Quiz For Kids is an exciting new way to learn, practice, and have fun!
Choose from eight quiz categories: Wild Animals, Fairy Tales, Geography, Professions, Science, Food, Astronomy, and Mixed. Each category is made up of a variety of questions on the topic, ranging in difficulty. The questions are not timed, giving your child the opportunity to practice reading, while learning and gaining an understanding of intermediate to advanced subjects.
The game's easy-to-use interface allows children of all ages to interact easily with the app, while the icons that accompany the answer options reference classic films, geographical landmarks, and cultural norms. Choose from English, French, German, Spanish and Norwegian, and watch as the "Host" cheers you on in 5 different languages, making this game double as a language-teaching tool. Exposing children to the lifestyle and ideas of faraway places, as well as presenting the diversity of multiple cultures represented within the game, makes Quiz For Kids especially practical, yet so entertaining, children will forget they're even being quizzed!
Compete against your siblings with custom profiles; see who can earn the most stars and reach first place!


This is a more advance engineer's compass for more scientific people who already know how to use the magnifier and sightfinder when taking directional readings. This is a pocket compass suitable for those who want to carry it along when they go out shopping or working to check their auspicious directions. Our Feng Shui Scholars are always advising feng shui enthusiasts to never rely their compass directions by observing how the sun rises or sets, as it will make all enhancement and cures go incorrect. Classical Feng Shui places great emphasis on directional and locational influences. A compass is the most fundamental necessary tool to determine these directions. This reliable compass with appropriate directional degrees are suitable for applications of both Eight Mansion(Ba Zhai) and Flying Star (Xuan Kong Fei Xing) Feng Shui for master practioners who do not read chinese. The needle quality is excellent and it provides accurate and stable reading.
It is equipped with a sight finder and magnifying scope to ensure you get the most accurate reading. But due to its complexity, it is not recommended for starters who do not have scouting experience or ever used a compass before.
The north needle always point to the north for your reference.


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redpajama_set_name: RedPajamaCommonCrawl


And now I feel a right one again!
I Felt a Right One is the true story of Karen Tighe, an ordinary woman, and her journey through discovery, diagnosis, treatment and reconstruction caused by breast cancer.
Amusing and thoughtfully written, it is particularly helpful in describing the physical, emotional and psychological processes that a patient can go through – and how that impacts upon their life, and that of their family.
Karen's aim in writing the book was to make cancer less frightening and anyone who is either suffering from cancer, or knows someone who is, will find the book to be of great help.
Karen Tighe is donating the profits from I Felt a Right One to St Luke's Hospice and Breast Cancer Care.
A wonderful read. Just the right blend of emotional highs and lows, with a dollop of humour thrown in for good measure. Never mawkish, Karen is a natural writer and survivor! Her no - nonsense, positive approach to her illness is an inspiration. I urge you to read this book and tell your friends!
Karen will take you on an emotional roller coaster from start to finish. You will laugh out loud, cry, smile and everything else along the way. A truly inspiring and inspirational read by a highly intelligent, humorous and talented woman. If you have been diagnosed, know someone who has or just enjoy a truly inspirational story, you will not be able to put this book down. I am fortunate to have known Karen and I'm sure after reading you will feel like you do to.
A fantastic book - very witty & inspiring. Helps keep things in perspective. Would highly recommend.
What a fantastic read, everyone should read this book as it gives a true insight of this illness and how Karen overcame the mountains she had to climb. The highs, lows and setbacks, but with her determination and support from her family she fought a tough battle. You will laugh and cry at the same time! a truly inspirational book, simply brilliant!
Quite simply the most positive take on something that we all fear. Everyone facing serious illness should read this for one person's narrative on how to harness all of that positivity and not only survive, but flourish. No - wait. EVERYONE should read this book for how to harness positivity and flourish in the face of any serious challenge. If I have to see that day, it will be the first thing I turn to.
This book is an amazing, funny, heartbreaking and heartwarming read. Karen writes as she speaks so you get to know her as a person by reading this book. She is so positive and funny it is a lovely inspiring book.
I too had the same op with the same surgeon, I also dealt with my cancer with the same humour and positive outlook. and he has made us the strong women we are today.
This is a great gift for anyone, but I wish I had read this after I was diagnosed so I had not felt so lonely. Buy it for every woman you know it's inspirational, and supports 2 charities close to my heart too. Thank you.


There's an old saying that suggests the will to prepare is what separates the good from the great. It's in the spirit of that saying that I'm here today to discuss goaltender game mapping. While this series will be specifically directed at hockey goaltending, some of the concepts will be able to be applied to other sports. I believe that all hockey goalies should design a game plan that accentuates their strengths and limits their weaknesses, much in the same fashion a head coach designs a system or game plan for the team. The idea behind the game map is that you have a default plan in place for certain situations. This foundation will help the goalie avoid uncertainty and allow them better opportunities to review performance in specific situations.
For this initial entry the goal is to introduce the concepts that will be fundamental for this process. In the next article in this series, I will go into more detail regarding each section of the map.
The first step in designing the game map is understanding the strengths and weaknesses of the goaltender. Are there consistencies in goals against from a particular place on ice? Do certain types of shots against always seem to challenge the goalie? These are items that should be attempted to mask with an effective map. Conversely, if the goalie is strong in a particular area, then the map should allow the goalie to use that strength to their advantage.
Remember that no two game maps should be identical as no two goalies are identical. The mapping process should take into account not only the goalies' skill set, but how it can be most effectively incorporated into the team systems. Additionally, the rest of the team should understand the map. We expect goalies to understand defensive systems, penalty killing positions, breakouts, etc. so therefore we should expect our skaters to understand the goalie's system. By having the skaters understand the map, they could potentially advise the goalie what they (the shooters) see or look for in certain situations and thus help the goalie develop a more efficient map. On the flip side the shooters will gain understanding of what they might expect to see from an opposing goalie in certain situations. The team as a whole can only function better when everyone understands each other.
Creating the map is not a onetime activity. They should be consistently reviewed, discussed with the goalie coaches and adjusted as necessary. They should be carried with the goalie in their gear bag, placed in their goalie book and also placed somewhere where the goalie will see it during their day to day life (like a bathroom mirror).
When you are ready to actually begin working out the details of your map, the first thing is to break the ice down into specific zones. This allows for the outline of situations likely to unfold in those zones and advantages/disadvantages of certain save selections. A shot from the point is going to look very different from a shot from the half wall, both in terms of available net for the shooter as well as player positioning. It is in this stage that game footage can be extremely valuable. If none exists or is readily available, then take some time to think about what types of shots the goalie is seeing from different points on the ice. Once there is a clear understanding of what the typical shots are from each spot, then we can choose an appropriate save for that situation.
Again, each map should be customized to the individual. For our generic example, our ice surface is divided into 6 zones. In the next article I will detail each of the zones and discuss common save selections for each zone, along with strengths and weaknesses of each selection.
Dustin Manko is the owner of KC Crease & Director of Goaltending Development with Carriage Club (KCYHA). You can follow KC Crease on Facebook, Instagram, Twitter, & YouTube. When not at the rink, Dustin likes to spend time with his wife Heather, their daughter Isabel, and their two dogs, Titan & Jack.


Custom mounting and lamination is UV resistant and comes in a variety colours and finishes. It is the ideal solution for all your individual home-decorating projects, as well as your commercial, visual displays and point-of-purchase applications.
How does Mounting and Laminating Work?
Your print or document is first dry-mounted to specially selected wood which has been custom cut and finished to the image's specifications. The surface is then completely sealed under heat and pressure with a tough, durable, transparent laminate that protects it from fading and scratching and is easy to clean.
Custom mounting and laminating comes in a variety of mounting options, finishes and edge colours including Plak-mount (also called Plaque Mount), Float-mount, and Flush-mount.
Your print is mounted onto 3/8″ MDF (pressed wood), then protected by a non-glare laminate.
Your print is mounted onto 1/8″masonite, then protected by a non-glare laminate.
A 3/4″ box frame, smaller than the masonite is centered on the back to give the illusion that the masonite is floating about an inch from the wall.
The edges of the masonite are finished in a variety of colours. Comes ready to hang.
Floatmounts can also be matted.
The edges of Plak-mounts, Flush-mounts and Float-mounts are beveled. Beveling and finishing the edges removes up to 1⁄4" from each edge. We cannot bevel to a line. We recommend that all borders under 1⁄2″ wide be removed prior to mounting. If the borders are important to you we recommend adding matting.
All publishers information within 1⁄4" of the edge of a poster will be removed.
We cannot guarantee that two pieces will be exactly the same size after mounting as woodworking is not exact. It will be as close as possible.


