Of all your outdoor tools, gasoline-powered lawn mowers suffer the greatest abuse. Subjected to season after season of chewing grass, ramming through weeds, hitting dirt and rocks, and sometimes being left out in the rain, these gas-powered machines take their share of beating. Few homeowners properly maintain their lawn mowers, believing that these hardy machines will keep working forever. But, like any other tool, they will eventually break down.
Before you have a fire, you need a spark. Internal combustion machines are little more than small, contained fires that are harnessed to turn a drive shaft. And the part that creates the spark is the all-important spark plug.
The problem with spark plugs is that they can be either disconnected, loose, dirty, or defective.
You will find the spark plug located on the side of the engine, pointing sideways. The spark plug may not be immediately obvious because it is hidden by a protective rubber cap, and the cap itself is attached to the spark plug wire. The cap forms a 90-degree angle to keep the wire fitted close to the engine.
Grasp the rubber cap and pull straight outward. This will release the cap and wire.
To remove the spark plug, use a spark plug wrench or deep socket (13/16 in. or 3/4 in.) attached to a ratchet wrench. Carefully turn the wrench counter-clockwise. Do not force it or you may end up breaking off the spark plug.
Disconnected Wire: The plug wire may be visibly disconnected with the wire entirely loose and dangling onto the lawn-mower deck. Or the wire may be only slightly disconnected but the rubber cover makes it look as though it is still attached. The solution is to firmly push the wire back onto the spark plug.
Loose Plug: Over time, the spark plug itself (not the plug wire) may have worked its way outward, losing contact with the engine. This is easily solved by gently tightening the plug clockwise with the spark plug wrench or ratchet wrench.
Dirty: Dirt, oil, grass, and other forms of gunk may have infiltrated the spark plug, compromising its ability to spark. Instead of discarding the plug, it is possible to clean minor deposits. After disconnecting the spark plug wire, use a rag to clean the area around the spark plug – before removing the plug. This helps avoid getting debris in the combustion chamber when you remove the plug. Unscrew the plug. With a wire brush and spark plug cleaner, gently brush away any minor deposits.
Rarely will a dirty, clogged air filter cause your mower to immediately stop running. Rather, if you continue using a mower with a clogged filter, damage will occur to your mower's engine slowly over time as the engine is unable to draw an adequate quantity of cooling air to run properly. Eventually, the mower will fail.
Loss of Power: The mower loses its power and threatens to stall, especially in such problem areas as tall or wet grass.
Excessive Fuel Consumption: As an example, if you were previously able to mow your lawn two full times before the tank runs out of gas, and now you consistently cannot finish that second mowing, your fuel consumption rate has increased. A clogged air filter may be one of the causes of this.
Engine Running Rough: A sputtering, coughing engine that does not run smoothly cannot draw in enough air.
Locate the air filter on the side of the engine, typically behind a plastic or metal cover. Depending on your model, you will use either a screwdriver or wrench to loosen the screws or bolts holding the cover in place. Set the cover aside.
Pull the filter out. Examine the frame for cracks and the paper pleats for tears or holes. If you discover either condition, discard the filter as it cannot be cleaned.
Paper filters can be gently tapped to loosen the debris or cleaned with a shop vacuum. Foam filters can be washed in warm water with a mild detergent and left to air-dry.
In most cases, it is better to replace than attempt to clean your air filter as air-inhibiting particles may be too small to shake or vacuum out.
To replace the filter, locate the filter cover as described above and remove it. Use the filter as a reference or consult your owner's manual to find out what the correct filter for your mower is.
Fuel must move freely through the lawn mower's engine for it to run. Fuel that cannot reach the engine is a major reason that mowers do not start.
Begin by practicing safety: disconnect the spark plug as outlined above; wear latex or nitrile gloves to protect your hands from caustic gasoline; wait until the engine is completely cool; drain the fuel tank; and have a small empty container nearby to catch any spills.
If your mower has a fuel valve that is located at the base of the fuel tank, turn this to the "Off" position.
Remove the metal housing the covers the engine to access the fuel tank.
Lift out the fuel tank.
With pliers, disconnect the fuel line by squeezing the spring-loaded clamps at each end of the line. The fuel line connects the carburetor to the fuel tank.
Examine the fuel line. If it is cracked – a common occurrence – replace it with a new one. If the fuel line is in good shape, use a can of compressed air to clear it.
When your lawn mower will not start, in most cases, the spark plug, air filter, or fuel system is the problem. These are easy fixes that you can do yourself.


text:
Sprecher/Autor: Christopher Glyn & Christopher Glyn
Reportedly written by the prophet Ezra after the Jewish return from captivity in Babylon, the... mehr
Produktinformationen "Ezra"
Reportedly written by the prophet Ezra after the Jewish return from captivity in Babylon, the first book of Chronicles recapitulates the history told thus far from Adam to Solomon. This book includes many genealogies, family histories and religious information, but the focus of these chapters is on King David's house. 1 Chronicles provides a different perspective through the eyes of a priest, and was written to remind the Jewish people both of their heritage and of God's promise to King David that his descendants would rule in Jerusalem forever. At a time of great hardship for the Israelites, this book emphasises that God's promises still remain steadfast for those who have faith.
British narrator Christopher Glyn, who draws on 35 years experience as a Christian narrator and broadcaster to bring you this expressive reading which captures the beauty and power of God's Word and makes the King James English clear and easy to understand.
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Eugene, OR – These elections have brought some needed fresh air into the political discourse - but it is only a brief respite. Thank you to all of you who blockwalked, called, organized and were seen in action or online; your contributions made a difference.
Please save the date for the upcoming Pacific Green Party Convention, Skills Share and Social. It will be held on December 1 and 2, at the Ike Box Cafe in Salem. More information can be found at www.pacificgreens.org/news and below.
We have ambitious plans for the next 2 years, including proposals for a Popular Education campaign and Listening tour to East and South Oregon; running well-thought out campaigns for 2020, connecting with key allies like MovetoAmend, SEIU and FairVote to do the groundwork - By the end of 2020 we will have at least eight active chapters across the state.
What we will need is 1) you and your special skills; 2) and fuel to put those plans into effect.
A $5-$10 monthly donation for 2 years will provide the money for brochures, shwag, travel expenses and meetings like the convention. Bend has been floated as the location for the Summer 2019 nominating convention. Feed your non-corporate democracy: Click here and commit for 2 years.
If you cannot make it to the convention but want to become actively involved in your area, please send a message to pointteam@pacificgreens.org and please list what skills you want to offer and where you are located.
11:00 am - 4:00 pm: Campaign Strategy and Skillshare, sponsored by the Women's Caucus - limited space, pleaser pre-register for this. The purpose is to lay the ground for the campaigns in 2020. We will need many of you to get involved.
The Women's Caucus is looking for someone with technology savvy to help us coordinate teleconferencing meetings so we can work together across the state.
This will be the best opportunity to meet and discuss the direction of the party going forward.
Mostly internal party business decisions (albeit important decisions) - please go to www.pacificgreens.org/news. We will be updating the page to keep the most current information posted.
May we keep in our thoughts those devastated by fires, mass shootings, war and famine, including non humans.
Did you know that you can donate to the Pacific Green Party of Oregon AND get up to a $50 credit ($100 if filing jointly) on your 2019 Oregon state taxes? That's right: it's a full 100% credit, not a deduction. Your donation will cost you nothing if you qualify for the credit! You can find out all about the Oregon Political Tax Credit here.
P.S. you can help us make efficient use of your money by donating monthly via direct bank account debit or credit card. To become a monthly sustainer send an email to treasurer@pacificgreens.org with a subject of monthly sustainer or call us at (541) 516-6059 and our Treasurer will contact you directly.


text:
Q: Perl: How can I periodically move certain files from one folder to another? I need to move files that have a certain file-name from a source folder to its specific destination folder to another in alphabetical order one by one every, say, 5 minutes.
this is what i've come up with so far...
#!/usr/bin/perl
use strict;
use warnings;
my $english = "sourcepath";
my $destination = "destination path";

#for(;;)
#{
opendir(DIR, $english) or die $!;
while (my $file = readdir(DIR))
    {
    next unless (-f "$english/$file");
    next unless ($file =~ m/english/);
    move ("$english/$file", "$destination");
    }
closedir (DIR);
#sleep 10;
#}
exit 0;

The problem now, is that I am not able to move them alphabetically one by one... Any pointers? Thanks

A: If you want to process the files in alphabetical order, sort them. To get their list, you can use readdir in list context:
opendir(DIR, $english) or die $!;
my @files = sort readdir DIR;
for my $file (@files) {
    # ....
}

A: In stead of
while (my $file = readdir(DIR))

You can get the files in alphabetical order like so:
for my $file (sort readdir(DIR))

Thumbs up for using strict and warnings. Consider reading up on perlstyle for tips on how to properly format the code.

