is restricted to use by the City of College Park and its defined government partners (Attachment A); it is not available for use by the general public. TV-23 is operated by the Public Information and Marketing Department (PIO), under the direction of the City Manager's Office and the College Park City Council.
Mission: The mission of TV-23 is to provide direct information concerning City government deliberations, functions, services, programs, and activities. TV-23 can also be used to share information about not-for-profit organizations based inside the city limits, as well as the deliberations and decision-making processes of the City's defined government partners.
Objectives: TV-23 is used to distribute and share information about City government, programs, and services, as well as the deliberations of the City's government partners. Specific objectives include:
A. Provide comprehensive, information about programs, services, and events provided by or sponsored by the City of College Park.
B. Provide reliable, accurate and timely information about City government and services.
C. Provide accurate health-life-safety and other educational information that helps meet a City, Council, or department goal or mission.
D. Work with the City's government partners to telecast programming that informs, educates, or encourages participation in that government body's decision-making processes.
E. Ensure that all TV-23 programming meets broadcast-quality technical standards.
Programming Types Defined
The following different forms of programming may be telecast on TV-23, provided such programming meets all the requirements of this policy:
A. City Produced Programming – Recorded programming produced under the direction of City staff. This includes programs on City departments, services, programs, issues, activities, or projects associated with the City that use public dollars.
City Sponsored Programming -- Programming produced by an outside agency which supports a City, Council, or department mission or goal, as determined by the Public Information Officer. See the "Programming Selection Guidelines" section of this policy for more detailed information about selecting appropriate City sponsored programming.
Government Partner Programming – Programming submitted by a defined government partner who informs, educates, or encourages participation in that government body's decision making processes. Government partners may also submit other types of programming (ie. non-deliberation or decision making related) for the City to review for possible telecast on TV-23. Government partner programming submissions which do not automatically qualify for telecast by the guidelines set forth above in this paragraph, must be reviewed and approved by the Public Information Officer, and support a City, Council, or department mission or goal as determined by the EMT member if all four of these criteria are satisfied, the program will be recognized as a City-sponsored program and may be submitted to PIO staff for telecast as outlined in this policy.
Bulletin Board -- A character-generator Bulletin Board system is maintained by TV-23 to promote City, City-sponsored, and government partner meetings, events, activities, and information. Written Bulletin Board submissions must be provided to PIO staff at least five business days in advance of the event. This service is available for use by the City and its not-for-profit based city organizations, and defined government partners.
Programming Priorities
During normal programming hours, TV-23 airs general information for public consumption. However, during emergencies, programming may be allocated in this order:
A. Emergency Services - In the event of an emergency, TV-23 will be made available as needed and emergency information shall have priority over all other programming. PIO staff will work with City and community emergency services to coordinate the use and programming of the channel during emergencies.
B. City Produced Programming and Government Partner Programming
C. Bulletin Board information, including zip code based weather, traffic and messages
Programming Selection Guidelines
Programming selected for telecast on TV-23 must be carefully evaluated and determined to meet the needs of the City and its citizens. Telecast of any program shall be on a space-available basis per the discretion of PIO staff, taking into consideration time, space, resource availability, and the programming goals set forth in this policy. The following criteria must be met when selecting programming for TV-23:
A. Programming must help meet a defined goal or mission of the City, City department, or the City Council.
B. All rights and clearances to telecast the program on TV-23 must be secured in writing.
C. Programming quality must meet the minimum technical standard requirements as outlined in Attachment B.
General Categories of Programming
The City of College Park airs both text-based ("character-generated") programming as well as audio-video programming. The programming must fall within one or more of the following general categories of programming:
A. Announcements or programs concerning emergencies and other timely issues that affect public safety and health in the community
B. Programs and meetings which inform the public of the facilities, services and programs offered to the citizens of the City of College Park.