Before your order is printed, you'll be having a conversation with one of our designers that will create & send you a digital proof of your order.
We believe that your experience choosing your cards must be a real pleasure and your event must be stress-free. The service we're providing enables you to enjoy the process & not get bogged down into a tiring, inescapable duty. You're always in control and we're here to provide a stellar service and hold your hand every step of the way.
Our free super-fast proofing service is meant to make the customization process as easy as possible and for you with the least time spent on it. Speaking of time, we promise to deliver your first proof in one hour after you've placed the order. Pretty fast right? Our competitors offer you a proof after 2-3 business days.
It's not only super-fast but you also have full control while going through the process. While talking live with your designer you can give feedback and receive instant confirmation that your needs are met. You won't have to stick in front of your computer for one hour though – the process is mobile friendly and you have the freedom of getting back to your designer anytime you want.
We have over 40 years of experience working in the printing industry and all our designers are fully qualified to serve you and create your cards to perfection, all the while coming with useful guidance regarding any visual aspect.
Afraid you won't like our product? We stand by our craftsmanship and we have a 100% money-back guarantee if you're not happy with any part of the process or the product itself.


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Dracula is a soundtrack performed by the Kronos Quartet, with music composed by Philip Glass, for the 1931 film Dracula.

Genesis and performance
The movie (directed by Tod Browning and starring Bela Lugosi) could be shown to audiences both as a silent movie and as a talkie, though conversation was limited to basic narrative elements. Unusually, it did not have a specific score and only two pieces of music on its soundtrack: Tchaikovsky's Swan Lake during the opening credits, and the overture of Wagner's Die Meistersinger von Nürnberg during a scene at an opera.

Glass was commissioned to write the score by Universal Studios Home Entertainment, which released the movie with the Glass-soundtrack on VHS and DVD in 1999. According to Glass, the choice of chamber music played by a string quartet rather than an orchestral score followed from the movie's setting, "libraries and drawing rooms and gardens."

Kronos and Glass (on piano) performed the score during viewings of the movie across the United States in 1999 and 2000 to promote the album. Other promotion efforts by Universal, which was trying to "reinvigorate and re-market" their Classical Monsters catalog, included discounts for buyers of multiple CDs, and a trailer for the movie on copies of the video release of The Mummy.

Philip Glass and the Kronos Quartet
Glass and the Quartet have collaborated on a number of albums. Kronos first recorded a Glass composition on the 1985 soundtrack Mishima: A Life in Four Chapters. In 1986, they contributed two tracks to his Songs from Liquid Days. In that same year they recorded a composition of his for their 1986 album Kronos Quartet, their first album on Nonesuch Records, which also releases Glass's music. In 1993, they recorded Kronos Quartet Performs Philip Glass, containing his String Quartets nos. 2, 4, and 5; the latter is the first piece Glass wrote specifically for Kronos. A number of compositions played by Kronos are found on the Philip Glass 10-CD collection Glass Box: A Nonesuch Retrospective, released in 2008.

Critical reception

The soundtrack and the performances thereof have received mixed reviews. Entertainment Weekly was very positive, praising the "hypnotic new score," while The Essential Monster Movie Guide calls the score "unnecessary," and a Lugosi-biography calls it "ill-considered."

Negative reviews abounded: Allan Kozinn of The New York Times remarked that "the project seems not to have inspired Mr. Glass....Heard alone on CD it is harmless enough, but coupled with the film it does more harm than good." The San Francisco Chronicle said, in anticipation of a performance with the composer on piano, "after previewing CD and video, it is painfully evident that this composer and this film are mismatched." It continued, "Glass' constant score simply sounds busy, its gloomy arpeggios merely getting in the way. The few chords that accompany moments of shock verge on the cheesy....the Glass music seems to suck away the film's life blood. Who's the vampire now?" Likewise negative, but this time after a live performance of the movie and music at Royce Hall, on the UCLA campus, was Kenneth Turan of the Los Angeles Times: "As a public event, however, the Royce concert, performed by Glass and the Kronos Quartet and conducted by Michael Riesman, was a distinct disappointment."

Others were more positive. Roger Ebert praised the score, writing: "The Glass score is effective in the way it suggests not just moody creepiness, but the urgency and need behind Dracula's vampirism. It evokes a blood-thirst that is 500 years old." Self-proclaimed "film purists" Bill Hunt and Todd Doogan called the soundtrack "quite cool" and commented that it "fits the film perfectly." After commenting on what he called the low artistic quality of the film, Philip Kennicott of The Washington Post said: "The delightful thing about Glass's music for film is that there's no need for it. It is a pure artistic addition to something that was not wanting in the first place; and in that act, Glass confirms a kind of reverence for the original. It is, artistically if not financially, an act of selfless collaboration with a partner — the film — that might be considered the culturally undead." Bradley Bambarger, in Billboard, praised the soundtrack as "one of Glass' most lyrical, moving works, regardless of genre." Mark Allender's review on Allmusic likewise ranks the soundtrack very high in Glass's oeuvre:

Track listing

Releases and format

The album was released by Nonesuch with two different covers. One was black with the name "DRACULA" in a panel with an ornamented border; the version currently available has a colored drawing of Count Dracula resembling the movie poster. Unlike most other Kronos releases on Nonesuch, this album does not come as an MP3 download.
The soundtrack was included in a 5-CD compilation of Philip Glass soundtracks, released in 2001 (Nonesuch 79660).

Credits

Musicians
David Harrington – violin
John Sherba – violin
Hank Dutt – viola
Joan Jeanrenaud – cello

Production
Recorded at Skywalker Sound, Nicasio, California
Bob Levy – engineer

See also
List of 1999 albums

References

Kronos Quartet albums
Philip Glass soundtracks
1999 soundtrack albums
Horror film soundtracks
Nonesuch Records soundtracks
Alternative versions of soundtracks

redpajama_set_name: RedPajamaWikipedia


text:
FIRE NEVER GOES OUT MEMOIR IN PICTURES HC GN
From Noelle Stevenson, the New York Times bestselling author-illustrator of Nimona, comes a captivating, honest illustrated memoir that finds her turning an important corner in her creative journey. In a collection of essays and personal mini-comics that span eight years of her young adult life, Stevenson charts the highs and lows of being a creative human in the world. Whether it's hearing the wrong name called at her art school graduation ceremony or becoming a National Book Award finalist for her debut graphic novel, Nimona, she captures the little and big moments that make up a real life, with wit, wisdom, and vulnerability. (Credits: (W/A/CA) Noelle Stevenson ) (Expected Ship Date: 03/04/2020 )
Brand HARPER TEEN


Zucati Dice EleMetals™ are the newest and best dice we've ever made.
These dice are the result of two years of research, testing, prototyping and work.
Made from aerospace 6061 aluminum and brilliantly anodized in a beautiful array of colors.
All contained in a custom-made retail windowed package with luxurious dense foam pockets that you can re-use to transport and display your Zucati Elemetal™ Dice in style.
Role your character from the moment you take your dice from the box.
Not only do you get all the dice you need to dominate your game, but they're made to be proportionally complimentary and incredibly easy to read across all colors thanks to our research and implementation of the perfect font, size, positioning and depth of our engravings. No faded laser etching, no paint to chip off, our numbers are large, clear and view-able at any angle with ease, another industry leading standard exclusive to Zucati Dice And ZucatiCorp.
Lastly these dice feature everything you want and nothing you don't. Balance, durability, beauty and perfect rolls every single time. Our D6's have no line under the six, our other dice feature perfeclty placed single pips on the 6 and 9's and all are made to our exacting standards.
You simply cannot get a better set of dice that has more value, style or ease of use than our Zucati Dice Elemetals™ .
Roll the best without paying the most.


