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T Magazine|Lone Star Style
Lone Star Style
By CATHY HORYN AUG. 27, 2006
Art Palace stands on East Cesar Chavez Street in Austin, Tex., and one look at its sun-seared porch and the two cinder-block sofas parked in the yard told me I was in the right place. The brown-haired girl waiting in the door just confirmed things.
"Hi, I'm Ali," she said, tossing her hips tomboy fashion. Her voice was friendly and unfriendly. She looked to be about 22. I was to discover later, in her painting studio at the University of Texas, where she is a graduate student, that Ali Fitzgerald is in fact drawn to the depravity of the Old West and, still later, on her blog, Calamity Jane-ish, that she addresses everything and everyone as if with a blade of wild grass between her teeth. Art Palace is a gallery that belongs to Arturo Palacios, but Arturo Palacios was in Mexico on the day that I phoned, so Ali let me in. Like all the grass-roots galleries that have opened in the last year on the east side of Austin, Art Palace doesn't keep regular hours. I'd heard of Arturo Palacios from a woman in Houston named Rainey Knudson, who runs Glasstire.com, an online journal of the state's visual arts. Knowing that I was not interested in seeing institutions or galleries that sold New York artists, and being sympathetic, she did not mention any. She said I should see Arturo Palacios.
"He's fabulous," Knudson said, and smiled. "Kind of a mess." After a moment she added, "He's the real deal, in my opinion."
I had come to Texas in search of an energy and a passion that was seeping out of my familiar world, fashion. Actually, I had come to Texas in lieu of going to Vilnius, Lithuania. It had occurred to me that with countries like the United States sated on and dulled by sophisticated design, and luxury companies pinning their futures on Bangalore yuppies, the combination of economic urgency and political change in Eastern Europe might yield a new, adventurous style. Mind you, I had no evidence that this was happening, merely a two-plus-two hunch. My editors, unfortunately, did not share my zeal for a two-week tour of Lithuania.
Since I'd pretty much bluffed them in order to get what I really wanted, it seemed polite to wait a few seconds before answering.
Credit Dan Forbes
"O.K.," I said, "then I want to go to Texas."
The idea that a single state could serve as a template for what might be exciting in fashion, without actually mentioning clothes or, bless them, socialites, is not as wild as it sounds. Oil had gone to $75 a barrel. The Texas economy is booming. Dallas, for years locked in a Sodom-and-Gomorrah war with Houston, will get a new opera house by Sir Norman Foster, a theater by Rem Koolhaas and bridges by Santiago Calatrava. You have major collectors of contemporary art in Dallas, like Cindy and Howard Rachofsky, who have a home by Richard Meier. Art and architecture have sucked a lot of the energy away from fashion. One of the wildest projects I heard about was the Ballroom Drive-In, a 100-car movie screen that's going up on 150 acres in Marfa, a town of about 2,300 people in West Texas. Two art patrons, Fairfax Dorn and Virginia Lebermann, have been working with Ole Scheeren, a partner of Koolhaas, as well as film curators and artists. You'll be able to sit under the stars, turn on your car radio and catch "The 400 Blows" in the middle of the Chihuahuan Desert. As Dorn said, "The whole point is to experience the landscape."
Texas has always had individuals who are ambitious about building stuff, if only from an anxiety about living in such a remote, often unlovely place. But precisely because they live in such a place, under conditions that promote self-reliance, they value what is adventurous. "What makes Texas so compelling is this great, open, friendly culture where you really feel you can do whatever you want," said Knudson, who is married to the performance artist Michael Galbreth and lives in a corrugated-metal-sided home, almost a warehouse. "More so than other places in the country." Why should that matter more today than in the past? Because we live in a homogenized world. We drink the same Starbucks, wake up in the same sensory-neutralizing hotels and wear the same clothes. Fashion contributes to this hollowed-out feeling by endlessly appropriating the past and using the cult of personality as a substitute for substance. That's a generalization, but you know what I mean. Is a Marni blouse going to change the way you look at the world? Is it going to make you happy? No, but maybe a beautiful building or a Calatrava bridge will. In Texas, they get it.
As Bill Wittliff, who wrote the screenplay for "Lonesome Dove," said, "It's simply a place where people want to do something more than they want to be somebody." Twenty years ago, Wittliff and his wife, Sally, started the Southwestern Writers Collection in San Marcos. "If your concentration is on being somebody," he continued, "then the work is totally different, and I think it has less of a chance of being something with meaning and endurance."
There is another inescapable fact about Texas. And that is the importance of land in the identity of Texans. "Of all the other systems of values, like style, there is still land," David Heymann, an associate dean of architecture at the University of Texas, told me one evening in Austin as we drove through a subdivision of McMansions to reach a stunningly modern house that he is building for a client. And, indeed, as Texans confront the ever-growing problem of sprawl and McMansionism, it's interesting to see how people make connections between ordinary daily life and nature.
So I went to Texas. At Art Palace, I stood looking at the small group of paintings and drawings that Ali, who was silent, had curated. I'm not an art critic, but I felt an exhilaration seeing the work. I told her it was exactly what I'd hoped to find. Later, when I spoke to Palacios, he said of the artists he represents, "They're all young, and there's a sense of urgency about them." I heard similar comments from other dealers in Texas.
A group of young artists gathers at Art Palace in Austin, Tex. Seated on the floor is Ali Fitzgerald, one of the gallery's curators. Credit Peter Rad
Ali asked me what kind of story I was writing. I would later spend a lot of time with her, and with a curator named Risa Puleo and an artist named Rebecca Ward, the four of us driving through the hot Texas days in Rebecca's maroon Camry to visit studios and eat Tex-Mex. One morning they took me over to see an artist and recent University of Texas graduate named Christa Palazzolo. Palazzolo, in an apron, was in her kitchen working on a photo-realistic painting of Loretta Lynn surrounded by a surrealistic group of animals. She explained that it was for a one-night show later that week.
"Just one night?" I said.
She smiled. "Just one night."
I did my best to explain to Ali what I was doing so far from home.
She smiled opaquely. "So it's like Kerouac."
I laughed. "Yeah, that sounds right."
he striking fact about the house at 8605 Preston Road in Dallas is not that it was designed by an eminent Modernist architect but, rather, that its owners did not betray a classic elitist impulse to shield the home from the public with trees and a discouraging wall. Howard and Cindy Rachofsky's house by Richard Meier, set on three and a half open acres with sculpture like Paul McCarthy's big, wacky "Apple Heads," seems to invite people to gaze. Enjoy!