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text:
#import <Foundation/Foundation.h>

static BOOL _SentryInitializeForGettingSubclassesCalled = NO;

/**
 * Be aware that the initializer of a class is only called once during the lifetime of an
 * application. Therefore use this only in one test only.
 */
@interface SentryInitializeForGettingSubclassesNotCalled : NSObject

@end

/**
 * Getting the value of _SentryInitializeForGettingSubclassesCalled is not working in Swift. Adding
 * wasCalled to SentryInitializeForGettingSubclassesNotCalled would call the initializer. Hence, we
 * use another class to check if the initializer was called.
 */
@interface SentryInitializeForGettingSubclassesCalled : NSObject

+ (BOOL)wasCalled;

@end

redpajama_set_name: RedPajamaGithub


text:
Q: Parsing a decimal from a DataReader I found a workaround for this error, but am now really curious as to why this would be happening, was wondering if anyone else has had this error.
My function is as follows:
public void Blog_GetRating(int blogID, ref decimal rating, ref int voteCount)
{
    // Sql statements
    // Sql commands

    if (DataReader.Read())
    {
        // this line throws a 'Input string was not in a correct format.' error.
        rating = decimal.Parse(DataReader["Rating"].ToString());

        // this works absolutly fine?!
        decimal _rating = 0;
        decimal.TryParse(DataReader["Rating"].ToString(), out _rating);

        rating = _rating;
    }
}

Anyone ever seen that before?
What's even weirder is if i type this:
rating = decimal.Parse("4.0");

that works fine, the 4.0 is what is coming out from my DataReader.
As I said previous, the TryParse method works fine so it's not stopping me from carrying, but now I'm really interested to see if anyone has an answer for it.
Looking forward to some replies!
Sean
EDIT - SOLVED
The decimal.Parse method was working fine, the second time the function was running (was in a loop), a post hadn't been rated so a null value was being returned by the data reader. Wrapping COALESCE round my calculation in SQL solved the problem fine. Hence why, as you said, the tryparse method wasn't throwing an exception, just keeping the default of 0 to _rating.

A: You are saying this:
    // this works absolutly fine?!
    decimal _rating = 0;
    decimal.TryParse(DataReader["Rating"].ToString(), out _rating);

But you didn't actually check the return value of TryParse.  I would guess that your TryParse is actually failing (returning false), since decimal.Parse and decimal.TryParse use the same "rules" for parsing, given the overloads you're using.
I suspect that neither is working as you think.  Both are probably failing, but TryParse won't throw.

A: That doesn't look weird to me at all.
Decimal.Parse() is supposed to throw an exception for bad formats.  Decimal.TryParse() will not throw that exception, but instead just return false.  The kicker is that you're not checking the return value from Decimal.TryParse().  I'll give you real good odds that Decimal.TryParse() returns false for every input that causes an exception with Decimal.Parse(), and true everywhere else.  And when Decimal.TryParse() returns false, the output argument is always just "0".
The one possible caveat is localization.  If Decimal.Parse() is complaining about a seemingly normal input, you might check if the number format (current culture) used on your server uses a comma rather than a decimal to separate the coefficient from the mantissa.  But given your "4.0" test worked fine, I doubt this is the problem.
Finally, when doing this conversion from data reader you should consider the source column type of the data reader.  If might already be a decimal.  Why convert it to a string only to convert it back?

A: The sql decimal column won't parse to a string that can convert to a Decimal, so tryparse will return false.  Try something like this:
 if (Convert.IsDBNull(reader["DecimalColumn"]))
     {
        decimalData = 0m;
     }
     else
     {
        decimalData = reader.GetDecimal(reader.GetOrdinal("DecimalColumn"));
     }

A: I am facing same problem today.
Try this:
rating = decimal.Parse("4,0");

It will give you same error.

The reason behind this is the culture. In the French culture, 4.0 is represented as 4,0, and hence it throws an Exception.
decimal.TryParse is culture invariant method and hence it works fine you.

A: Change your TryParse to this and try again:
if (!decimal.TryParse(DataReader["Rating"].ToString(), out _rating))
{
  throw new Exception("Input string was not in a correct format");
}

I bet this does throw...


text:
Litmanen: Coutinho perfect for Barcelona
Sazali Abdul Aziz
Sports Correspondent
Liverpool star Philippe Coutinho has the DNA of a Barcelona player, and would fit in seamlessly alongside the Catalan club's superstars should he make the switch to Spain.
That is the view of former Finland star Jari Litmanen, who was one of the world's finest playmakers, and turned out for both Liverpool and Barcelona.
Barcelona were left disappointed in their pursuit of Coutinho in August, with Liverpool reportedly turning down three bids, the final of which was rumoured to be in the region of £115 million (S$206 million).
But recent reports have suggested the La Liga side are preparing another bid for the 25-year-old Brazilian.
JANUARY BID
Barcelona chief executive Oscar Grau this week claimed the club are prepared to renew their interest in Coutinho during the January transfer window.
Said the 46-year-old Litmanen: "Coutinho has shown why he is an important player for Liverpool. Obviously, there was some kind of interest in him from Barcelona (in the summer).
Show players yellow cards for hugging, suggests UK politician
Liverpool can retain title without being at best, says Fowler
Sheffield United denied first win as Brighton grab late equaliser
United close to winning big trophies: Rashford
"Barcelona are a great, special club, and so are Liverpool.
I don't see any problems if, one day, he were to play for Barcelona. Former Liverpool and Barcelona player Jari Litmanen, on Philippe Coutinho
"Coutinho is a clever player who is technically excellent, so I don't see any problems if, one day, he were to play for Barcelona.
"That is, of course, speaking in theory, and things might not (work out) so well if he did go.
"But, to me, he has everything you need as a Barcelona player."
eplliverpoolbarcelona
msazali@sph.com.sg
@SazaliAbdulAziz
Read articles by Sazali Abdul Aziz