text:
CWMCHWEFRU WOOL
CWMCHWEFRU WOOL HOME
I enjoy using a knitting machine to make the clothes I design, and have been a knitwear designer for 40 years. Most, but not all, of my work is with wool from my own sheep. The sheep flock started when I learned to spin and was then told that it wasn't possible to use hand-spun wool on a knitting machine. Oh, really!
My favourite to spin is a mix of all the colours my sheep produce, all carded together, and then it spins 'tweed'!
I love my sheep and my dog, a 'rescue' collie, and where I live in the Cambrian Mountains in Mid Wales. No neighbours, no mobile signal, very peaceful and beautiful.
View wordpressdotcom's profile on Twitter
The Ewe Tree
Our shop in Hay-on-Wye which opened for 15months until summer 2016 unfortunately had to close as we were unable to purchase the building. Lesley regularly attends the Thursday Market in ABERGAVENNY - at the Market Hall in the centre of town.
Pontarddulais
Our herd of Dexter cattle now resides with our daughter in Pontarddulais where she farms 300 acres. Set on a hillside overlooking The Gower and the sea where the Bristol Channel meets the Atlantic Ocean, she has a holiday cottage available for lettings… please visit www.facebook/com/llandremorfawrcottage/ for more information!
Cwmchwefru Farm
Cwmchwefru Farm is now for sale as we plan to re-locate to a smaller enterprise and try some new things. Until we do, Lesley maintains her wool studio where garments, rugs etc are in full production, and garments can be examined by prior appointment. If you would like to arrange a visit (and maybe see some sheep!), please CONTACT US through the contact page, e-mail to lesley@lesleywickham.co.uk, or by phone +44 (0) 1597 860 244.


There was a day when individual banking called for a trip to the financial institution, standing in frequently long lines, and making a deal by means of a bank cashier. Money came only at a traditional area. Any monetary requirements not dealt with by the end of business day would certainly need to wait till the following. Accessibility to one's money was dictated mostly by the bank's hours of procedure.
Times have altered. Today, with the development of the Web, availability to one's financial resources is more convenient than ever. With electronic banking there are no lengthy lines or gas-guzzling drives to the bank. Transactions, costs settlement and also getting brand-new checks can all be achieved with the click of a switch in the comfort of one's own home.
Atm machines enable instant access to money. For some individuals, there is no traditional financial institution behind their online accounts – their financial is conducted totally with an Internet financial institution.
As a matter of fact, online banking has actually become the recommended purchase method for the majority of America's financial customers. While an on the internet deal can take simply under 3 mins, it can take almost 10 minutes at a financial institution to conduct that exact same purchase as a result of waiting in line and also communicating with a branch bank employee.
While some may have questioned the credibility of electronic banking in the 1990s, it has proven to be one of the most beneficial possessions banks can supply their consumers today. While less than one in 7 Americans were on-line in 1995, two out of every three Americans are on the internet today, according recent data. Americans are surfing the web, carrying out ecommerce, and analyzing their bank statements from their desktop computers at rates much faster than while those points might be accomplished in addition to a computer system.
With the introduction of the Internet in the 1990s, self-confidence in this new type of collecting and also transferring details was an evident pathway for financial institutions to seek. It offered bank clients what they never ever had previously– accessibility to their money 24/7. Features have ended up being a lot more advanced and also easy to use via the decade. If you're looking to apply for a credit union, try Coastline Credit Union.
Today's banks use online banking services which permit individuals to conduct a selection of deals – whatever from account to account transfers as well as paying bills to getting a funding or making a financial investment. Particularly practical, online banking allows users to immediately see their accounts, balance the books, and also display investing.
And also with using individual money programs, information can be quickly imported making personal financial management much easier than ever. Some financial programs also permit individuals to monitor all of their accounts at one site no matter if they are with their major financial institution or with another institution.
Electronic banking has actually likewise opened up doors for those buying a funding. On-line lending institutions make requesting a loan simple and hassle-free, consisting of everything a consumers needs to make an application, consisting of application forms and instantaneous aid on their web site. The success of these sorts of services have actually permitted consumers to look for the most effective terms and have produced a brand-new level of competition between banks looking to broaden their bottom line.
Among one of the most vital functions to the growth of electronic banking has actually been the growth of defense obstacles to secure individuals as well as their cash. Individual Identification Numbers (PINs) and/or passwords have permitted customers to verify and also protect accounts and also purchases.
Certainly, the Web has actually shown to be an effective as well as expanding tool for today's consumers. With it, electronic banking has provided clients more control over their funds and liberated time that would have been invested standing in a credit line. But similar to several points, safety measure and education and learning are very important elements for electronic banking consumers. At the end of the day, online banking prospers only with the alertness of the banks and also their customers.


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Tag: Navy Green
Exciting Changes Coming to the Brooklyn Navy Yard
by Doug Hatt
Artist rendering of the proposed waterfront streetcar via Friends of the Brooklyn Queens Connector
Sponsored By Navy Green.
Navy Green is a brand new development of 1-, 2-, and 3-bedroom condo units starting at $720,000 and 3-4 bedroom townhomes starting at $1.995 million, directly across from the Brooklyn Navy Yard.
Created By BlankSlate
Prospective residents of the new mixed use development at Navy Green, straddling the borders of Clinton Hill and Fort Greene, may wonder about the Brooklyn Navy Yard a couple blocks to the north. What does it have to offer people who live in the area?
Right now, the Navy Yard is primarily an industrial park where a thriving community of artists and craftspeople, manufacturers and distributors, and other Brooklyn entrepreneurs ply their trade. Its visitor center, BLDG92, stages exhibitions, events, and tours that showcase the past, present and future of this historic landmark.
But what's really exciting about the Navy Yard is what's coming in the near future. With a cash infusion of as much as $140 million flooding the area, there are a host of new developments in the works, including a high-end food court at Building 77, a 74,000-square-foot Wegmans supermarket, the expansion of the Brooklyn Waterfront Greenway, and — perhaps — Mayor de Blasio's ambitious plan for a streetcar which will connect the Brooklyn and Queens waterfronts from Sunset Park to Astoria. Read on to find out more. (more…)
Navy Green
Explore the Townhouses at Navy Green
by Jeff Scherer
The wait is almost over: Phase 1 of the townhouses at Navy Green are within weeks of occupancy. By the time the snow from this blizzard melts, you could be settling into one of these airy three- or four-bedroom homes, each featuring over 3,000 square feet of space.
We recently went on a tour of one of the homes, and when we weren't too busy daydreaming of living here ourselves, we took plenty of pictures of the interiors for you to check out. Come on inside! (more…)
5 Reasons Why Fall Rules in Fort Greene and Clinton Hill
by Jess Sponge
Navy Green is a brand new development of 1-, 2-, and 3-bedroom condo units starting at $625,000 and 3-4 bedroom townhomes starting at $1.95 million, directly across from the Brooklyn Navy Yard.
Fall is one of Brooklyn's best seasons. The trees lining our streets and parks are dressed in their glorious autumnal finery, the temperature drops enough that we can finally wear our nice sweaters and jackets, and the smell of wood burning isn't limited to artisanal pizzerias. In the neighborhoods of Clinton Hill and Fort Greene, fall means beautiful sights in Fort Greene Park, fun Halloween events, and going down Myrtle Avenue with a pumpkin latte to keep your hands warm.
It's in this area that you can find Navy Green, a brand-new block of townhomes and market-rate condos. To really appreciate this vibrant part of Brooklyn that could become your new neighborhood, here are five things to do this autumn in Fort Greene and Clinton Hill.
Show Clinton Hill You Scare
On the front lawn of 313 Clinton Street, this elaborate live show Halloween 313 has been entertaining thousands of visitors every October 31 since 1994. Past years' themes have included "Pirates of the Scaribbean," "Carnival of Carnage," and "ApoCALYPSO," and this year's is "Malice in Underland." The talented cast and crew, led by "Halloween lady" Janna Kennedy, create this spooky spectacle "for the love of their community and the Halloween spirit."
Photo of "Carnival of Carnage" by Halloween 313.
Brooklyn Grange, Brooklyn Navy Yard, Fort Greene Park, Navy Green
Condo Units Now Available at Navy Green
Big news on the homefront: condo units are now available at Navy Green, a new village of condos and townhomes in the historic neighborhood near the Brooklyn Navy Yard.
Located at 8 Vanderbilt Avenue, Navy Green offers 24 market-rate condos on floors 8 through 12, all one-, two-, and three-bedroom homes. Each features open, modern layouts and large windows, filling each unit with natural light. There is five-inch plank, white oak flooring throughout, Kitchen Aid and Bosch kitchen appliances, and Grohe fittings in the baths. (more…)
Fort Greene and Clinton Hill for Families
Navy Green is a brand new development of 3-4 bedroom townhomes starting at $1.9 million, directly across from the Brooklyn Navy Yard.
If you have a family, you know what it's like. Every time you try to leave the house with your kids it's a production every bit as big as that of a Michael Bay blockbuster.
If you're going to go through all that just to leave the house, you'd better have something worth leaving for.
Navy Green is on the border of two neighborhoods — Fort Greene and Clinton Hill — which should keep you and your family occupied. Navy Green will make that decision to leave even more difficult, but the neighborhood options are endless whether you've got the kids, or you've paid a sitter for a much-needed break.
The three-story, single-family townhouses at Navy Green have everything you could want in a family home: three or four bedrooms, two full and two half bathrooms, a back garden with a patio, media room dishwasher, utility room with washer/dryer.
Navy Green and the Perks of Living in Wallabout
Navy Green is a new development in the historic neighborhood near the Brooklyn Navy Yard. Taking up almost the entire block where the Navy Brig once stood — bounded by Park, Clermont, Flushing and Vanderbilt Avenues — Navy Green is a village of townhomes and condos surrounding a 30,000-square-foot common green. Residents of this development will be able to enjoy this quiet neighborhood's many charms, including the restaurants, bars and shops of Fort Greene and Clinton Hill, the nearby Brooklyn Greenway, Navy Yard attractions, and even a brand-new Wegmans supermarket.
The neighborhood adjacent to the Brooklyn Navy Yard — sometimes referred to as Wallabout, sometimes as extensions of Fort Greene and Clinton Hill — was once described by the founder of Columbia University's Historic Preservation Program as an "outdoor architectural museum." Belgians settled in the area as early as 1624, but Wallabout (from the Dutch Waal-bogt, meaning "a bend in the harbor") remained largely rural until the opening of the Navy Yard in 1801. Many of the houses in the neighborhood were built for the people who worked at the yard, which was shut down in 1966 and gradually converted into the center for industry and the arts it is today.
Following are some of the best attractions in the neighborhood around Navy Green.
Brooklyn Navy Yard, Navy Green
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Could you upload the actions for these looks?
Your photos are lovely! I especially love the first and third ones.
I've been visiting your sites for awhile now, I was a big fan even back in your Swimchick days. Just wanted to stop by and tell you how much of an inspiration you are to me!
I'm an aspiring photographer too so it would mean the world to me if you would stop by my photoblog and give me a few critics as to how to improve. Have a lovely day, Jess!
I used to lurk Swimchick a lot when I was young. It's so crazy to see how you've come into your own as a graphic designer and photographer. Beautiful job!