Howard Rachofsky, when I saw him in June with his wife and another couple, Deedie and Rusty Rose, explained that the decision to site the house in full view of a busy road fit with his beliefs about the role of architecture, which, along with a passion for contemporary art, has evolved over the last 25 years. "Architecture transforms people," Rachofsky, a former hedge-fund manager who favors bright Italian shirts and white trousers, said. The house's popularity, though, had an unexpected consequence. "Everybody and his uncle wanted to borrow it for some kind of event," he said. "And, in a fun way, it drove us from the house." Last year, the Rachofskys and Roses, along with their friends Marguerite and Robert Hoffman, jointly pledged their collections to the Dallas Museum of Art, with the Rachofskys throwing in the Meier house. They live elsewhere, using the house for events and to display pieces from their collection.
If an evening at the Rachofskys discourages anything, it is the view that you can't be rich Republicans (the Roses are good friends of President and Laura Bush) and also practice democratic beliefs; that you can't influence your world (Deedie led the search to hire Koolhaas for the Dallas theater and also proposed Heymann to design the Bushes' modern house at Crawford) without acting from elitist assumptions.
The design of the Hotel San José in Austin is both casual and sophisticated. Credit Peter Rad
I'm sure there are people in the fashion industry who would be surprised and relieved to learn that Dallas isn't the big-hair capital anymore, but if that's all they think, they are indeed peering down from their ivory towers as Texans gaze at modernist sugar lumps.
I had trusted Texas to show me what was possible if you left the East, if you believed in your own eyes and ears, but after five days on the road, of blatting highways and three or four good but disconnected experiences, I was beginning to wonder if Texas wasn't, as Texans fear, an endless corridor of Wal-Marts and Sonic burger drive-throughs. I wanted an experience that was unmistakably Texan in its felicity and directness, yet able to satisfy a world-devourer, and I found it on South Congress Avenue in Austin, at the Hotel San José.
It's impossible to describe the effect of the San José, because words like "homey" and "authentic" also conjure up lace curtains and wagon-wheel tables. Mention the concrete floors and simply furnished rooms, with low pine beds and white linens, and it sounds Miami Kitsch; describe the native plantings, dirt paths and lively courtyard, and it sounds Austin Hippie. It is neither. The San José is a good example of how a true vernacular design, combined with a modest sense of luxury, can create a singularly pleasing experience.
The hotel was a drive-up fleabag when Liz Lambert, a former Manhattan assistant prosecutor with roots in West Texas, bought it, in 1995, and though she used an architect, Bob Harris of San Antonio's Lake/Flato, they resisted making it look "designed." "What I hate about most places," Lambert said, "is that it's presented to you all done, instead of letting a place go." Her next project is a tent motel, with vintage trailers, in Marfa. "To find a way to sleep under the stars instead of in a hotel room, and to experience the desert in a closer way — that's the idea," she said. She's calling it El Cosmico.
The first time I was in San Antonio was in the early 90's, to interview Tommy Lee Jones, and we had lunch at the Liberty Bar with his young children and then drove to his ranch in West Texas. You could do things like that then. The second time I was in San Antonio, in June, I went to the Liberty Bar with Lawrence Markey, a New York art dealer who recently relocated his gallery, and was immediately and pleasantly freaked to see Jones, who was having lunch with his wife, Dawn. He remembered me. ("Your hair is different.") We talked about the movie he was planning to make of Ernest Hemingway's "Islands in the Stream," for which his friend Wittliff is writing the screenplay, and I told him I was in Texas in lieu of going to Vilnius. He frowned ruggedly.
In their Richard Meier house in Dallas, Howard and Cindy Rachofsky show their contemporaryart collection, including a Styrofoam sculpture by Tom Friedman and a painting by Andro Wekua. Credit Peter Rad
San Antonio has the dusty dryness of an old Spanish city. It's also one of the coolest places on the planet, with its own musical genius and art scene. One night I ran into Ali and the girls at a gallery opening, and they took me over to Sala Diaz, one of the earliest of the grass-roots galleries. There was a huge party going on in the backyard; the next night, too. People were blond, brown, poor, white and everything in between. "Diversity really affects everyday life in San Antonio," said the artist Franco Mondini-Ruiz, who, after living in New York and Rome, recently bought his great-grandmother's house in the barrio. "I thought Rome was going to be more like a Fellini movie, a 'Satyricon.' But in San Antonio I live in 'Satyricon.' It's very immediate living here. There is a still a cultural and class colonial war going on, every single day." Though the outside of his house is plain, the inside is another world — the cultural war, if you will, inside Mondini-Ruiz's head. There is glamorous New York, registered in a white 70's sofa; Rome, in the crackled kitchen floor (actually torn linoleum he left alone); Tex-Mex, in the salvaged layers and cool, bottle-green darkness.
"See that juxtaposition?" he said, pointing to a small flat-screen TV mounted between two porcelain sculptures. "That took seven generations to happen. It did. It took me going to law school and growing up in a white neighborhood. That is my great-grandma, that is tacky Mexican lady, that is chic gay guy. And it took seven generations for it all to trickle into how I arranged those things."
Very few Americans are aware that when the Bushes visit their ranch in Crawford, they're staying not in the humble farmhouse of news photos but rather in a totally "green" single-story limestone house. People might be surprised that a man whose intentions are frequently questioned lives in a house where there is no vertical transition — you enter straight from the lawn; where there is no formal front door but instead a series of doors that also serve as windows. "The Bushes are only there for a short time, and every experience should be concrete," the architect David Heymann said, adding: "It's a very searing landscape. There's no middle ground. There's you and the infinite."
It was my last evening in Texas. I'd waited in Austin for Heymann to return from a vacation in Spain with his family. Now we were driving to the hilltop house of a private client. I think Heymann is one of the sanest people I've ever met. Gangling, with sandy hair and glasses, he speaks with enormous energy and passion. He says things about the land and ordinary life that just make sense. For instance, the Bush house has a surrounding porch shaded by the roof. There are no gutters; it's a ground system. At one end of the house there is a wide porch. "When it rains you get this wall of water on three sides with a fireplace on the fourth side," he said. "You get this direct and immediate connection with the landscape. It's totally easy."
We had reached the top of the hill. It was going to be an impressive house, shaped like a flying wedge in glass and limestone. Like the Bush place, it makes simple connections with the landscape. As Heymann led me around to the back, he said, "The house is set up so that this view is dead west and that one is dead north.
"C'mon, I'll show you something," he added, and we went into the house and climbed up several flights of stairs, stepping over construction debris.
At the top we were on a crow's-nest. You could see Austin and the green belt around Barton Springs. Behind us, over corniced subdivisions, was the hazy Texas sunset. Heymann sat down on a bench and said, fondly: "The idea was to have this spot where you could basically sit and drink. Just sit and drink."
A version of this article appears in print on , on Page 6261 of the New York edition with the headline: Lone Star Style. Order Reprints| Today's Paper|Subscribe