In any discussion of Methods of Underground Mining Comparison, one is repeatedly confronted with the difficulty of dealing with so many variable conditions. It is not an exact science and in the choice of a method each varying factor has a certain weight, which, in many cases, experience alone can determine. In mathematical terms, it is a function of many variables.
A discussion of Underground Mining also loses much of its value unless costs are considered, because the expectation of profit is the only excuse for carrying on mining at all. As conditions vary they cause fluctuations in cost and there are few operations to which a definite cost can be assigned. The character of the ore may make it difficult to drill, yet because of the ease with which it breaks the total cost of drilling and blasting may be low.
In preparing this article the attempt has been, not to cover the whole field of mining, but to describe the different methods of stoping and mining which have distinct principles. In addition to this an effort has been made to show the advantage of dissecting the methods into their detailed operations and applying to these a mathematical study as an aid to the judgment in determining which is the best method to adopt, or in attempting to reduce the cost of a method already in use.
Methods of mining include stoping, caving, and various methods of working large deposits which, in addition to the method of actually breaking the ore, require elaborate and definite plans of, development of the orebody. The ordinary methods of stoping are too familiar to all for any elaborate discussion, but it has seemed advisable to review the subject and give the principal advantages and disadvantages of the different methods.
Character of the ore, whether high or low in grade.
Whether the values are regularly or irregularly distributed.
Physical character, whether hard or soft, tough or brittle.
Character of the country rock.
Immediate and future demands for ore.
Amount of development work done or that may be necessary.
Amount of water to be handled.
Cost of power, timber, and supplies.
Whether drilling is to be done by hand or with machine drills.
Ore is hoisted to the level above; Cornish stoping.
Ore is drawn from the level below.
Cutting out, or lead stoping.
Longitudinal back, flat-back, or long-wall stoping.
The method of underhand stoping in which the ore is drawn to the level above (B, Fig. .1), is called Cornish stoping. It finds application only when it is necessary to mine a lens of good ore below a level and it is not practicable or financially possible to do the necessary development to come up from underneath. Its disadvantages are the excessive cost of raising both ore and water.
Ease in drilling down holes when drilling is done by hand.
Holes are drilled wet and dust is eliminated.
No platforms are required on which to drill.
Limited to steeper pitches than overhand stoping because the ore does not work straight down the foot wall to the raise; in flat pitches this would necessitate more shoveling.
Limited to good walls if the vein is steep. Loose rocks sluff off from poor walls and endanger the workmen below.
Levels ordinarily must be driven closer together to reduce the height of the unsupported walls; this necessitates an added cost of development.
Raises must be put up at frequent intervals. This work in some cases amounts to 35 or 40 per cent, of the total development.
No ore reserves are possible.
The waste that can be sorted in the stope if the vein is steep is limited to what can be thrown on lagging supported by stulls. Certain efficient types of stoping drills cannot be used.
"uppers" in a shift. South Africa had its native labor which could not be taught to drill them. It might seem on first thought that the disadvantages are so numerous that they preclude any chance of the method being adopted under ordinary labor conditions, but I have examined mines where the combination of conditions in narrow veins indicates very strongly that the method would be more economical than overhand stoping and quite as safe.
Stoping can be started directly from the level without any raises or winzes.
Levels can be driven far apart. These two considerations mean less cost for development.
Advantage is taken of the force of gravity in breaking the rock.
Miners work at the back and can inspect it so that the danger of falling rocks is largely eliminated.
Either ore or waste can be stored in the stope.
A flatter seam can be worked than in underhand stoping without the necessity of shoveling, as the ore runs directly down the pitch and is given an impetus by the blast.
Water takes care of itself.
Pillars of ore or waste can be left easily.
In most cases holes must be drilled up or flat.
If the stope is not filled with ore or waste, stulls and platforms must be used, even though the walls require no support.
If the raises are far apart ventilation is poor.
Starting an Overhand Slope.—In Fig. 2 are shown various methods of working the back in overhand stoping. To start the stope, if the ore is low grade and timber is scarce, a pillar or pillars are left above the level as shown in A, and if the ore is high grade it is all removed above the level and stulls are placed as shown at B. To start a stope as shown at B, a cutting out or lead stope is broken immediately above the level as shown at D, Fig. 2. C, Fig. 2, is a wide raise or raise stope, which is one method of opening an overhand stope, and E is a drift stope, which is a term used in the Lake Superior copper mines and means a wide and high drift as a start for the overhand stoping.
If the stope is filled with waste or ore it is more convenient for men to work on a level surface. Tramming, shoveling, or sorting in the stope can be done to better advantage, and waste raises can be driven farther apart.
Square sets may be conveniently placed by making the benches the proper height.
Timber struts or cribs can be used between the filling and the back, in case the latter is weak.
A long stope distributes the broken ore well along the level, and tramming is thus facilitated.
The principal disadvantage of a flat-back stope is that if filling is used, and kept close to the back, it must be distributed in wheelbarrows or cars.
When waste filling is run in from the raise it has a sloping surface which makes it difficult to keep ore and waste from mixing, and is unhandy for men to work.
Raises must be put in at frequent intervals, and the added cost of, these raises may exceed the cost of spreading the filling in a flat-back stope.
Ore chutes must be carried up through the filling, and the timber used in their construction cannot be recovered. This is a disadvantage as compared with shrinkage stoping.
At F, Fig. 2, is shown a method of rill stoping in which the benches are inclined so that down holes can be used. Down or water holes give off no disagreeable dust, and can be drilled faster with piston machines.
This method of carrying the back in an overhand stope is shown at G, Fig. 2. It is claimed that it makes drilling more convenient if machine drills mounted on a bar are used.
Shrinkage stoping refers to any overhand method in which the stope is kept full of broken ore until it is completed. The miners stand on top of the broken ore and work at the back. As broken ore takes up more space than ore in a solid mass, about 35 to 40 per cent, of it must be drawn to leave room for working.
Raises may be placed far apart.
The broken ore serves as a support to the walls. This does away with the necessity for much timber.
The miners work on top of the broken ore; timber platforms are eliminated, and the work is made much easier. It is also convenient to work a larger number of men in the stope.
A large ore reserve is maintained.
Large rocks can be broken with sledges in the stope and blocking the chutes is avoided.
No ore passages are required from the level up to the back of the stope. Manways are necessary up through the broken ore, but the timber used in their construction can usually be recovered when the ore is drawn.
Ventilation is better than in an empty stope.
Stoping must be kept ahead of the demand for ore. This requires additional capital.
There is practically no opportunity to sort ore in the stope.
Ore filling is not permanent and the stope may cave when it is withdrawn.
Scaling or unstable walls may cause waste to mix with the ore or prohibit the use of the method altogether.
Although shrinkage stoping is rather generally used, it would be used more if it were not for the fact that many mines are hot in a condition to keep an ore reserve, but must draw the ore for the mill as fast as it is broken. The added efficiency to be obtained from the miners when working on a firm floor of ore, and not on loose lagging laid on stulls, is a very important advantage of the method.
In a discussion of stoping methods, steeply pitching veins are usually referred to, because the majority of veins in nature are steeper than 45°, and also because to refer each method of stoping to veins of all dips causes confusion. Before considering combination stoping, however, a brief resume of the methods of handling ore in veins of different dips is necessary. In veins dipping from 35° or 40° up to 90° the ore runs down by gravity. From 20° to 35° it must be assisted by shoveling, or by using chutes with smooth bottoms or placed at an angle steeper than, that of the vein. From 10° to 25° the ore may be taken down to the level by shoveling, shaking chutes, mono-rail trams, gig-back railways, or conveyors. From veins that are horizontal up to those having dips of 10° to 15° tracks are usually laid on the foot wall and cars are pulled up to the face by men or animals. An animal can pull an empty car up a 6° slope and a loaded car up a 3° slope. So in dips greater than 6° the track must be laid at an angle with the line of the dip.
In combination stoping, which is illustrated in Fig. 3, and which is a combination of underhand and overhand stoping, it is possible to keep the working face more nearly in a line parallel to the raises and perpendicular to the level. This is a distinct advantage if a stationary or shaking chute is being used to carry the ore to the level, because a large part of the face of the stope is accessible to the chute. This becomes a double advantage if a large output is required. In combination stoping development work is also reduced because levels may be driven far apart, and fewer raises are required than in simple underhand stoping.
This is an extreme of combination stoping in which the working face of the stope is vertical. The face is parallel to the raises just as the face in flat-back stoping is parallel to the levels.
becomes either underhand or overhand stoping. In some cases the benches in underhand or overhand stoping are called breasts, and the method breast stoping, but I believe that is not the usually accepted definition. Breast stoping, in the strict sense, is the only name applicable to the mining of a horizontal slice, such as the sill floor of a large overhand stope, or the slices in the top-slicing method.
each sublevel is drawn back; the broken ore is drawn off through the funnel-shaped raises, which leaves a large open stope. The sublevels are driven about 25 ft. apart vertically, and 8 to 10 ft. are shot off from each bench from the sublevel below. Obviously where there is a capping above the ore, as shown in the cut, part of it will fall when the upper bench is blasted and part or all of this ore may be lost. "When the ore is from 50 to 100 ft. wide, a narrow stope of about one-third of the width of the ore is drawn back through the middle, leaving a pillar of ore standing on each side." These pillars or slabs left against the walls are then drawn back in the same manner. The method is applicable to veins from 12 to 100 ft. wide, or wider, if pillars are left between stopes, and evidently comes into competition with shrinkage stoping, square-set stoping, and top slicing. It requires expensive development but permits a large tonnage to be broken in a relatively small stope. The working back of the slices on the sublevel is expensive mining, but after that is done the rest of the ore blasted from the benches requires a comparatively small amount of powder.
Square-set stoping may refer to any method of stoping in which square-set timbers are used. Unless otherwise specified, however, the term is limited to overhand flat-back stopes in which square sets are used, either with or without waste filling. Square-set mining is advantageous when the vein is wide and the walls will not stand without timbering and shrinkage stoping cannot be used; when, on account of surface conditions, caving cannot be allowed, or where caving might cause the loss of other orebodies; when the ore changes rapidly in grade and requires frequent sampling; when the orebody is irregular in outline; and when old stopes may have to be approached or passed through at some later time.
Mine workings are filled with waste as an aid to timbers in supporting weak walls or back, or to avoid fully or in part the use of timbers. Workings that must be prevented from caving for a length of time in the future are best protected by waste filling. The filling may be waste rock from development, rock blasted from the walls or surface for the express purpose of filling, or, if available, sands, from concentration mills make excellent filling and are cheaply placed in the stopes.
There are three distinctive methods of working large deposits that involve, in some way, the factor of caving. Slightly different names are in use, but those that are simple as well as descriptive are top slicing, sublevel caving, and block caving. In a discussion of these methods, three things must be borne in mind: that the methods are usually applied to massive deposits; that the deposits are usually divided into blocks or panels, and the description of mining one panel is practically a complete description of the method; and that, in most cases, the orebodies do not come to the surface but are covered with a capping. This capping may be glacial drift, as in some instances in the iron regions around Lake Superior, or it may be rock from which the ore values have been leached, as is the case at some of the large copper deposits.
capping lying above the ore is supported on square sets or posts until a slice, or part of a slice, has been worked. The floor of the slice is then covered with slabs or plank and the supporting timbers are shot out and the capping is allowed to cave on to the timber floor. This floor and the broken posts form what is called a mat, which keeps ore and capping separated. The miners then start in the raise and work out another slice of the ore just under the previous one and catch up the timber mat with posts or square sets. When this slice is completed another floor is laid and the supports again blasted. In this manner the ore-body is worked in successive slices from the top downward. The broken ore from each slice is run to the raise in wheelbarrows or cars and dropped to the haulage level. The capping caves and follows down on top of the mat.
In this method the ore is not caved at all, but the ground above the ore does cave, and the surrounding country will cave more or less according to the amount of ore removed. If there are any other orebodies in the region affected by the cave, they will be lost or their recovery made more difficult. This is one of the reasons which may prohibit the use of caving methods. Also, unless the deposit is small compared to the distance to the surface, surface subsidence will take place and the surface must be free from buildings or roads. Top slicing is adaptable to heavy ores that can be mined easily, and require heavy timbering and filling if worked by overhand stoping. Deposits of large extent, over which the overburden will cave readily, are customary conditions. In some cases, top slicing may require as much or even more timber than an overhand stope with square sets, but for very heavy ore, which if worked overhand necessitates strong sets, reinforced and braced, it takes less timber, and in any case poorer timber may be used.
The following are the advantages and disadvantages of top slicing, chiefly as compared with overhand square-set work or with other methods of caving.
Cheaper timber, and for heavy ores less timber, is required than for square-set stoping.
No waste filling is necessary.
Ore can be sorted as mined.
Very little waste from the capping becomes mixed with the ore.
Less skilled labor is required.
Any rich fine ore produced in breaking will be saved on the slice below.
Complete extraction of the ore is possible.
Caving may cause injury to surface structures or render unworkable other orebodies in the region.
Mining the ore by breast stoping requires more drilling and blasting.
Broken ore on the slice must be shoveled into barrows or cars and , taken to the raises.
Development must be kept ahead of the demand for ore.
It is difficult to leave bodies of low-grade ore which may be found in the deposit.
Ventilation is difficult, and in some cases, the decaying timbers in the mat give off heat,and obnoxious gases.
It is possible to work only on the top of the ore, and although several slices may be worked at the same time, it is not possible to establish work at different levels. This may make it difficult to obtain a required tonnage from a deposit of small horizontal section. Capping should cave readily, and not arch, or the method may become very dangerous.
of ore is left above the slice, however, and when a small portion of the slice has been mined out, this back is allowed to cave. Fig. 6 shows a block or panel of ore worked by sublevel caving. Raises are put up from the haulage level, and from these sublevel drifts are driven 14 to 20 ft. apart vertically. When these drifts reach the boundary of the property, or of the panel to be worked, cross drifts as a, b, and c are driven across the block and timbered. The back of ore is thus undercut but is supported by the drift timbers. The timbers of cross drift a are next blasted and the weight of the capping caves the back of ore down on to the floor of the slice, where the miners shovel it into cars and push it to the raise. A timber mat may be used as in top slicing. Sublevel caving is adaptable to massive deposits or wide veins in which the ore is not difficult to break, yet is firm enough to hold the capping while supported by the drift timbers. An overburden that will readily cave is necessary.
The cost of mining is low, because a large percentage of the ore is broken with little or no blasting, and the amount of timber used is small.
A large output is possible.
A large percentage of the ore can be saved.
The ore can be kept freer of waste than in block caving.
It is limited in application to certain ores.
A large amount of development is required which must be kept ahead of the demand for ore.
A large part of the ore must be shoveled.
Caving endangers surface and other ore deposits.
There is some danger to the miners.
Block caving is an extreme case of sublevel caving in which instead of a back of ore 5 to 10 ft. thick, one 50 ft. thick is undermined and allowed to cave. The method is illustrated in Fig. 7. After the bottom of the block, or panel, is cut up into pillars by drift's and cross drifts, the pillars are robbed, and then the remaining stumps are blasted out with one large blast. This allows the entire block above to cave. In settling it disintegrates so that it can be shoveled with very little additional blasting. For a block to cave it is usually necessary for it to be freed on one or more sides. This is done, as shown in the cut, by narrow stopes, called isolating stopes. After the ore has settled for from two to six months timbered drifts are driven through it. The broken ore is allowed to run into these drifts, starting farthest from the shaft, is shoveled into cars and trammed out. As soon as capping shows at any point shoveling is stopped.
The cost of mining is low because very little drilling and blasting, or timbering is required.
The amount of development is small.
The method is limited in application to low-grade ore of such character that it will cave and disintegrate.
A large amount of ore becomes mixed with capping and lost.
There is no opportunity to select or sort the ore.
main stopes and allowing the rest of the ore in the center to fall of its own weight. That is, a large percentage of the ore is mined by caving. The broken ore is drawn off through chute raises in the bottom of the stope.
As far as I am aware, the preceding pages cover every method of mining that has a distinctive feature and can be readily classified. There are innumerable different systems of mining but they all involve only these principles, or modifications and combinations of them.