1 RSA Investigation: "Schools with Soul - A new approach to Spiritual, Moral, Social and Cultural education (SMSC)"
RSA Investigation: "Schools with Soul - A new approach to Spiritual, Moral, Social and Cultural education (SMSC)"
Yesterday the RSA published the first is a series of investigations on key education issues. With a focus on SMSC this investigation is designed to "offer policymakers, practitioners and other stakeholders structured spaces to diagnose problems and generate solutions."
You may also find this blog by David Kerr interesting "Schools with Soul: defeating the data daleks" (He's one of the co-authors of the investigation).
"A mapping exercise outlining how schools can practically break down and conceptualise SMSC provision in their daily practices through the school culture, curriculum and links with the community"
If you use any of these to deliver SMSC in your school, please let us know how you get on.
We'll be at the following conferences in the next few months - so come along and meet the SMSC team.
This SMSC conference draws on the latest developments from leading SMSC experts, Ofsted and schools who have completed their journey to outstanding. Visit the Osiris website for more information.
In response to customer requests we have added a great new feature to the Grid which enables you to attach photographic evidence to a project/activity to support all the work you are doing in school.
As you know, you have always had the option to add evidence to your Grid in the form of Word documents, Powerpoint presentations etc. However when you use the new "Upload Photo" option - your photo will be displayed in your pdf reports and also in the Grid when you mouseover activities.
The option to "Add a photo" is shown on the "Add/Edit Project" form. You can add one photo per activity in the form of either a png or jpeg. You don't have to worry about re-sizing as this is done automatically for you.
Please get in touch with Diane (diane@opeus.org) if you have any questions relating to the above or any other feature of the Grid.
We've recently updated our smsc.opeus.org website which provides information about GridMaker, as well as a range of articles and resources relating to SMSC. If you're considering purchasing GridMaker, you may be interested in the testimonials that we've received. (Many thanks to all the SMSC Co-ordinators, Teachers and Headteachers that have sent us their comments).
We need your help… Are you an SMSC Co-ordinator with great ideas to share? Do you have a few hours each month to spare?
We are looking to work with SMSC Co-ordinators who can help us share best practice with the network of schools who use our SMSC tools. We want to send out a regular newsletter which include ideas, suggestions, teaching and CPD resources that other SMSC Co-ordinators and teachers will find useful. If you feel you could contribute to this newsletter (and be paid for your time of course!) please contact me (dan@opeus.org) for more information and to discuss what you can offer.


sorry for the inconvenience. Indeed we had some troubles with some of the 'renewed' classes.
Please update trunk/rho/tutorials, trunk/rho and trunk/PndTools/AnalysisTools and recompile and run again. I hope after that most of the things work fine, at least according to my own and Lu's tests.


text:
Actualment, s'està analitzant la possibilitat que Palestina, país situat a l'est de la mar Mediterrània, participi en el Festival de la Cançó d'Eurovisió, a causa de l'interès de l'organisme de radiodifusió PBC a ingressar en aquest concurs. El seu reconeixement oficial per part l'ONU fa cada vegada més viable aquest fet. En 2009, la PBC ja havia estat aprovada com a membre associat de la UER, no obstant això, pel motiu de no ser un membre ple, no va poder participar en el certamen musical europeu.