C. Programs that highlight the cultural and historic resources of the City of College Park
1. Public service announcements (one minute or less in length) if submitted by City Government only.
2. Auto-derived programming customized for 30337 and 30349 (inside College Park city limits) zip code.
Restricted Programming
The City of College Park and TV-23 adhere to all standards imposed by the Federal Communications Commission, by prevailing community standards, and by applicable federal, state, and local laws. TV-23 will not telecast:
A. Paid advertising or any program that depicts a product, business and/or service that has the purpose of benefiting a profit-making enterprise. Programming grants, underwriting, and/or sponsorships are not considered advertising so long as the following three conditions are satisfied:
1. The underwriter has no editorial control over the program.
2. The viewing public cannot reasonably perceive that the underwriter has exercised editorial control over the program.
3. The viewing public cannot reasonably conclude that the program is being telecast principally because it promotes the underwriter's products, services or other business interests.
B. Promotions of any political candidates or issue. TV-23 is not to be used to build support for a particular ballot issue or candidate for public office. Declared candidates for any elective office and persons advocating any cause, viewpoint, or proposed policy will not be eligible to appear on the channel within 90 days of the election date, with these explicit exceptions:
1. A non-partisan forum in which all candidates or sides of an issues are invited to participate.
2. Appearance in a bona fide news program or documentary.
3. A televised public meeting or event in which the candidate's appearance is incidental or unrelated to election or ballot issues.
4. Officials performing their normally assigned duties during regularly televised public meetings.
C. Programming that fails to meet the minimum technical standards.
D. Programming that promotes any particular religion, religious group or belief, cult, special interest or hate group.
E. Any material that includes or constitutes: libel, slander, invasion of privacy, violations or infringements of trademarks or copyrights, obscene, or salacious material. Programs containing copyrighted materials will only be telecast if copyright clearance and permissions have been secured in writing.
F. A lottery as defined by the Federal Communication Commission regulations or any advertisement of or information concerning a lottery.
G. Any material which violates applicable federal, state or local laws.
Editing Policies
Programming and Bulletin Board announcements submitted for telecast on TV-23 may be edited by PIO staff with the following guidelines:
A. City Produced Programming – Any pre-recorded program produced under the direction of City staff can be modified and edited as needed to adhere to the requirements and restrictions of this POLICY. The finished program must be approved by PIO office before it will be telecast on TV-23.
B. Pre-Produced Programming - Any outside programming provided may be modified and edited as appropriate to adhere to the requirements of this POLICY or as dictated by scheduling and/or staffing requirements. If the program is copyrighted, the copyright holder's approval must be obtained for any and all edits before the edited version of the program may be telecast on TV-23.
C. Bulletin Board - Any message or information submitted for placement on the Bulletin Board may be freely edited by City staff for clarity, content, conciseness, and readability. Submissions are due at least five business days prior to the requested starting date or event. The City reserves the right to reject Bulletin Board submissions that do not meet the deadline requirement or when equipment and/or staffing limitations prevent them from being placed on the system. The City bears no responsibility for the accuracy of the information provided by its government partners.
Ownership and Retention of Recordings
All City-produced recordings are the property of and copyrighted by the City of College Park. Recordings of City meetings are intended for telecasting and archival purposes only. They shall not be considered an official record of any meeting and therefore there shall be no liability for inadvertent erasure or omissions caused by technical malfunctions or operator error. Recordings of all telecast meetings will be maintained by the City until either the City no longer possesses the equipment or technical capability to playback said recordings or the recording media is no longer viable (damaged, disintegrated, obsolete, or otherwise unusable).
Except to the extent required by law, it shall not be the responsibility of the City of College Park to retain any video programming that is broadcast, or submitted for broadcast on TV-23. Notwithstanding the foregoing, it is recognized that certain videos may be kept on file by the City of College Park and reused in future broadcasts if proper permission is secured.
Duplication Requests
It is not the policy of the Public Information Officer and TV-23 to produce copies of broadcasts airing on CP TV-23. Archival materials are kept in accordance with FCC regulations. The general public should expect to make duplications with personal equipment. By Federal law, the City cannot make copies of programs that is does not own the copyright to; including programming produced by outside agencies or the City's government partners.