Last February, Rene Haynes was standing in line at a Los Angeles Costco when her phone buzzed. She didn't recognize the number, but as a Hollywood casting director, she's used to urgent calls from strange numbers at all hours of the day. This one was from a fellow casting director, Mark Bennett. He was looking for Native actors to audition for a lead role in an independent film set in Montana.
The cashier scanned Haynes' groceries as Bennett described the character—a reclusive ranch hand, the strong, silent type, grounded. Haynes, a UM theatre and dance alumna whose casting credits include Dances with Wolves, the Twilight series, and The Revenant, knew the perfect person. The conversation was over before she pushed her cart into the parking lot. She'd given Bennett only one name: Lily Gladstone, a relatively unknown young actor from Montana's Blackfeet Reservation.
At the time, Gladstone was between acting jobs and wondering about her future. When her agent called, she quickly recognized the scale of the opportunity.
She spent two weeks learning about the role. First she bought a pair of work boots and a flannel shirt. She wore them every day to get comfortable in her character's wardrobe. She studied the script. Her character had broken bones, so she practiced moving with creaks. Finally, she drove to tiny Belfry, the town where the story was set. She wanted to feel her character's landscape. After all that, two friends helped her film some scenes, which she sent to the director, Kelly Reichardt.
Three days later, she got the call: The role was hers. She screamed. She paced. She called her mother. And then, shortly thereafter, she spent almost six weeks on set near Livingston, acting across from Kristen Stewart in Certain Women, a feature film based on three short stories by Helena native Maile Meloy.
"It's pretty revolutionary that part went to an almost total unknown and that it went to me, a Native actress, without it being a trope," Gladstone says.
For a future movie star, Gladstone had a suitably cinematic birth. Her parents lived on the Blackfeet Reservation, and when her mother went into labor early one August morning, no one was available at Indian Health Service in Browning to give her a caesarian. So an emergency helicopter flew her to Kalispell Regional Medical Center just as the sun crested the Rocky Mountain Front. Lily's father told her she didn't cry when she was born. She just looked around the room and smiled. It was her first audience.
Growing up as an ethnically mixed kid on the Blackfeet Reservation wasn't always easy. Her father is Nez Perce and Blackfeet, and her mother is Dutch and Cajun. Because she was a light-skinned Native girl, Gladstone often found herself in an awkward middle ground between her Native and non-Native classmates. She shrugged off the teasing—mostly from mixed kids like her—and tried to make people laugh with her goofball antics in class.
"I had a lot of energy I didn't know what to do with," she says.
Gladstone found her outlet when the Missoula Children's Theatre came to East Glacier to put on Cinderella. She was cast as one of the evil stepsisters.
When she acquired a videotape of The Nutcracker ballet, she watched it every day, marveling over the dancing and drama. She started seriously pursuing ballet herself, first in the basement of a Browning church. Her parents encouraged her, their only child, even driving Gladstone to Columbia Falls for lessons.
Eventually, Gladstone's family moved to Seattle, in part to give her more performance opportunities. Her mother got a teaching job as an early childhood specialist. Her father found work as a boilermaker in a shipyard. Gladstone joined a ballet troupe and honed her practice until age fifteen, when her passion became self-destructive. She developed an eating disorder. Her self-esteem plummeted.
"In ballet, you get so involved in perfectionism that you hate yourself and what you're not able to do," she says.
Gladstone fled ballet for theater, which restored her self-confidence and allowed her to use her body in different ways. She performed Shakespeare, contemporary drama, and fairy tales in high school productions and in a small community theater.
Gladstone chats on the stage of the Dennison Theatre.Gladstone chats on the stage of the Dennison Theatre.
Gladstone enrolled at the University of Montana's Davidson Honors College in 2004, where she was the first Native American to earn a prestigious Presidential Leadership Scholarship. She got her B.F.A. in acting, with a minor in Native American studies. And she performed every chance she got—in campus plays and in student films.
Johnson watched Gladstone transform from a "wide-eyed freshman" into a "thorough professional." He says her focus, keen insight, and work ethic elevated her acting above her peers. She was punctual. When she got on set, she was usually "off-book," meaning she'd memorized her lines. She instilled her characters with emotional depth. She paid attention and took notes.
As a longtime Broadway performer, Johnson knows that professional actors are beset with extreme highs and lows. Great achievement can be followed by spells of professional drought.
But Johnson predicts a bright career for a grounded actor like Gladstone.
Gladstone graduated from UM in 2008 and went on a yearlong national tour with a Montana Rep production of To Kill a Mockingbird. She found work with a project called Living Voices, in which she traveled and performed one-woman plays about Native American boarding schools, Japanese internment camps, and migrant farmworkers.
Gladstone toured again with the Montana Rep for The Miracle Worker, in which she played Helen Keller's mother. She wrote a play with a friend. And she directed children's theater in Seattle with a group called Red Eagle Soaring.
She picked up local film work, too, first as an assistant for Montana filmmaking brothers Alex and Andrew Smith. The brothers were assembling a cast for their production of Winter in the Blood, the novel by Blackfeet author James Welch. Gladstone loved the book as a teenager. During the casting process, she read parts off-camera for hundreds of auditioning actors.
Eventually they cast Gladstone as Marlene, a woman who meets the main character just as his life is spiraling out of control. Smith says Gladstone worked hard to develop Marlene, while also contributing valuable cultural insight on the Blackfeet spiritual entities behind the other characters.
Her success in Winter in the Blood soon led to other work. She played a minor speaking role opposite Oscar-winning star Benicio del Toro in Jimmy P. She acted in a short called Universal VIP and in a microbudget feature called Subterranea, which was made by UM media arts alumni.
But Smith says as a Native actor in an industry that is being skewered for its lack of diversity, Gladstone faces challenges other performers don't.
Gladstone's black hair, high cheeks, and transporting brown eyes are all products of her Native heritage. But her mixed genes lend Gladstone a look that many find hard to place.
So Gladstone spends a lot of time explaining herself.
Her appearance is important, because it determines the roles she gets. Gladstone suspects she's too fair to play a Native American in a historical movie like The Revenant. But she's not fair enough to play the more plentiful roles written for white actors.
To a casting director, Gladstone is "ethnically ambiguous," meaning she could fit a variety of roles. And sometimes her characters reflect that ambiguity. In Certain Women, Gladstone's character isn't explicitly Native. Gladstone is proud of parts like these, because when Native actors play rounded, non-stereotypical roles, it helps demythologize the Native experience.
Independent movies are doing better at this than Hollywood. Gladstone says Native filmmakers Sydney Freeland and Nanobah Becker are telling modern Native stories, as is the sketch comedy group the 1491s. And she is encouraged by the success of Native actors like Q'orianka Kilcher and Chaske Spencer.
But when it comes to building a career as a professional actor, Gladstone is aware that being Native is a mixed bag.
On a recent Wednesday morning, I meet Gladstone in a café near campus. It's unseasonably sunny, and she walks in wearing calf-length jeans, black Dr. Martens, a heather sweater, and a mustard-colored beanie.
She's on time, and she holds the door for a stranger. Newfound fame hasn't robbed her of any Montana decency. She's confident, but considerate, too. She orders coffee and eggs.
Gladstone is twenty-nine years old. But at a time when many in her position would be fleeing for L.A. or New York, she just moved into a modest apartment near UM.
Gladstone did spend a week in L.A. during spring pilot season. She auditioned for sixteen roles, including a gypsy assassin, Nancy Drew, a lost millennial nanny, a hippy-dippy psychic who's actually a witch, and a futuristic Marine sergeant on Mars. She's waiting to hear back on some, but she's not holding her breath.
"Sometimes you know you're right for something," she says. Other times, you're just introducing yourself to a casting director.
It's been four months since Sundance, enough time for the buzz to fade and questions to creep in about her future as an actor. She doesn't have any definite acting work lined up. As for Certain Women, it won't even hit theaters until the end of the year. Patience is part of the process.
Gladstone knows the phone could ring any minute, like it did with Certain Women. But in the meantime, she's pursuing her own film ideas and working with kids. She's helping produce a friend's first feature. She thinks about grad school.
For now, Gladstone is heeding some advice from a former professor to never stop growing as a person, because character is the only thing with a shelf life in a business that can make you disposable.
It bodes well for Hollywood and for the rest of us, then, that Gladstone is equally prepared for both of those roles.
MISSOULA – Four outstanding University of Montana graduates will receive 2016 Distinguished Alumni Awards during Homecoming weekend festivities on Friday and Saturday, Sept. 30 and Oct. 1. The awards are the highest honor presented by UM's Alumni Association.
This year's distinguished alumni are Darrel Choate '65, M.A. '67, of Bozeman; Timothy Conver '66 of Chatsworth, California, Arlynn Fishbaugh '74 of Helena; and Tom Seekins '74 of Missoula.
Choate, who earned bachelor's and master's degrees in mathematics at UM, was instrumental in coordinating Boeing Co.'s efforts in the Strategic Defense Initiative – also known as Star Wars – for which he performed sensitive trade studies and analysis that have influenced the current U.S. ballistic missile defense architecture. He also served as the systems engineering manager for the development of Sea Launch, a program in cooperation with Russian, Ukrainian and Norwegian companies to launch commercial satellites from one of the world's largest self-propelled, semisubmersible platforms. He is a member of the Boeing Company's Technical Fellowship program, placing him among the top 1 percent of Boeing engineers who demonstrate technical leadership across the industry and who make a significant difference in U.S. and global engineering excellence. Choate began his career with the Aerospace Corporation and continued with the Kaman Science Corporation, eventually retiring from the Boeing Company. Upon retirement, he adapted his technical and personal skills to assist the development of infrastructure in Mexico, Honduras and Haiti, and made significant contributions to the Japan International Project, a tsunami rebuilding effort.
Conver, who earned a bachelor's degree in business administration from UM, is the chairman and former CEO of AeroVironment Inc., a world leader in aeronautical research innovation involving cutting-edge flight technology. AV designs, produces and operates Unmanned Aircraft Systems – commonly known as drones – and other electric transportation solutions, including energy-efficient systems for electric vehicles. AV is the largest supplier of drones to the U.S. Department of Defense, accounting for about 85 percent of all UAS flown by American defense forces. The company is currently developing missile-like air vehicles that can eliminate potential collateral damage in its use, thus saving innocent civilians in a combat environment. AV also developed the bio-inspired Nano Hummingbird, a remote-controlled aircraft designed to resemble and fly like a hummingbird, which was featured on the cover of Time magazine as one of the "50 Best Inventions of 2011." Conver was AV's CEO from 1992 to May 2016. In 2016, AV's market capitalization exceeds $700 million, and the company employs more than 625 people.
One of the most prominent arts administrators in the country, Fishbaugh will retire in September as executive director of the Montana Arts Council, a role she's held since 1992. Under her leadership, the agency excelled at promoting the arts in Montana by encouraging commerce and business development for artists and art organizations and providing greater access to the arts across the state, including in underserved rural and Native American communities. Fishbaugh is known for creating an environment that makes people want to do more and who leverages the talents of her colleagues to meet and achieve their goals. She inspired Montana Arts Council staff to forge new partnerships with legislators and other state decision-makers who previously opposed public funding of the arts in Montana. The council's initiatives and strategy have served as models for other state arts councils, regional service organizations and the National Assembly of State Arts Agencies. Fishbaugh is often invited to share her knowledge and insight at arts conferences across the country.
Seekins is a professor of psychology and director of the Research and Training Center on Disability in Rural Communities at UM. He is one of the leading social scientists in the country working to improve the lives of people with disabilities. The community-based participator research methods Seekins helped develop have led to nationally implemented social programs, such as Living Well with a Disability, and Vocational Rehabilitation and Independent Living. He has published more than 120 journal articles and book chapters that have helped shape the science of disability and community living, and has influenced major research programs to reflect the voice of rural Americans with disabilities, including the National Institute on Disability and Rehabilitation Research in the U.S. Department of Education, and Developmental Disabilities at the Centers for Disease Control and Prevention. He has mentored nearly 50 students and secured more than $30 million in grant funds to conduct research and develop programs for health promotion, self-employment, economic development, community participation, housing, transportation, civic leadership and American Indian disability issues.
The public is invited to attend a panel discussion featuring the Distinguished Alumni Award recipients at 5:30 p.m. Friday, Sept. 30, in the University Center Ballroom at UM. An awards ceremony and reception will follow.
Ivan Morrison (MFA '67) considers the community of inspiring friends and mentors he found as a graduate student in the School of Art to be one of the greatest gifts of his UM education. However, it's a story he hadn't shared that inspired his generous gift to establish a new scholarship for UMArts students in need.
Ivan grew up near the Mississippi River on a dairy farm outside of Ellsworth, Wisconsin; art and music were part of his life from an early age. It was an easy decision to pursue an undergraduate degree in art. Joining the Marine Corps meant that art would have to wait. Ivan served and completed his duty just ahead of the Viet Nam War, as his base in Okinawa was placed on red alert for transfer to Laos. His service provided him with his degree through the GI Bill; however, it also set him further apart from his high school peers—"I was a freshman when everybody else was a senior." It was a productive, if solitary, time.
Fortunately, the next day, a check arrived in the mail for a painting sold in the Midwest, then he got a sculpture commission. In his second year, with an assistantship in the Art Department and support from the GI Bill, Ivan was able to complete his degree. Still, he never forgot the feeling of being so close to losing a cherished dream, and pledged to someday help others avoid that precipice.
prestigious exhibitions across the West Coast. He branched into sculpture as soon as his supply budget allowed. His work can be seen in diverse venues, including the permanent collection of the Coos Bay Art Museum. His striking, massive sculpture Untitled (1977) is displayed as part of the TriMet Public Art program in Portland, Oregon. Today, Ivan and Mary Morrison live north of Seattle, and he continues to create sculpture in his private studio and to compose and play music.
Many would be happy with this culmination of a life well-lived, but for Ivan there was something still undone. Recalling his experience as a student, inspired by his faith and a lifelong passion for social justice, Ivan decided to create a scholarship for UMArts students. He began by making a series of gifts to create the Ivan Morrison Scholarship in the Arts, which benefits students who demonstrate financial need and rotates annually among the Schools of Art, Music and Theatre & Dance.
Initially, Ivan made annual gifts to set up the scholarship award, and after years of thoughtful saving, he made a major gift which was invested; a portion of the interest earned will fund his scholarship in perpetuity. Further, Ivan and Mary set up an estate plan to add to the endowment principal after their lifetimes.
Lily Gladstone, School of Theatre & Dance, BFA 2008, was selected to participate in the 2015 Western States Arts Federation (WESTAF) Emerging Leaders of Color Professional Development Program to be held in Denver Colorado on October 26-28, 2015.
WESTAF is a regional non-profit arts service organization whose mission is to strengthen the financial, organizational, and policy infrastructure of the arts in the western United States. In its work, WESTAF strives to reflect the values, insights, spirit and knowledge of communities of color, indigenous peoples and other marginalized ethnic communities in the west.
WESTAF established its emerging Leaders of Color Professional Development Program by: Building a Cohort of cultural leaders of color in the western United States. Engaging diverse emerging leaders in coursework and activities designed to strengthen competencies and prepare participants for leadership in the field. They establish networks; deepen understanding of the arts in the United States; and examine how public support sustains the vibrancy of the sector.
Lily Gladstone is an actress, theatrical artist, workshop facilitator and educator. Born and raised in Montana, Lily is of Native American/First Nations heritage, from the Amskapi Pikuni (Blackfeet), Kainaiwa (Blood) and Niimipoo (Nez Perce) nations. Lily grew up on the Blackfeet Reservation in Montana, primarily in Browning and East Glacier. In 1997, her family moved to Seattle, WA.
By 2004, Lily returned to Big Sky country to attend the University of Montana. In 2008, Lily graduated with high honors. She holds a Bachelor of Fine Arts in Theatre with an Acting focus, as well as a minor in Native American Studies.
Since graduating from UM, she has worked professionally on stages and screens around the United States.
She is a company member with Living Voices, a touring educational theatre based in Seattle, WA. Lily has also performed with The Montana Rep and Native Voices at the Autry. She is soon to begin work with the inimitable Red Eagle Soaring – a Native American Youth theatre program based in Seattle.
Michael T. Workman, School of Art BFA and Media Arts BA 2015, and Odyssey of the Stars Student honoree, was recently named one of Forward Montana's 25 Under 25. 25 Under 25 is an award that recognizes 25 Montanans under the age of 25, who are shaping Montana through their work, while leading social change.
Michael is an artist working in film, installation, performance, and sculpture. His art deals with the ritual of consumption, the artificiality of value, social inequalities and superficialities. Workman's first documentary, An Anonymous Rebellion, premiered at the Big Sky Documentary Film Festival in 2010. In 2015 his short documentary, Constructed Situations, won the Best Film Grand Jury Award at the Audience Awards Art Montana competition.
Michael's solo art exhibition, Masses, at the Real Good Art Space in August 2015, was featured on the front page of the Missoulian Entertainer and a live interview was broadcast from outside the art building on ABC/Fox Missoula on Tuesday, August 25.
As the Associate Programmer/Festival Coordinator of the Big Sky Documentary Film Festival, Michael mentors high school students interested in making documentary films.
He has taught teen and adult art workshops at the Missoula Art Museum and the Zootown Arts Community Center, and works to promote and educate students not only to get them excited and build confidence, but to help the next generation of Montana artists and filmmakers gain the knowledge and skills needed to be competitive in the field and share the issues of Montana with the world.
UMArts congratulates Michael T. Workman on his recent success and look forward to following his career in art and film.
Royce McIntosh enjoyed singing at a young age. At age 12, he was performing in summer stock shows at Weathervane Theatre, New Hampshire. His supportive parents never pushed him to perform, he simply enjoyed it. Being around the equity professionals at the Weathervane had a big influence on his path as a singer. Many had performed on Broadway or at the Metropolitan Opera. After graduating high school, he decided to attend college and focus on singing. McIntosh started a voice performance/pedagogy degree at Plymouth State College. By his third year, he was giving private voice lessons and singing in groups and shows and traveling in Eastern Europe performing concerts in venues one only dreams about. He was an all-New England NATS winner for musical theater and placed second in the classical division.
McIntosh took time away from college to audition in NYC. During auditions, he was often told "You have a beautiful baritone voice but your looks need to age before you can be cast in productions such as these. Come back in ten years and keep up your voice." Disappointed, he chose to work building houses, resurfaced clay tennis courts and working at Cannon Mountain ski area, as a snowmaker in the winter and trail worker in the summer. McIntosh practiced singing under the stars at 3am while moving snowguns, flying down the mountain on a shovel, or running a chainsaw clearing the way for more ski lifts and trails.
He started the music program in fall 2005, studying with the then head of the School of Music, Dr. Stephen Kalm. It was a fresh look at voice and he learned a lot. Having a pedagogy background, he was able to apply new things learned from Dr. Kalm, which helped his singing and furthered his knowledge. McIntosh decided to take a hiatus from UM and traveled to Connecticut. While there he played Billy Lawlor in a community production of 42nd Street. McIntosh eventually returned to UM, and started working with Dr. David Cody. Dr. Cody brought more knowledge and function to his voice. McIntosh played the role of Count Almavita in The Marriage of Figaro at UM and the role of Scrooge in A Christmas Carol at the Missoula Children's theater. McIntosh also spent a summer working in Virginia City, MT at the Virginia City Players under the direction of Stacey Gordon and Gregory Johnson.
Colonel Timothy J. Holtan recently became the 10th Leader and Commander of The United States Army Band "Pershing's Own," Washington, D.C. The change of command ceremony took place on December 12, 2014 at Brucker Hall, Fort Myer, Virginia, which is adjacent to Arlington National Cemetery. Presiding over the ceremony was Maj. Gen. Jeffrey S. Buchanan, Commanding General of Joint Force Headquarters-National Capitol Region and U.S. Army Military District of Washington.
Holtan most recently served as Commander of The U.S. Army Field Band (The Musical Ambassadors of the Army) at Fort Meade, Maryland; and was also the 22nd Leader of the U.S. Military Academy Band at West Point, New York. Colonel Holtan holds the distinction of being the first officer to command all three of the Army's premier bands.
While under Col. Holtan's leadership, The U.S. Army Field Band performed in Belgrade, Great Falls, Conrad, Billings and Glendive as part of their fall tour of 2012.
Tim is a native of Washburn and Bismarck, North Dakota, graduating from Bismarck High School in 1973. He holds music degrees from Bismarck State College ('74), Montana State University ('77) and the University of Montana ('83). He began his teaching career in Montana public schools, first in Superior, and later as Director of Bands at Great Falls High School from 1983 to 1988.
In 1988, at age 33, Col. Holtan entered the U.S. Army and has served as an Army Bands Officer for over 26 years. He has presented concerts and clinics in all 50 states, Canada, Japan, the U.S. Virgin Islands, and Europe, and is active as a conductor and clinician.
Col. Holtan's other military assignments include: Commandant, U.S. Army School of Music, Virginia Beach, Virginia, where he served as the primary proponent for all 100 Army Bands and oversaw the training of over 500 professional musicians annually; Deputy Commander of The U.S. Army Field Band, Fort Meade, Maryland; Department of the Army Staff Bands Officer; tours as Commander and Executive Officer of the U.S. Continental Army Band, Fort Monroe, Virginia; and Executive Officer of The U.S. Army Band "Pershing's Own," Washington, DC, where he served in overlapping capacities as Director of the Ceremonial Band, Brass Band, Chorale, and Chorus.
In 2000, Col. Holtan was selected for the Army's "Training with Industry" program. He served as the Director of Operations and Associate Conductor of the Dallas Winds, while concurrently pursuing doctoral studies at the University of North Texas. Holtan's ensembles have been seen on many nationally televised broadcasts and diverse stages such as the Kennedy Center, Avery Fisher Hall, DAR Constitution Hall, the Mormon Tabernacle, the Myerson Symphony Center, and the Meyerhoff Symphony Hall. Under his leadership and after a 44-year absence, the West Point Band reestablished a partnership with the New York Philharmonic, which resulted in five Lincoln Center joint performances. Col. Holtan also led the West Point Band in the Emmy-nominated "Marina at West Point" PBS television production that has reached over 160 million viewers.
In 2001, Col. Holtan was honored as Alumnus of the Year by Bismarck State College, and in 2006, he was inducted into the Bismarck High School Hall of Fame. Col. Holtan serves on the National Band Association (NBA) Board of Directors and has received two NBA Citations of Excellence. In 2011, he was the University of Montana's School of Visual and Performing Arts "Odyssey of the Stars" honoree, and was inducted into their Hall of Honor. In 2014, Col. Holtan was elected to membership in the American Bandmasters Association. He also serves on the president's advisory board of the Midwest Clinic – the world's largest instrumental music education conference.
Tim is married to Laurie Matheson Holtan, a native of Conrad, Montana. She is a UM alumna ('77) and holds a Bachelor of Music Education from Montana State University ('80). She taught choral music in Chinook from 1980-84 and was the Associate Choral Director at Great Falls High School from 1985-89.
The Holtans currently reside in Arlington, Virginia and Sykesville, Maryland, and have two daughters – Elizabeth Holtan of Arlington, Va. and Katherine Holtan of Sound Beach, New York.
UM Theatre & Dance Alumn, Amy Almquist (MFA Directing '93), has the national distinction of being the only professional actor working full-time in a prosecutor's office exclusively to train attorneys in courtroom presentation techniques and persuasive communication strategy. As the Training Supervisor at the Pima County Attorney's Office in Tucson, AZ, her work has given Pima County a reputation for developing criminal prosecutors with presence and strong trial skills. We asked Amy to tell us more about her creative career and her advice for prospective students and recent graduates in the arts.
UMArts: Amy, you're breaking ground as a professional actor/director training prosecutors in performance theory for the courtroom. But your work isn't just limited to Tucson.
Amy: That's right. I also work with the Pentagon and the U.S. Department of the Army's JAG Trial Counsel and Defense Counsel Assistance Program. I am honored to travel to military bases around the world training litigators in strategic trial advocacy by immersing them into the world of theatre and the discipline of acting and applying it to their work. As part of my work with lawyers, I authored a manual for effective courtroom trial advocacy called Authentic, Persuasive and Strategic Communication: The Three Keys to Powerful Courtroom Performance. I guest lecture and lead workshops on strategic communication skills at the Arizona Prosecuting Attorneys' Advisory Council, the University of Arizona's Graduate College, International Doctoral Program, Eller College of Business and the James E. Rogers College of Law. I've presented communication training seminars at the National Advocacy Center in South Carolina and the JAG Criminal Law School for the U.S. Department of the Army.
UMArts: That's impressive work–can you tell us more about your career path?
Amy: I began by studying acting at the Goodman School of Drama in Chicago and then UM where I received my MFA in directing and served as a graduate instructor, teaching acting to non-majors. I worked professionally as an actor and director for over 25 years on stage, and in film and commercials, and I am a member of the Screen Actors Guild. For nearly a decade, I traveled internationally with LaughingStock Comedy Company performing customized comedy improv entertainment for Fortune 500 companies. I also served on the faculty at Pima College in Tucson teaching acting, public speaking and interpersonal communication before moving to my current role with the Pima County Attorney's Office.
UMArts: Why did you choose the University of Montana and the Master of Fine Arts in Theatre?
Amy: I always loved Missoula for its rich arts scene and diverse population. I started my career as an actor and had minimal exposure to the complexities of directing. The UM MFA Theatre degree emphasized blending the discipline of acting with directing. I was able to work on my acting and become a better director because of it. In class I watched the way professors worked with my colleagues and then I applied those techniques with my own actors in rehearsals at night. The directing program at UM was also unique to other programs as it offered numerous opportunities to direct small scenes, fully-staged productions and film projects.
UMArts: How did your UMArts education prepare you for what you do today?
Amy: When I took performance-theory courses in my UM graduate program, I could hardly fathom a situation where I would use the information practically since I wasn't looking to teach at the university level or pursue a doctorate. Working with lawyers has changed that for me. While actors openly embrace presentation and performance work with feeling, lawyers openly resist it with their intellect. I found myself re-learning how to teach acting from an intellectual perspective and performance theory really became the backbone of my work. I have the pleasure of being able to work with criminal prosecutors and defense attorneys much like a theatre director by helping them feel more comfortable and confident in their work. It's a joy to workshop one-on-one with an attorney, get to the heart of their discomfort and see them grow and become more self-assured week by week. When I watch attorneys in front of a jury successfully put child molesters and murderers away, it's tremendously satisfying to know that I played a part in making sure that justice was served.
UMArts: Was there a UM professor who especially influenced you?
Amy: The late Dr. James Kriley left an indelible imprint on me. He had a wonderful way of applying all disciplines of the arts to directing. Anyone who ever had the privilege of taking a directing class with him will never forget the discussion of My Last Duchess by Robert Browning. He taught staging through classical paintings and had an incredible eye for how stage pictures create impact and emotion. He taught me how to approach my work intuitively by listening to the needs of actors and finding a collaborative balance with my directorial vision.
UMArts: What advice do you have for a student considering an arts degree?
Amy: Odds are that you will never become a star or become wealthy by pursing an arts education. The competition is great and rejection is at every turn. Make sure you are ready for this life before you dive in. The desire to create and perform has to be in your bones from a need to do this work. It is a journey full of struggle and personal growth, but worth it if you are willing to open yourself, dump the ego and learn. With public schools dropping arts programs from lack of funding, the world needs you to remind it that the arts make a difference.
UMArts: Any tips for recent graduates embarking on their career?
Amy: First, keep your mind open. There are myriad ways to apply your training–you may be surprised. Always be open to learning and growing. Never work for free. The most successful people in this business are people that others like to work with. Finally, be memorable off stage–go the extra mile to be helpful, stay late, and get to know the people you are working with. Treat for coffee, buy donuts and show them you are part of the team.
UM College of Visual and Performing Arts students and alumni took home top honors from the Hot Docs International Documentary Film Festival in Toronto, Canada. Director Rachel Stevens, a second year MFA student in the School of Media Arts Digital Filmmaking program collaborated with Josef "Tuna" Metesh (BFA Media Arts '13), Sarah Meismer (BFA Art, Media Arts '13), and Caitlin Hofmeister (MFA Media Arts '12) to create the documentary 20/Nothing. The film received the award for Best Experimental Film and the coveted PBS P.O.V. (Point of View) Award, which comes with opportunities for theatrical screenings in major cities and television exposure. POV is television's longest-running showcase for independent non-fiction films. POV films are known for their intimacy, their unforgettable storytelling and their timeliness, putting a human face on contemporary social issues.
The short film was created in just five days as part of the International Documentary Challenge. 20/Nothing was selected as one of twelve finalists from over 100 entries to premiere at the 2014 Hot Docs Festival, North America's largest documentary film festival. The team was encouraged to attend, and began crowdsourcing the funds through theaudienceawards.com to attend. In addition, they received support from the Montana Film Office. 20/Nothing is the second collaboration for this group of intrepid filmmakers. Their first joint effort screened this winter at the Big Sky Documentary Film Festival in Missoula.
"I was blown away as we sat there watching the films from the International Documentary Challenge— they were all incredible," says Stevens. "I was certain that 20/Nothing's highest award would be showing a film that we made and love at Hot Docs alongside talented filmmakers from all over the world. When they announced 'This year's P.O.V. Award goes to 20/Nothing, directed by Rachel Stevens,' we were absolutely shocked. Throughout the rest of the weekend we learned to trust that strong feeling we had during the making of 20/Nothing, which was this is something good. We want to make more things like that, together. You will see more from us. Guaranteed."
A vocal scholarship brought Neal Lewing to the University of Montana School of Music in 1970. On May 9, 2014, the prolific musician, producer and arts educator will pay-it-forward, presenting a benefit concert in the School of Music Recital Hall at 7:30 pm on the UM campus. The concert is free; in lieu of admission, Lewing encourages friends and fans to make a donation to the School of Music General Scholarship Fund.
Lewing's performance on the historic Recital Hall stage is especially meaningful; the senior recital in that hall has been a rite of passage for UM Music students since the building was constructed over 60 years ago. But as Neal Lewing entered his junior year at UM, a heart to heart with his advisor, the late Professor George Lewis, changed the course of his career, and interrupted his education before he had a chance to perform on the Recital Hall stage.
Lewing's star led to performing on stages around the country and being heard on radio stations around the globe. He toured with the Missoula Children's Theatre, performed and directed music for the Fort Peck Summer Theatre, and co-founded and directed Deer Lodge's Old Prison Players. A passionate advocate of arts education, Lewing performs and teaches in schools and communities around Montana. He was appointed by the governor to serve on the Montana Arts council from 2001-2007. In 2008 the Polson Chamber of Commerce named him the "Polson Ambassador of the Year" in recognition for his contributions to the community as managing director of the Port Polson Players. For over 30 years, Lewing and his wife Karen have led the company, whose multi-level program includes community theatre, children's theatre, summer theatre and other performing arts opportunities.
With all his success, one regret remained – never performing on the Recital Hall Stage. After 40 years, the May 9 concert will fulfill that dream. When he returns with his cadre of special guest performers, Lewing will find the historic stage nearly unchanged since his time at UM. Aside from minor equipment upgrades, the Hall and the School of Music have not been renovated since it was built in 1953, a state-of-the art facility at that time.
Though there's certain to be some nostalgia in the air, Neal Lewing is clear that he devised the feel-good concert with the future in mind: "I've made my life in music and theatre and would like to recognize my roots and give back to promote the same for young people." He hopes his story will inspire students facing a crossroads as they make career decisions. "Obviously, one does not have to follow any specific roadmap to have a successful and productive life in the arts".
To make a gift to the UM School of Music Scholarship Fund, contact Christian Gold Stagg, director of development, UMArts 406-243-4990, christian.goldstagg@umontana.edu or give here.