Referències

Països participants al Festival de la Cançó d'Eurovisió
Palestina


text:
Laminated veneer lumber from spindleless rotary-peeled veneers produced from short rotation, small Hevea plantation logs: Effects of lamination pressure
Khoo, P., Chin, K., Hng, P., Lee, C., Bakar, E., Ashaari, Z., Luqman, C., and Gandaseca, S. (2020). "Laminated veneer lumber from spindleless rotary-peeled veneers produced from short rotation, small Hevea plantation logs: Effects of lamination pressure," BioRes. 15(3), 6735-6751.
The invention of spindleless lathe technology has enabled veneers to be produced from small logs, such as logs from short rotation Hevea plantations, with low recovery loss. However, for structural laminated products, such as laminated veneer lumber (LVL), manufacturers are highly selective regarding the veneers for their conventional production. During the peeling process of small logs (< 18 cm), deeper and higher frequency of lathe checks were induced on veneer surface compared to the common log size used (> 30 cm). In this study, spindleless rotary-peeled veneers made from small rubber logs were processed into LVL using different lamination pressures: 7, 8, 9, and 10 kgf/cm2. The effects of lamination pressures on the physical and mechanical properties of the produced LVL were evaluated. Based on the findings, the specific gravity increased from 0.73 to 0.83 with increased lamination pressure. In terms of mechanical properties, all the values increased with lamination pressure, but with a sudden drop with 10 kgf/cm2. Understanding the effect of lamination pressure on the physical and mechanical properties can shed light on optimizing the usage of spindleless rotary-peeled veneers from small logs for the production LVL and other lamination products.
Pui San Khoo,a Kit Ling Chin,a,* Paik San H'ng,a,b,* Chuan Li Lee,a Edi Suhaimi Bakar,b Zaidon Ashaari,b Luqman Chuah Abdullah,a and Seca Gandaseca b
Keywords: Laminated veneer lumber; Small Hevea log; Spindleless rotary-peeled veneers; Lamination pressure; Physical properties; Mechanical properties
Contact information: a: Institute of Tropical Forestry and Forest Products, Universiti Putra Malaysia, 43400 Serdang, Selangor, Malaysia; b: Faculty of Forestry and Environment, Universiti Putra Malaysia, 43400 Serdang, Selangor, Malaysia;
* Corresponding authors: kitling.chin419@gmail.com; ngpaiksan@gmail.com
Rubber tree (Hevea brasiliensis) is a fast-growing hardwood species that is one of the most important agriculture crops in Malaysia (Teoh et al. 2011; Ratnasingam et al. 2012). Currently, Hevea plantations have been managed under intensive silviculture techniques to achieve a higher yield of latex production within a short-term period with less consideration for the wood yield (Teoh et al. 2011). Under such conditions, rubber trees are being felled after 15 years compared to the conventional 25 to 30 years; this practice produces rubber logs with small diameter (Khoo et al. 2018). Previous studies have confirmed that rubberwood harvested from a short rotation Hevea plantation (15 years old) contains wood properties that are different from rubberwood recovered from a plantation with a longer rotation of 25 to 30 years (Khoo et al. 2018). The tree age has a major effect on wood properties, with younger trees having lower wood density, shorter fibers length, smaller lumens, and thinner cell walls (Naji et al. 2012; Saffian et al. 2014). Despite these differences, the properties are generally in the range of desirable properties for many processing options and high-value end-products. Indeed, the reduction of some properties (e.g., density) may prove advantageous for some processes and end products. Logs harvested from short rotation Hevea plantation are also known to yield relatively small diameter logs that contain a range of defects that affect the efficiency of conventional processing methods and suitability for end products (Khoo et al. 2018, 2019).
Rubberwood has been one of the most popular species in the wood industry, particularly for particleboard and fiberboard production (Ratnasingam et al. 2012). However, particleboard and fiberboard cannot be considered a total substitute for all purposes because of certain inherent limitations (Kilic et al. 2006). Sawmilling and veneer processing remain as the attractive processing options for producing high value-added products. With spindleless lathes, small diameter logs can be processed into veneers (Kamala et al. 1999; McGavin and Leggate 2019). Moreover, wood loss is low and veneer production is easy because of the chipless peeling of the logs by the automatic lathe (Kilic et al. 2006). This has encouraged the utilization of fast-growing plantation species in the production of layered composite lumber such as laminated veneer lumber (LVL) (Bal 2016). The LVL has been developed as an alternative to solid wood (Çolak et al. 2004). This is because LVL makes use of small-sized timber yet is constructed to be stronger than solid wood with similar dimensions (Erdil et al. 2009). It is possible to produce lumber with larger dimension and straight structural members using glued-laminated veneer construction (Aydm et al. 2004; Kilic et al. 2006). Being a homogenous and dimensionally stable building material, LVL can be used where strength, uniformity, and stability are required (Aydm et al. 2004; Uysal 2005), accompanied by reduce processing cost, improve stress distributing properties, aesthetic appearances, molding ability, etc. (Kilic et al. 2006).
However, when fabricating structural laminated products, such as LVL, manufacturers are highly selective regarding the veneers for their conventional production. It was found that during the peeling process of small rubber logs (< 18 cm), deeper and higher frequency of lathe checks were induced on the veneer surfaces compared to the common log size used (> 30 cm) (Khoo et al. 2018). Lathe checks lead to a rough surface (Dundar et al. 2008), and it was stated by Li et al. (2020) that the presence of lathe checks decreases the integrity of bondlines and deepens the adhesive penetration. Due to these reasons, over-penetration can easily happen using veneers peeled from small logs if extensive lamination pressure is applied. However, a study by Khoo et al. (2019) claimed that with the presence of higher lathe check frequency, it facilitates the penetration of adhesive for stronger bonding if adequate lamination pressure is applied. During lamination pressing, excessive adhesive will be squeezed out when high pressure applied. Hence, veneer lamination under low pressure will have thicker gluelines, and veneer lamination under high pressure will have very thin gluelines. Both thick and starved gluelines will cause weak joints due to poor bonding. When glueline thickness is within the optimum range, the adhesive will not fail prematurely, as the load transfer is maximized and the creep is minimized (Kurt and Cil 2012).
In LVL manufacturing, adhesive is applied on the tangential surface of the veneer. Hence, porosity is limited and there are fewer pathways in which the adhesive can flow (Vick 1999). Although the presence of lathe checks allows more adhesive penetration, sufficient pressure is still needed to squeeze the adhesive into the wood structure for more effective mechanical interlocking (Li et al. 2020). The setting of lamination pressures does not just depend on the type and viscosity of adhesive used but also on the type and physical properties of the veneer (Rabiej and Behm 1992). The application of lamination pressure is often required for the veneer to achieve the required bonding strength. To achieve the highest bonding strength, the adhesive must penetrate and mechanically interlock several cells deep into a sound, undamaged cell structure (Vick 1999). Furthermore, pressure also forces entrapped air from the joint, it brings adhesive into molecular contact with the wood surfaces, it squeezes the adhesive into a thin continuous film, and it holds the assembly in position while the adhesive cures. When pressure is too high, the adhesive can over-penetrate porous woods and cause starved gluelines that are inferior in bond strength (Vick 1999). Conversely, insufficient pressure caused poor localized bonding and increase the blow rate (Vella et al. 2017).
In this study, the manufacturing of LVL was completed using rubberwood veneers obtained from small rubber logs using a spindleless lathe. The main objective of this study was to determine the optimum lamination pressure for LVL produced from spindleless rotary-peeled veneers made from small logs from short rotation Hevea plantations for timber and latex production. The expectation is that the outputs of this study will contribute to a better understanding of the lamination pressure on the adhesive penetration between veneers with the influence of lathe checks that induced during the peeling of small rubber logs. Understanding the effect of lamination pressure on the physical and mechanical properties can shed light on optimizing the usage of spindleless rotary-peeled veneers from small logs for the production of LVL and other lamination products.
Board preparation
Small-diameter rubberwood logs (between 15 and 18 cm) from short rotation Hevea plantations (Kuala Kangsar, Perak, Malaysia) were peeled using a spindleless rotary-peeler (Hk-130; Linyi Hengkai Machinery Manufacture Factory, Shandong, China) according to the method demonstrated by Khoo et al. (2018) to produce veneer with 2 mm thickness and the properties are listed in Table 1.
Table 1. Properties of Spindleless Rotary-peeled Veneers (2 mm Thickness) Made of Small Logs from Short Rotation Hevea Plantations (Khoo et al. 2018)
Spindleless rotary-peeled veneers of 2-mm thickness with a moisture content of 8 ± 2% were used in the manufacture of rubberwood LVL. Phenol formaldehyde (PF) adhesive with 45% solid content was obtained from Aica Chemicals (M) Sdn. Bhd, Negeri Sembilan, Malaysia. Some properties of the PF adhesive were as follows: specific gravity of 1.232 at 30 ℃; pH of 12.90 at 30 ℃; viscosity of 69 cP at 30 ℃, and gel time of 21 min at 105 ℃. Commercial filler (Aica Chemicals (M) Sdn. Bhd, Negeri Sembilan, Malaysia was used with the PF adhesive with the ratio of 1:3. A glue spread rate of 200 g/m² was applied on the veneer surfaces, the veneer sheets were arranged with the grain orientation running in the same direction to the next layer. The loose side of the veneer was placed towards the center of the boards. The seven ply LVLs were subjected to cold press for 5 min and hot press at 120 ℃ for 10 min with 7, 8, 9, and 10 kgf/cm² lamination pressure (CMV100H-20-BCLPX; Carver, Wabash, Indiana). After hot pressing, the LVLs were conditioned at temperature of 20 ± 3 ℃ and relative humidity of 65 ± 1% until they reached the equilibrium moisture content of 10 ± 2%. Figure 1 shows the schematic diagram of the rubberwood LVL.
Fig. 1. The LVL with 12 mm thickness comprised of 7 ply of 2-mm-thick veneer
Moisture content and density
The air-dry density of test specimens with dimensions of 50 mm × 50 mm was determined according to ASTM D2395 (2002) by weighing the specimens and measuring the volume of specimens. Density was calculated using Eq. 1:
Specific gravity of test specimens was determined by dividing the oven-dry density of the specimens with density of water. Moisture content of the specimens was determined using a conventional drying method according to ASTM D4442 (2003). The specimens were oven-dried at 103 ± 2 ℃ to constant weight to determine the oven-dry weight. Moisture content of the specimens was calculated as Eq. 2:
The compression ratio of the veneer sheets after the hot-pressing process was calculated using Eq. 3,
where T1 is the total thickness (mm) of veneers, Tf is the thickness (mm) of the board.
Water absorption and thickness swelling
Test specimens with dimensions of 50 mm × 50 mm were weighed, and the thickness direction was measured before being submerged in distilled water (25 mm below the liquid surface) that was maintained at a temperature of 20 ± 1 ℃. After 2 h submersion, the water was removed and the specimens were suspended to drain for 10 ± 2 min to remove excess surface water. The specimens were weighed, and the thickness of the specimens was measured immediately. After that, the specimens were submerged for an additional 22 h and followed by the weighing and measuring procedures mentioned above. After submersion, the specimens were put in an oven at 103 ± 2 ℃ to calculate the moisture content based on oven-dry weight. Based on ASTM D1037 (2012), the percentage of water absorption and thickness swelling were determined using Eqs. 4 and 5:
Scanning electron microscopy (SEM)
The adhesives' penetration was assessed using a scanning electron microscope (EM-30AX; COXEM, Daejeon, Korea) with an acceleration voltage of 20 kV. Specimens for SEM were taken at the cross-section of each LVL panel.
Static bending
A flatwise and edgewise three-point static bending test was carried out according to the modified ASTM D5456-03 (2003) using a universal testing machine (Bluehill Instron 5567; Instron, Shakopee, USA) on specimens with dimensions of 12 mm thickness × 50 mm width × 316 mm length. The span-to-depth ratio was 18 and a depth-to-width ratio of three or greater needs to be laterally supported. Load applied perpendicular to the grains, and the crosshead loading speed was kept at 1.05 mm/min continuously throughout the test.
Compression strength parallel to the longitudinal axis
Specimen size for compression strength parallel to grain was 12 mm × 20 mm × 60 mm according to modified ASTM D5456 (2003). Load applied in a direction parallel to the grains, and the crosshead loading speed was kept at 0.06 mm/min. The compression strength parallel to the longitudinal axis was calculated using the following formula:
Tensile strength parallel to the longitudinal axis
Tensile strength parallel to grain was evaluated according to modified ASTM D5456 (2003) on specimens with dimension 12 mm thickness × 25 mm width × 250 mm length. Load applied in a direction parallel to the grains, and the crosshead loading speed was kept at 0.15 mm/min. The tension strength parallel to the longitudinal axis of each specimen was calculated from the following formula:
Gluebond shear strength
Specimen size for gluebond shear strength was 12 mm × 25 mm × 81 mm according to ASTM D906 (2004). Two grooves of 3 mm wide were made on either side to a depth of two plies and glue shearing area was kept 25 mm × 25 mm. Crosshead loading speed was applied continuously throughout the test at 4 mm/min. This test was carried out using the INSTRON universal testing machine. The shear strength of each specimen was calculated from the following formula,
where F is the failing force of the specimen (Newton), l is the length of the shear area (mm), and b is the width of the shear area (mm).
Table 2. Analysis of Variance of the Effect of Lamination Pressure on the Physical and Mechanical Properties of Rubberwood LVLs
Modulus of rupture (MOR); Modulus of elasticity (MOE)
Means followed by the same letters in the same column are not significantly different at P ≤ 0.05 according to Tukey's test; Values in parentheses indicate coefficient of variance; n.s.: not significant; *: significant at p < 0.05; **: significant at p < 0.01
According to analysis of variance (ANOVA), the effect of lamination pressure on air-dry density, specific gravity, and mechanical properties were highly significant (p < 0.01). Moreover, the effect of lamination pressure on the percentage of water absorption and thickness swelling were significant (p < 0.05). The average values that were significant were compared using Tukey's test and are summarized in Table 2.
After conditioning for two weeks, the final thickness of LVL pressed with 7, 8, 9, and 10 kgf/cm2 lamination pressure decreased by 12.1, 13.2, 14.8, and 15.5% relative to the initial thickness of 7 ply 2-mm rubberwood veneers, respectively (see Fig. 2). The LVL thickness reduction correlated well to the respective degree of densification. The densification of rubberwood LVL was influenced by the lamination pressure. The densification increased with increased lamination pressure, accompanied by LVL thickness reduction. Similar results were reported by Unsal et al. (2011), Kurt and Cil (2012), and Bal (2016). The final LVL thicknesses ranged between 11.83 to 12.30 mm. No excessive compression was expected in this study because the compression ratio for every LVL was less than 16% compared to previous research by Wang and Dai (2005), who reported that an excessive compression ratio ranged above 16%. The LVL pressed with 9 kgf/cm2 lamination pressure had the nearest thickness to the targeted thickness (12 mm), followed by LVL pressed at 8, 10, and 7 kgf/cm2 lamination pressure.
Fig. 2. Compression ratio and final thickness of rubberwood LVL with 7, 8, 9, and 10 kgf/cm2
Density and Moisture Content
As shown in Table 2, the equilibrium moisture content of the rubberwood LVL was within a narrow range between 12.5 and 12.9% after being conditioned for two weeks. The density of rubberwood LVLs ranged from 780 to 875 kg/m3, which was higher than rubberwood density reported by Khoo et al. (2018) by 20 to 24%. The density of rubberwood LVL was higher because of the lamination pressure applied during the hot-pressing process ( Kurt et al. 2011; Bal and Bektaş 2012a). Densification reduces the space of the woods' cells and the distance between cellulose chains in cell wall structures, which cause permanent deformation in wood's cell wall during hot pressing (Unsal et al. 2011). Furthermore, the reduction of the total LVL volume with the addition of adhesive also contributes to the density of rubberwood LVL (Shukla and Kamdem 2009; Sulaiman et al. 2009) other than densification. The density of PF adhesive used in this study was 1.2 g/m3, which much higher than density of rubberwood.
The analysis of variance results showed that the rubberwood LVL pressed with 9 and 10 kgf/cm2 lamination pressure obtained the highest density. During the hot-pressing process, rubberwood LVL was pressed perpendicular to the glueline. When temperature and pressure is applied, some densification of the veneers in LVL is expected (Kurt and Cil 2012). The density of rubberwood LVL is actually dependent on the weight and volume itself. Higher lamination pressure results in higher compression ratio and densification; hence there is a reduction in LVL thickness. The reduction of the thickness and volume of rubberwood LVL with a high lamination pressure produced a rubberwood LVL with higher density. The effect of lamination pressure on specific gravity was highly significant (p < 0.01). Specific gravity was increased with increased lamination pressure. As mentioned earlier, densification caused by high lamination pressure reduced the void volume in woods' cells. Woods with lesser pores and void volume generally have higher specific gravity (Vick 1999).
The lamination pressure had a significant (p < 0.05) effect on water absorption after 2 and 24 h and thickness swelling after 24 h. At the end of the 2- and 24-h immersion, rubberwood LVLs pressed with 10 kgf/cm2 lamination pressure had the lowest percentage of water absorption and greatest percentage of thickness swelling. As the lamination pressure increased, the water absorption rates of the LVL decreased, while the thickness swelling rates increased. The rate of water absorption in wood normally depends on the rate at which air can escape from wood. As wood absorbs water above fiber saturation point, air in the cell lumina is replaced by water (Vick 1999). Lowest water absorption properties were observed in LVL pressed with 10 kgf/cm2 pressing pressure. This was due to the lumen of the woods' cells being compressed and the distance between cellulose chains in cell wall structures being reduced (Unsal et al. 2011). The pathway for water-air exchange was disrupted because of the densification. Hence, a low percentage of water absorption was achieved with increasing compression ratio and densification due to increasing lamination pressure. In addition, Kurt and Cil (2012) reported that deeper adhesive penetrations in relation to higher lamination pressure may also contribute to a lower percentage of water absorption.
In terms of thickness swelling after 24 h immersion, the highest percentage was recorded for rubberwood LVL pressed at 8 and 10 kgf/cm2 lamination pressure, and the differences were significant (p < 0.05). Unsal et al. (2011), Kurt and Cil (2012), and Bal (2016) claimed that a higher percentage of thickness swelling was recorded for LVL pressed at higher lamination pressure. The reason for this result is the effect of lamination pressure on the compression ratio and densification. Higher compression ratio implies that more compressive deformation was imparted onto the panel during hot pressing and the fibers are under severe compaction (Wong et al. 1999). Compressive stresses were built up in panels especially in the thickness direction. When a panel comes in contact with water, the compressive stresses are released (Wong et al. 1999; Shukla and Kamdem 2009). As the compression ratio increased due to the increasing of lamination pressure, the thickness swelling of the rubberwood LVL increased. This phenomenon is known as spring-back effect (Unsal et al. 2011), which is greatly controlled by the lamination pressure. Higher lamination pressure in hot pressing causes a greater amount of spring-back. Moreover, rubberwood LVL pressed with 10 kgf/cm2 swelled more than 7 kgf/cm2, which was expected due to the density of LVL after being pressed. It is well known that higher density wood swells more than lower density wood (Uysal 2005; Bal 2016).
Based on Table 2, the lamination pressure had highly significant effects on flatwise modulus of rupture (MOR) and modulus of elasticity (MOE), as well as edgewise MOR (p < 0.01). However, there was no significant effect on edgewise MOE. The MOR and MOE values increased with increased lamination pressure. This can be explained by an increase in density with increasing lamination pressure, which resulted in higher MOR and MOE values. Bal and Bektaş (2012a) reported that there is a strong positive relationship between flexural strength and the density of wood-based composites. This was agreed by Shukla and Kamdem (2008) and Kurt and Cil (2012), who mentioned that density is a good predictor of strength properties for wood-based composites. Mechanical properties of LVL can be enhanced through densification (Kurt and Cil 2012). However, there was a slight decrease in MOR and MOE value when 10 kgf/cm2 was used. This may explain the excessive resin penetration into lathe checks when high lamination pressure was applied during the hot-pressing process. This will lead to the formation of a starved glueline and reduction of bonding strength. An insufficient or incomplete glueline will affect the ability of stress transferring from top to bottom of the LVL during flexural testing; thus, stress will develop between the veneer layers. In order to allow stresses to transfer efficiently, an optimum adhesive penetration is needed to provide better mechanical interlocking interaction with several cells deep into a sound, undamaged cell structure (Vick 1999). Optimum glueline thickness allows stress transfer between laminates efficiently and exhibits better bonding strength (Kurt and Cil 2012). Application of 9 kgf/cm2 lamination pressure improved the flatwise MOR and MOE by up to 24% and 48%, respectively.