No Assurance of Broadcast
Whether the City of College Park will cablecast any particular audio-only programming is in the sole discretion of PIO, and no assurance is either expressed or implied of such broadcast as a result of these policies.
Equipment and Facilities Use
TV-23 audio/visual production equipment and facilities are to be used only for the production of City or City-sponsored meetings, events, and activities. Loaning, renting, or use of the equipment for personal or commercial use is strictly prohibited.
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Located minutes away from the Hartsfield-Jackson Atlanta International Airport, the City of College Park provides access to all of Atlanta's amenities while maintaining the charm of a friendly, metropolitan neighborhood. By combining business and entertainment throughout the city, College Park offers an atmosphere where residents and visitors are able to work and play.
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Tasmania's largest farm up for sale
A MASSIVE farm extending to 22,000 hectares is up for grabs in Tasmania after it was put on the market by its New Zealand owner.
Rushy Lagoon is the biggest farm in Tasmania, an Australian island state south of Melbourne, and is owned by Alan Pye who purchased it in 1996.
The sale has created a huge deal of interest among overseas investors for this farm which incorporates the neighbouring properties of Red Hills and East Wyambie that Alan also purchased over the years.
Home to four dairies milking 4000 cows, supported by 1000ha of centre pivot irrigation, Rushy Lagoon also operates 7000ha of arable pasture and 7000ha of grazing country supporting 7000 beef cattle and 7000 sheep.
Mr Pye paid $8.2m at auction for Rushy Lagoon in November 1996 when he bought it from Bert Farquar, with plans to add dairies to the property.
Peter Ryan from CBRE Agribusiness, a farm advisory business for investors, said: "I think Mr Pye likely looked at the current market situation and thought it was a good time to sell really.
"Given he has a lot of other interests and over the course of his long and distinguished career in agriculture, he has bought and sold very well with the ebb and flow of the market."
It is anticipated the farm will sell for over $70m and is most likely to be sold to a corporate buyer.
Peter added: "Strangely enough there's been some New Zealand interest, who are already buyers and operators of dairy farms in Tasmania. New Zealanders have long liked Tasmania as an operation. The others that have tapped us on the shoulder are dinky di Aussies."
There has been a great deal of controversy generated in the past by sales of large Australian farms to overseas investors, which has prompted the government to introduce new regulations.
Federal Treasurer Scott Morrison announced new regulations stating that farms worth more than $15 million would need to be advertised locally for 30 days before it could be sold to an overseas buyer. This is part of guidelines the Foreign Investment Review Board considers when assessing the sale of farmland.
However, it is believed the sale of Rushy Lagoon does not fall under these regulations as the owner moved ahead of the government announcements.
Mr Ryan added: "Alan had decided to take the property to market well before we were surprised by Treasurer Morrison's decision with regard to the new regulations. People are used to these days the requirements for foreign buyers to go through the Foreign Investment Review Board procedures. That seems to work well for most people," he said.
The property is listed for sale on a new owner walk in, previous owner walk out basis or in different lots.


What is a restoration (filling)?
A restoration is a way to fix a tooth damaged by decay back to its normal function and shape. When a dentist restores your tooth, he or she first removes the decayed tooth material, cleans the affected area, and then fills the cleaned out cavity with a filling material. By closing off spaces where bacteria can enter, a filling also helps prevent further decay. Materials used for resortations include gold, porcelain, a composite resin (tooth-colored fillings), and an amalgam (an alloy of mercury, silver, copper, tin and sometimes zinc).
Which type of restorations (fillings) are best?
Gold restorations are made to order in a laboratory and then cemented into place. Gold inlays are well tolerated by gum tissues, and may last more than 20 years. For these reasons, many authorities consider gold the best restoration material. However, it is often the most expensive choice and requires multiple visits.