Shop online? The government of India (GoI) wants to know the details. Starting next month, government surveys on expenditure will, for the first time, ask questions on ecommerce spending habits.
The next consumer expenditure survey, an annual nationwide exercise carried out by the National Sample Survey Organisation, which comes under the statistics ministry, starts in July and will continue till June 2018. The survey provides household level data on spending patterns across commodity and service categories in both urban and rural areas.
Officials involved in the exercise, who spoke off record, said government data managers now reckon ecommerce spend is beginning to hit critical mass and should be part of the national economic data base.
India's ecommerce sector was estimated to be $14.5 billion in 2016, according a study by Red-Seeer Consulting. This is small compared to India's total retail spending of $750 billion. But online commerce is expected to grow rapidly.
US-based market research company Forrester expects around one-fifth of total retail sales to take place online by 2021 in Asia Pacific. China is currently the largest online retail market in Asia, but India is the fastestgrowing online retail market globally.
The national expenditure survey will cover almost 1.2 lakh households across 5,000 urban blocks and 7,000 villages. It will provide state level data as well.
Government data managers also want to see whether online prices can impact inflation.
Although the size and scope of online commerce in India is currently not big enough to influence price data economy-wide, a survey now will indicate how price indices may get impacted by online retail's pricing policies in the future, officials said.