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Living Up To Legacy
An atelier follows in the steps of a horological legend
by David Yip
When your brand name honours an extraordinary watchmaker — such as one who invented the chronograph — the only way to live up to his legacy is to constantly innovate. This is what Les Ateliers Louis Moinet seeks to do. Founded in 2004 by Jean-Marie Schaller, it seeks to perpetuate the vision of its eponymous watchmaker. In doing so, it proposes new approaches to traditional elements, and even borrows materials from beyond our planet.
Three new timepieces from the Swiss-based atelier embody Mr Moinet's best qualities — poetic sensibility, ground-breaking innovation, and practical functionality. Space Mystery, which is limited to eight pieces, holds a 'satellite tourbillon', a world's first and exclusive to Louis Moinet, which rotates on its own axis and is orbited by its own satellite planet every 60 seconds. Unlike most off-axis tourbillons, its axis of rotation is different from that of the hours and minutes hands.
Intriguingly, Space Mystery contains fragments of a carbonaceous chondrite meteorite from space that holds traces of amino acids, which are the basic building blocks of life on Earth — and could thus hint at life beyond our planet. The fragments can be glimpsed through an aperture in the dial at 9 o'clock. Casebands on either side of the crown contain a fragment from Mars and another from Earth's moon. In his lifetime, Mr. Moinet spent endless hours gazing at the night sky, so this is indeed poetic homage.
In Red Eclipse, the most prestigious version of the atelier's Memoris timepiece, the whole of the chronograph function is shifted to the dial, where it is structured around three guiding principles — locating the chronograph centre stage, giving it a traditional clutch column wheel, and adding a monopusher. This is reminiscent of Mr. Moinet's Compteur de Tierces, the first chronograph in history. The all-new LM54 movement has been designed for and around Red Eclipse's chronograph, with the traditional workings of the automatic mechanism now located on the back of the movement, beneath the plate. Its oscillating weight is decorated with a red moon in gold-leaf enamel.
On the watch's dark blue grand feu enamel dial, stars are rendered in different angles and depths, with each one capturing as much light as possible to create a sparkle. The atelier achieved this by having its craftsmen create a new fixed graver process, which allows the power of the rose engine to be combined with the precision of a handheld graver. It comes in a limited edition of 12 pieces.
Equally eye-catching is the dial of the Singapore Edition Watch, unveiled by Les Ateliers Louis Moinet on Singapore's 52nd birthday. There are only 84 pieces of this timepiece, which features a black guilloche dial with an engraved tableau of the Singapore skyline — the Marina Bay Sands Hotel, Gardens By The Bay, ArtScience Museum, and Singapore Flyer. Above this floats a crescent moon accompanied by five stars evoking the Singapore flag.
The dial is partially open, allowing the working of the LM45 automatic movement with frequency of balance of 28,800 vibrations per hour (4Hz) and 22 jewels to be appreciated. Through the transparent back, one can see the rotor, decorated with a concentric version of the Clou de Paris pattern.
Tags : Luxury Timepieces
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redpajama_set_name: RedPajamaCommonCrawl