Moreover, the MOE and MOR values were greater in the flatwise direction than in the edgewise direction. The important reason for this discrepancy was the pressing direction. Similar results were reported by Wang and Dai (2005), Bal and Bektaş (2012a, 2012b), and Bal (2014, 2016). This is because of the effects of press pressure applied in the flatwise direction during the hot-pressing process for LVL. Therefore, densification occurs when linear density increases in the flatwise direction (Bal and Bektaş 2012a). During flexural testing, there were three zones on the specimens, which were compression zone, neutral axis, and tension zone. Initially, compression occurred on the fibers located on the top part of specimen while tension occurred on the fibers located at the bottom part of the specimen. Breaking occurred at the bottom surface of the tension zone. When the test was conducted in the flatwise direction, the bottom surface of the specimens were being forced and the rupture occurred. Thus, the stronger the bottom surface veneer was, the greater the bending strength became. In the edgewise direction, all of the veneers acted together. Firstly, the bottom edge of the LVL ruptured. Then, continuing the test resulted in the rupture of the entire specimen (Bal 2016). Concerning this issue, Wang and Dai (2005) stated that the edgewise MOE and MOR values depended on the MOE value of each constituent veneer plies, whereas the flatwise bending strength properties were dominated by the MOE values of the bottom face veneers.
In terms of gluebond shear strength, the highest gluebond shear strength was obtained for rubberwood LVL pressed with 9 kgf/cm2 lamination pressure, and the differences were highly significant (p < 0.01). As shown in Fig. 3, gluebond shear strength for rubberwood LVL increased with lamination pressure. However, there was a sharp decrease in the gluebond shear strength for rubberwood LVL pressed with 10 kgf/cm2 lamination pressure. This might be due to the over-penetration of adhesive into lathe checks when too high lamination pressure was applied. Only a small amount of adhesive remained in the glueline; hence reducing the glueline capacity to withstand the shear stresses that concentrates the panel and results in higher amounts of glueline failure (Darmawan et al. 2015). A second assessment of gluebond quality was made by visual examination of the percentage of wood failure in the shear area of the test specimen after mechanical failure. The trend of percent wood failure was similar with the trend of gluebond shear strength. The percentage of wood failure for LVL pressed with 7, 8, 9, and 10 kgf/cm2 lamination pressure was 17, 50, 83, and 67%, respectively. Lower wood failure (less than 50%) was observed from samples pressed using 7 and 8 kgf/cm2. Insufficient lamination pressure caused poor adhesive penetration, which was clearly shown from the delamination of samples with low percentage of wood failure. According to the Voluntary Product Standard PS 1-09 (2010), the product standards for structural panels requires high wood failure values (80% or above) when bonded with an exterior resin-adhesive such as phenol formaldehyde. The LVL should be pressed with pressure 9 kgf/cm2 to obtain higher penetration of resin and good bonding quality, and thereby, a high percentage of wood failure.
Fig. 3. Gluebond shear strength for rubberwood LVL pressed with 7, 8, 9, and 10 kgf/cm²
The compression strength of LVL ranged from 43.8 to 50.2 MPa with coefficient of variance (COV) below 6%. A low COV meant that variability of compression strength was low. According to the variance analysis in Table 2, the lamination pressure had a highly significant effect (p < 0.01) on compression strength parallel to the longitudinal axis. The compression strength was increased with increasing lamination pressure, but only up to 9 kgf/cm2 lamination pressure. A slight reduction of compression strength was seen for the rubberwood LVL produced with 10 kgf/cm2 lamination pressure. Compression strength reduction of LVL pressed with 10 kgf/cm2 lamination pressure was due to poor bonding between veneer plies. When the lamination pressure was too high, most of the adhesive might over-penetrate the wood. Thus, glueline thickness would decrease with increasing lamination pressure. In this case, starved joints will be formed and a low bonding strength can be obtained (Kurt and Cil 2012). This explanation was in agreement with Vick (1999), who stated that both starved and thick gluelines result in poor bonding.
The effect of lamination pressure on tensile strength parallel to the grain was highly significant (p < 0.01). The range of tensile strength obtained was 40.1 to 50.6 MPa. This result was higher compared to those from other studies using poplar and rubberwood with the value of 31.5 MPa (Yue et al. 2019) and 29.6 MPa (Yeoh et al. 2005), respectively. From the assessment of shear bond test, a low percentage of wood failure for samples pressed with 7 kgf/cm2 revealed the failure of the lamination. Although, the rubberwood LVL pressed with 7 kgf/cm2 lamination pressure had the highest tensile strength, the result was considered not valid as the poor adhesive penetration created a separate layer of adhesive in the form of a thick glueline without a strong interlock with the wood. This thick glueline was expected to contribute to the total tensile strength parallel to the longitudinal axis. In a study conducted by Das et al. (2020), the phenol formaldehyde specimen without fiber loading exhibited higher tensile strength than the specimen with fiber loading.
As the lamination pressure increased, adhesive penetrated deeper into wood cell structure. Although the glueline thickness decreased, an increase in tensile strength of LVL pressed with 9 kgf/cm2 was observed. This may be due to the crosslinking between the hydroxyl groups of wood and the formaldehyde moiety of the adhesive as an adhesive-bonded joint was formed. The strength of the chain is determined by the individual link of wood, adhesive, and the interphasing region (Paridah et al. 2002). The strength of the crosslinking allows the stress to transfer from one component to another effectively.
Figure 4 shows the microstructures of veneer lamination under different pressing pressure. The main function of the lamination pressure in this study was to produce a thin glueline, squeeze out excessive PF, and increase the penetration of the PF into veneer and to position the veneers. With the pressure applied, the adhesives were able to penetrate into a few cells above and below the glueline and filled up the lumina area. Hence, more mechanical interlocking interaction between veneers and adhesive is formed when higher lamination pressure was applied (Vick 1999).
The peeling process of small logs produced veneer with a considerable number of lathe checks. After pressing, the lathe checks were closed during the lamination process especially near the glueline except for the specimens from the lowest lamination pressure (7 kgf/cm2); the lathe checks were still visible as shown in Fig. 4(a). Lathe checks were less visible in specimens applied with lamination pressure of 10 kgf/cm2 as the length and size of the lathe checks were noticeably decreased with the high lamination pressure. Fang et al. (2012) also reported on lathe checks conglutination on veneers due to the effect of high pressing pressure. Lathe checks on veneers were smaller as the pressure increased, which was due to the result of the plasticization of the veneer taking place under both high pressures and high temperatures of densification (Bekhta et al. 2012).
As the lamination pressure increased, the dimensions of vessels decreased and the fibers and lumina near the glueline were compressed (Fig. 4). This reduces the total volume of the rubberwood LVL and increases the density (Sulaiman et al. 2009). However, as the lamination pressure increased to 10 kgf/cm2, the lumina located above and below the glueline were found to be over-compressed with high amount of cells collapsed, which caused deformation in the vessels (Fig. 4(d)). This could be the reason why sudden decreased gluebond strength was observed when 10 kgf/cm2 lamination was applied. The lamination pressure significantly changed the morphology of the veneer, buckling the cell walls and reducing the volume of void spaces. A smooth surface could be seen near the glueline with most of the lumina enclosed and cells collapsed due to the high pressure applied. Some authors claimed that the type and amount of cell collapse has an important effect on the mechanical and physical properties of the densified material (Navi and Girardet 2000; Kutnar et al. 2009).
Fig. 4. Rubberwood LVL showing the glueline observed using SEM; LVL hot pressed at (a) 7 kgf/cm2; (b) 8 kgf/cm2; (c) 9 kgf/cm2; and (d) 10 kgf/cm2 with 200x magnification
The results for the size of the vessels confirmed the fact that the density of wood was increased by reducing the void volume. The fiber lumen diameters of the veneers applied with higher pressure were much less than that of the veneers applied with lower pressure. As evident from the microscopic images, not only was there a size reduction in the cavity vessels, but the cell walls also compressed. The starch granules in the cells can still be clearly seen in specimens applied with lamination pressure of 7 kgf/cm2 and 8 kgf/cm2 (Fig. 4 (a to b)), while higher lamination pressure caused most of the cells collapsed and the starch granules are no longer visible (Fig. 4(c to d)).
An increase in lamination pressure from 7 kgf/cm2 to 9 kgf/cm2 resulted in an average increase of density, specific gravity, MOR and MOE, compression parallel to the longitudinal axis, and gluebond shear strength. However, a further increased in lamination pressure to 10 kgf/cm2 did not further contribute to the improvement of mechanical properties.
A higher lamination pressure caused most of the cells to collapse and reduction of void volume, thus, increasing the LVL density and reduced the board thickness.
As the lamination pressure increased, the water absorption rates of the LVL decreased while the thickness swelling rates increased.
The percentage of wood failure in the shear area for LVL pressed with 7, 8, 9, and 10 kgf/cm2 lamination pressure were 17, 50, 83, and 67%, respectively. Insufficient lamination pressure caused poor adhesive penetration that was clearly shown from the delamination of samples with low percentage of wood failure.
The peeling process of small logs produced veneer with a considerable number of lathe checks. With sufficient lamination pressure (9 kgf/cm2), most of the lathe were enclosed during lamination process.
Understanding the effect of lamination pressure on the physical and mechanical properties can shed light on optimizing the usage of spindleless rotary-peeled veneers from small logs for the production LVL and other lamination products.
The authors are grateful for the financial support given by the Ministry of Higher Education Malaysia (MOHE) under the Higher Institution Centre of Excellence (HICoE) project at the Institute of Tropical Forestry and Forest Products.
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Article submitted: May 15, 2020; Peer review completed: July 3, 2020; Revised version received and accepted: July 7, 2020; Published: July 13, 2020.