text:
Google Maps on Your iPhone 5
When Apple released the iPhone 5 and had it preloaded with their latest operating system iOS 6 many owners were surprised to find that the native Google Maps app they had become accustomed to on all previous versions of the iPhone was gone. In its place was a new, custom developed maps app by Apple . Initial reviews of Apple's native Map app were not stellar, causing Apple's CEO Tim Cook to send out a letter to costumers stating that the company would do better. He even pointed customers to other mapping apps available in the App Store.
When Tim Cook sent out his letter to customers there was one key map app that most users wanted back on there phone, Google Maps. But at that time, Google didn't have a maps app approved by Apple and readily available. All that changed today as Google Maps has been approved by Apple and is ready for users to download via the App store.
Add Google Maps To Your iPhone 5
If you'd like to add Google Maps to your iPhone 5 the process is now just like installing any other app.
Open the App Store app on your iPhone 5
Search for the "Google Maps" app. You should see the app as a top result
Click the Install App Button to add Google Maps to your iPhone 5
When the app has finished downloading and installed on your phone, select the "Open" button to start using Google Maps on your iPhone. The App will also be available to you like all other apps on your iPhone springboard
Initial Impressions of Google Maps
I haven't had too much time yet to test out Google's new Map app. One thing should be clear is that it is not the same Map app that was available on the iPhone 4s and with previous versions of iOS. This is a new, from the ground up Maps app that uses Google's Mapping technology. Some of the new features include:
Voice Guided Turn by Turn Navigation
A New Interface
The feature that has me the most excited is the Street View. I believe this is one of Google's best mapping features and I use it often through the browser based app on my Macbook Air. However, I'll be honest in that I'm not too impressed with the voice guided turn by turn navigation system. The directions seem accurate, but the voice is choppy and feels too much like a computer. This stands out since Apple's map has a smooth sounding Siri based turn by turn navigation mapping system.
Overall, the Google Map app is still probably one of the best mapping apps available on the iPhone. Their mapping technology is just that much better than the competition and has years worth of data as an advantage. I'll try using it in place of Apple's mapping software for a few weeks to see which one really wins me over.
What about you? Have you been happy with Apple's Mapping application for the iPhone 5? Are you excited and ready to get Google Maps on your phone?