text:
package org.jetbrains.plugins.scala.lang.psi.api.toplevel.imports

import com.intellij.psi.PsiElement
import org.jetbrains.plugins.scala.lang.psi.ScalaPsiElement

/**
* @author Alexander Podkhalyuzin
* Date: 20.02.2008
*/

trait ScImportSelectors extends ScalaPsiElement {
  def selectors: Seq[ScImportSelector]

  def hasWildcard : Boolean

  def wildcardElement: Option[PsiElement]
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redpajama_set_name: RedPajamaGithub


text:
El Jurong FC fue un equipo de fútbol de Singapur que alguna vez jugó en la S.League, la primera división de fútbol en el país.

Historia
Fue fundado el  en la ciudad de Jurong con el nombre Jurong Town FC con el fin de representar a los habitantes y a los empleados de la industria en la ciudad, ingresando a la liga de fútbol en 1988 reorganizada por la Asociación de Fútbol de Singapur, consiguiendo un patrocinio por $100.000.

En ese año, el Jurong Town gana la Copa de Singapur, repitiendo el logro al año siguiente y además obtuvieron el subcampeonato de liga. Dos años después. el club desciende de categoría.

En 1992 el club retorna a la máxima categoría para descender dos años después.

En 1997 el club cambia su nombre al de Jurong FC e ingresa a la S.League, permaneciendo en la liga hasta el año 2003, cuando la S.League se decide expulsarlo de la liga por problemas financieros, con lo que el equipo desaparece.