Porcelain restorations are called inlays or onlays and are produced to order in a lab and then bonded to the tooth. They can be matched to the color of the tooth and resist staining. A porcelain restoration generally covers most of the tooth. Their cost is similar to gold.
Composite (plastic) resins are matched to be the same color as your teeth and therefore used where a natural appearance is desired. The ingredients are mixed and placed directly into the cavity, where they harden. Composites may not be the ideal material for large fillings as they may chip or wear over time. They can also become stained from coffee, tea or tobacco, and do not last as long as other types of restorations, generally from three to 10 years.
Amalgam (silver) restorations are resistant to wear and relatively inexpensive. However, due to their dark color, they are more noticeable than porcelain or composite restorations and are not usually used in very visible areas, such as front teeth.
If decay or a fracture has damaged a large portion of the tooth, a crown may be recommended. Decay that has reached the nerve may be treated in two ways: through root canal therapy (in which damaged nerve is removed) or through a procedure called pulp capping (which is attempts to keep the nerve alive).
Fitting a crown requires at least two visits to our office. Initially, we will remove decay, shape the tooth, and fit it with a temporary plastic crown.
Many people have unexplained pain from filled back teeth, which is usually due to hairline cracks in the chewing part of the tooth. Placing crowns on these teeth relieves the pain and allows a return of full dental function for these teeth. In front teeth, older fillings can both weaken the teeth and cause "appearance" problems due to staining or chipping. Porcelain crowns and bridges are suitable in cases where porcelain onlays are not. In teeth with root canal fillings, crowns can prevent breakage.
A bridge — a permanent device used to replace missing teeth — attaches artificial teeth to adjacent natural teeth, called abutment teeth. Bridges are permanently attached.
A bridge is a device which fills the gap where teeth are absent. Fixed bridges are bonded into place and can only be removed by a dental professional. Fixed bridges offer more stability than their removable counterparts.
Oral functionality and appearance are important reasons for considering a bridge. A bridge helps support your lips and cheeks. The loss of a back tooth may cause your mouth to sink and your face to look older. A bridge also maintains the proper position of remaining teeth surrounding the area of the missing tooth. Remaining teeth are at risk of drifting and supra erupting into the space of the missing tooth causing problems for otherwise healthy teeth.
Inlays and onlays can be made of porcelain, gold, or composite resin. These pieces are bonded to the damaged area of the tooth. An inlay, which is similar to a restoration, is used inside the cusp tips of the tooth. An onlay is a more substantial reconstruction, similar to the inlay but extending out over one or more of the cusps of the tooth.
Traditionally, gold has been the material of choice for inlays and onlays. However, porcelain has become increasingly popular due to its strength and color, which can potentially match the natural color of your teeth.
Traditional restorations can reduce the strength of a natural tooth by up to 50 percent. As an alternative, inlays and onlays, which are bonded directly onto the tooth using special high-strength resins, can actually increase the strength of a tooth by up to 75 percent. As a result, they can last from 10 to 30 years. In some cases, where the damage to the tooth is not extensive enough to merit an entire crown, onlays can provide a very good alternative.
The dentist will ensure that your veneers are crafted from the highest quality porcelains and are bonded with the most advanced and proven materials available.


Olean General Hospital is currently seeking a Full time General Dentist to join our established, hospital owned dental office. Gundlah Dental Center is located right on the hospital's main campus. This is an excellent opportunity to provide high quality dental care with a focus on patient satisfaction in a modern facility that opened in 2006.
11 A-dec chairs, Dentrix 3D electronic charting system and digital radiography.
Clinical support including other full time dentists, hygienists and dental assistants.
Providing the following services: cleanings, filings, sealants, fluoride treatments, root canals, extractions, crowns, bridges, custom dentures and partials.
Recreational activities for every season including: biking; boating; hiking; kayaking; and skiing; and much more!
If you are interested in providing excellent dental services for an underserved population, please contact Lauren Keim at lkeim@uahs.org or 716-375-6938.