text:
Charlène Lynette Grimaldi, Fürstin von Monaco (* 25. Januar 1978 als Charlene Lynette Wittstock in Bulawayo, Rhodesien) ist eine ehemalige südafrikanische Schwimmerin und seit ihrer Heirat mit Fürst Albert II. am 1. Juli 2011 Fürstin von Monaco.

Leben

Herkunft und Kindheit

Charlene Wittstock ist die Tochter von Michael Kenneth Wittstock (* 1946) und Lynette Humberstone (* 1957). Ihr Vater hat einen eigenen Betrieb, während ihre Mutter in der Vergangenheit als Schwimmlehrerin arbeitete. Wittstock wurde in Rhodesien – dem heutigen Simbabwe – geboren und wuchs ab 1990 zusammen mit ihren beiden jüngeren Brüdern Gareth (* 1982) und Sean (* 1983) in Benoni, einer Stadt östlich von Johannesburg, in Südafrika auf. Wegen besserer Trainingsbedingungen zog sie als Jugendliche nach Durban.

Ihre preußischen Ururgroßeltern – Martin Gottlieb und Louise Wittstock – waren im Sommer 1861 mit Gottliebs Eltern und seinen acht Geschwistern aus Zerrenthin in der damals pommerschen Uckermark nach Hamburg aufgebrochen und von dort aus am 23. Juli 1861 an Bord der Bark San Francisco nach Südafrika (Tafelbucht) ausgewandert. Dort lebten die Wittstocks als Tagelöhner und suchten erfolglos nach Diamanten.