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Q: Framework7, Cordova and Angular2 I want to use Framework7 for UI,Angular2 for data binding, Cordova to compile into mobile app.
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Home / Music / Music Review: Jefferson Airplane – Live at the Fillmore Auditorium 10/16/66 (Early & Late Shows – Grace's Debut)
Grace Slick's debut concert with Jefferson Airplane, 1966.
Music Review: Jefferson Airplane – Live at the Fillmore Auditorium 10/16/66 (Early & Late Shows – Grace's Debut)
Jack Goodstein September 16, 2010 Comments Off on Music Review: Jefferson Airplane – Live at the Fillmore Auditorium 10/16/66 (Early & Late Shows – Grace's Debut) 77 Views
On October 15, 1966 when Jefferson Airplane took the stage of the Fillmore Auditorium, the band's female singer was Signe Anderson. On October 16, 1966, when the band took the stage for the first of two concerts that night, the female singer was Grace Slick, and a new era was beginning.
The band had signed a contract and had already put out an album, but the real success was still to come in the future. After all it was Slick who brought the songs—"White Rabbit" and "Somebody to Love"—that were to define the band for rock fans through her time with them, and continuing through today. The concert of the sixteenth, then, is something of a landmark in the history of rock music, and fortunately for us, a live album of the event will be available in October from Collector's Choice Music Live.
Live at the Fillmore Auditorium 10/16/66 (Early & Late Shows — Grace's Debut) is one of four live albums to be released next month. Signe's final show with the group — Live at the Fillmore Auditorium 10/15/66 (Signe's Farewell) — will also be available. These are both single discs. There are two double disc albums as well: Live at the Fillmore Auditorium 11/25/66 & 11/27/66 (We Have Ignition) and Return to the Matrix 2/1/68. Together the albums give the listener a nice insight into the band's artistic growth and development as well as the new energy Slick brought to the mix.
In the first show on the album, Slick, still getting used to singing with her new band mates, tried to work with Anderson's harmonies to simplify the overnight transition. Anderson, according to the album notes, had left the band "for the stability of family life," and Slick who had been singing with her own band, The Great Society, was open to a change.
Although no mention is made of rehearsal time prior to the concert, Anderson's departure was not a spur of the moment decision; certainly there must have been some time for rehearsal before this first public performance. Because Slick's band had appeared on shows with Jefferson Airplane, she must have had a good understanding of their music. To make it seem as if Anderson left and Slick just stepped right in cold seems to be an unlikely scenario. The fact that they work so well together right from the beginning would seem to argue for at least some opportunity to rehearse.
The first set opens with "The Other Side of This life" in a six and a half minute romp that begins with some nice guitar work that morphs into a duet where the strength of Slick's vocals soars with the band. "Let's Get Together" comes next, and again shows both the powerful note of passion in Slick's voice as well as her ability to blend harmonically. The bluesy "Don't Let Me Down" features Marty Balin singing with down home grit. The hard driving "It's No Secret," which follows a somewhat subdued "Run Around" ends the set.
John Loudermilk's "Tobacco Road" starts the late show and gives the band's new addition an opportunity to show her chops with some really powerful vocal lines. Jorma Kaukonen plays some mean blues guitar along with the vocals on almost seven and a half minutes worth of "Kansas City."
"Bringing Me Down" pairs Balin and Slick in a symbiotic blend that ends on a downer. Kaukonen has soft blues guitar solo between Balin's vocals in "And I Like It." "High Flyin' Bird" has a solo section for Slick which forecasts some of the trembling vocal passion that marked her later work. A ten minute version of the instrumental "Thing" follows, and "3/5 Of A Mile in 10 Seconds" ends the set with vocals for Balin, Kantner and Slick."
Like many live concerts from this period, the sound isn't always up to the recording standards we are used to today. Sometimes it seems reminiscent of some of those old Grateful Dead bootlegs, the better ones that circulated after all their concerts. Still if the sound isn't state of the art, it is nonetheless quite adequate.
The concerts on this album are clearly harbingers of the future success of the band, but they have more to offer than the kind of historical interest that says let's listen to what Jefferson Airplane sounded like before they were "Jefferson Airplane." These songs rock in their own right. They justify themselves. Had there been no Surrealistic Pillow, this is still a live album that deserves attention. That there has been, makes it that much more relevant.
Tags folk rock Grace Slick jefferson airplane live at the fillmore auditorium Marty Balin Signe Anderson
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