Schwimmkarriere

Wittstock trat anfangs für die in Durban beheimateten Seagulls an und gewann 1996 die südafrikanischen Schwimmmeisterschaften. Ihre größten internationalen Erfolge feierte sie 1999 bei den All Africa Games in Johannesburg. Dort gelangen ihr Siege über 100 Meter Rücken und 100 Meter Freistil. Sie verließ ihren Verein im Jahr 2000 und schloss sich dem Tuks Swimming Club an der Universität Pretoria an. Sie war nie an der Universität eingeschrieben und belegte dort auch keine Kurse, hatte jedoch freien Zugang zu den Schwimmanlagen, den Trainings, den Unterkünften und den Sporthallen. Im selben Jahr war sie bei den Olympischen Sommerspielen in Sydney Mitglied der 4 × 100-Meter-Lagenstaffel Südafrikas, die den fünften Platz erreichte. Ebenfalls 2000 gewann sie die Goldmedaille über 200 Meter Rücken bei dem Schwimmwettkampf Mare Nostrum in Monaco. 2001/2002 errang sie im Verlauf des Schwimm-Weltcups – der wichtigsten internationalen Serie von Kurzbahn-Wettbewerben – je einen Titel über 50 und 100 Meter Freistil sowie mit der 4 × 100-Meter-Lagenstaffel. Der gleichen Staffel gehörte sie auch bei den Commonwealth Games 2002 im britischen Manchester an und gewann die Silbermedaille. Bei den Kurzbahnweltmeisterschaften 2002 schwamm sie über 200 Meter Brust auf den sechsten Platz. Im Januar 2005 kehrte Wittstock nach KwaZulu-Natal zurück und wurde seitdem von Brannislav Ivkovic, einem ehemaligen Tuks-Übungsleiter, trainiert. Ihren südafrikanischen Meistertitel über 50 Meter Rücken konnte sie im April 2007 zurückerobern.

Wittstock wollte bei den Olympischen Sommerspielen 2008 in Peking antreten, litt jedoch seit längerem an Schulterproblemen und konnte schließlich nicht teilnehmen. Ihre aktive Schwimmkarriere beendete sie daraufhin 2007.
Die US-Zeitschrift Sports Illustrated veröffentlichte Fotos von ihr als Model für Badebekleidung.

Beziehung und Hochzeit mit Fürst Albert II. von Monaco

Im Jahr 2000 lernte Charlene Wittstock den damaligen monegassischen Erbprinzen Albert in Monaco kennen. Sie wurde einer breiteren Öffentlichkeit bekannt, als sie Fürst Albert II. von Monaco bei der Eröffnungszeremonie der Olympischen Winterspiele 2006 und beim Formel-1-Rennen um den Großen Preis von Monaco begleitete. Das förderte die Spekulationen, sie könnte die zukünftige Fürstin von Monaco werden. Ihre Anwesenheit bei der traditionsreichen Rotkreuz-Gala in Monaco Ende Juli 2006 nährte die Hochzeitsgerüchte weiter. Ab Mai 2007 hatte sie ihren Wohnsitz in Monaco. Seither wurde regelmäßig über eine Verlobung spekuliert; diese Gerüchte wurden jedoch immer dementiert.

Wittstock begleitete nun den Fürsten regelmäßig bei offiziellen Terminen. 2008 und 2009 nahm sie an der Seite von Fürst Albert am traditionellen Rosenball und an der Rotkreuz-Gala teil. Am 19. Juni 2010 stand Wittstock bei der Hochzeit von Kronprinzessin Victoria von Schweden und Daniel Westling an Alberts Seite.

Am 23. Juni 2010 wurde die Verlobung von Charlene Wittstock mit Fürst Albert durch dessen Haus bekanntgegeben. Anfang April 2011 teilte der Palast mit, dass Wittstock, die protestantisch aufgewachsen ist, zum katholischen Glauben – der Staatskirche in Monaco – konvertiert war. Am 1. Juli 2011 heiratete sie Fürst Albert II. standesamtlich. Ein Orchester spielte zur Trauung eine eigens komponierte "Hymne an Fürstin Charlène". Die kirchliche Trauung fand am darauffolgenden Tag, dem 2. Juli, ebenfalls im Palast statt. Zelebrant war der Erzbischof von Monaco, Bernard Barsi.

Anlässlich der Hochzeit ließ Monaco im Jahr 2011 eine weitere 2-Euro-Sondermünze prägen. Sie ist offizielles Zahlungsmittel und zeigt die Porträts des Fürstenpaares im Profil, wobei Charlènes im Vordergrund zu sehender Kopf den von Albert II. teilweise verdeckt.

Am 30. Mai 2014 teilte der monegassische Palast mit, dass Charlène von Monaco schwanger sei und das Paar Ende des Jahres 2014 sein erstes gemeinsames Kind erwarte. Am 9. Oktober wurde mitgeteilt, dass das Fürstenpaar Zwillinge erwarte. Am 10. Dezember 2014 brachte Charlène von Monaco Gabriella Thérèse Marie, Comtesse von Carladès sowie den Thronfolger Jacques Honoré Rainier, Erbprinz von Monaco, Marquis von Baux zur Welt.

Interessen
Fürstin Charlène engagierte sich bereits vor ihrer Heirat mit Albert II. für soziale Projekte, wobei der Schwerpunkt auf der Hilfe für unterprivilegierte Kinder liegt. Sie unterstützt ihren Mann bei seiner Zusammenarbeit mit Wohltätigkeitsorganisationen. Außerdem ist sie weltweite Botschafterin der Special Olympics und tritt immer wieder in Zusammenhang mit diesen auf.

Zu ihren privaten Interessen zählen Surfen, Bergsteigen, Moderne Kunst und südafrikanische Literatur. Charlène von Monaco ist Vegetarierin.

Weblinks

 Offizielle Biografie zu Charlene Lynette Wittstock (französisch, englisch)

 Biografie zu Charlene Lynette Wittstock bei Monaco Wealth Management (englisch)

Einzelnachweise

Teilnehmer der Olympischen Sommerspiele 2000
⚭Charlene
Fürstin (Monaco)
Olympiateilnehmer (Südafrika)
Teilnehmer an den Afrikaspielen (Südafrika)
Afrikaspielesieger (Schwimmen)
Schwimmer (Südafrika)
Träger des Ordens des heiligen Karl (Großkreuz)
Träger des Verdienstordens der Republik Polen (Großkreuz)
Träger des Ordens des Sterns von Italien (Großkreuz)
Südafrikaner
Monegasse
Geboren 1978
Frau

redpajama_set_name: RedPajamaWikipedia


[abstract] AN ELEVEN YEAR REVIEW OF HYPERBARIC OXYGENATION IN A MILITARY CLINICAL SETTING.
Title: [abstract] AN ELEVEN YEAR REVIEW OF HYPERBARIC OXYGENATION IN A MILITARY CLINICAL SETTING.
Abstract: Eleven years of clinical hyperbaric therapy at the United States Air Force School of Aerospace Medicine are reviewed. During the period January 1979 thru December 1989, a total of 1,446 patients were treated with 31,599 treatment dives. Patients' ages ranged from 8 months to 88 years, with sixty-seven percent (935) of the patients being male. The majority of treatments were for clinical wound healing however, seventeen percent (251) of the treatments were for decompress ion sickness and twelve percent (174) were for carbon monoxide poisoning. One and a half percent (21) of treatments were for arterial gas embolism of which 14 (67%) of these were iatrogenically induced. The most common presenting side effect was barotrauma which occurred during approximately two percent (725) of the dives. Oxygen toxicity seizures occurred on eight occasions (0.025%). No pneumothoraces or deaths in the hyperbaric chamber occurred during this time frame.
Description: Abstract of the Undersea and Hyperbaric Medical Society Annual Scientific Meeting held June 19-23, 1991 at San Diego Princess Resort, San Diego, CA.


When setting up and running a business it is important to remember that having a strong online presence is a great way to boost your success.
In this modern age, many people will search for a particular product or service online, and if your website is live, people will be able to see that you can offer the solution.
Not only this, but a website allows you to promote your brand, your business and reach more people. It is a source of advertisement and a source of information, the place that customers will visit when they want to know more about what you can do for them.
Setting up your website can be tricky, especially if you are not particularly technologically minded, which is why we have put together our simple guide to getting your website online.
This is the first step to setting up your website. Without a domain name, you won't have a website. There are a variety of hosting services that you can pick from in registering your domain name and hosting your site.
Get your domain name registered is as easy as 123.
First visit our domain name checker to see if your name is available.
Choose the email or web hosting package you require.
Pay using our simple and secure ordering system.
So, now you have a domain name and a place to host your website, the obvious step is to create the website! This can be one of the most daunting parts of the process, but the honest truth is that building a website is more straightforward then you may think it is.
There are a variety of tools online that will help you to build a website from scratch, walking you through every stage of the design and customisation process.
It is a good idea to have your goals in mind right from the very start of the process. You need to want to make a website, not just think that it is a good idea.
Do you need an e-commerce site that allows your customers to make orders, or perhaps you are a restaurant that needs an online booking system? Know what you want your website to achieve, and then aim for that goal.
Once you have a beautifully finished website, it is time to tell everyone to visit it. There are a number of ways that you can promote your website. The first is to encourage the biggest search engines to crawl through the site and pick out the keywords. Google, Yahoo and Bing should be your top 3 targets.
Then, it is time to think about SEO and find the keywords that are going to bring the traffic to the site. The more visible the website is, the more customers you will attract and the bigger success that you will see!
So now you know, getting your website online isn't that difficult. By following some simple steps, and utilising the tools that can be found online, you will soon have a website that is attracting customers each and every day.