Palmarés
 Copa de Singapur: 2
 1988, 1989

Jugadores

Jugadores destacados

 V. Sundramoorthy
 Jeffrey Lazaroo
 A.R.J. Mani

 K Kannan
 D. Tokijan
 Lim Chiew Peng

 Nazri Nasir
 Lim Tong Hai
 Manalton Santos

Entrenadores

Entrenadores destacados
 Jimmy Pearson

Referencias

Enlaces externos
 Página oficial
 S.League - Perfil

Equipos de fútbol desaparecidos de Singapur
Equipos de fútbol fundados en 1975
Equipos de fútbol desaparecidos en 2003
Singapur en 1975
Singapur en 2003

redpajama_set_name: RedPajamaWikipedia


The average salary for pharmacy technicians in Texas is $28,500 to $32,750. Salaries do range depending on what city you work in as well as the number of years you have been working. Most entry level positions range from $10.90 to $15.00 per hour. In Texas there are over 30,000 people employed as pharmacy technicians which is the second highest in terms of jobs in the US. The average hourly salary is $15.30 in the Dallas, TX area.
- As a pharmacy technician it is required that you register with the Texas Board of Pharmacy (TSBP).
- You can earn your certificate or Associate's degree in pharmacy technician in order to standout when you try looking for employment.
- The top employers of pharmacy technicians in Texas including Walmart, Target and other retail pharmacies.
- The US has over 350,000 pharmacy technicians and growing.
- Being bi-lingual will benefit you when you apply for jobs.
- According to the BLS the industry is expected to increase by 10% over the next 8 years.
- Each state is different in terms of how they license their pharmacy technicians.
- Texas has over 65 colleges that offer either a certificate or pharmacy.
- Approx. 68% of pharmacy technicians are women.
- Over 75% of all pharmacy technicians work in a retail setting such as a drug store or retail pharmacy.
The job of a pharmacy technician is diverse. They assist the pharmacists by performing different tasks such as answering phone calls, accepting prescriptions from the counter and filling the prescriptions. They also accept payment from customers. The job description also includes preparation of medications as per the pharmacist's direction. You may have to measure, count, mix, label and record amount and dosage of medications based on prescription orders. The nature of this job may be simple but the responsibilities are important.
In order to pursue this career you do not need much. Most employers do not even require applicants to have any more qualification than a high school diploma. However, some states might require you to complete a post-secondary certificate. These are generally 6 to 12 months long and you may enroll in these programs at either a community college or a vocational institute.
Some of the duties have been highlighted already but the nature of this job can be described in a more organized manner. In Texas, the responsibilities largely vary based on which state and kind of institute you work at. A major classification is the different of duties between those pharmacy techs who work in Class A Pharmacy under supervision of a certified pharmacist and those who serve at Class C pharmacy (at a hospital).
If you get employed at a Class A community pharmacy, you must understand that there are some duties you must fulfill religiously. It will be your task to initiate and refill authorization requests, enter prescription data into the data procession system and take stock bottle from the shelf. You will have to prepare and package drug orders, which includes measuring liquids, counting tablet and capsules, and placing them in containers. Affixing prescription labels and auxiliary labels to the containers would also be a part of your job description. You have to reconstitute medicines, prepackage and label prepackages medicines and load the bulk unlabeled medicines into automated dispensing systems. Your duty will also include compound non-sterile preparations, compound sterile preparations and compound batch preparations. However, you may have to undergo a 40-hour training period before you can take part in compound sterile preparations.
As a pharmacy tech at a Class A pharmacy in Texas, you can perform all the aforementioned tasks but a pharmacy must be present to directly monitor and supervise.
While most of these are common for technicians working at all hospitals, there are some differences. For example, if you work at a hospital where the pharmacist is not physically present and electronically supervise, you cannot pre-package and label the medicines, compound batch preparations or load unlabeled drugs into automated compounding or counting device. You also cannot compound medium and high-risk sterile preparations.
Keep in mind that individuals who are not registered with the Texas State Board of Pharmacy (TSBP) cannot perform any of these processes, even if they are trained and certified.
A common concern with any career is whether formal education or formal training is required. The regulations regarding practice of pharmacy allows TSBP to decide the standard for approval of training programs for pharmacy technicians but the board does not enlist these programs as a requirement for employment in this industry. At present, programs approved by the Texas State Board of Pharmacy are those accredited by the American Society of Health System Pharmacists.
In simpler words, the Board decides what the criteria of acceptance should be but should not require any prior formal training from individuals who want to become registered pharmacy technician. Note that there are some one-site training requirements, which will not change even if you have previous training in relevant field.
In order to work as a pharmacy technician, you have to first register with TSBP. Only after receiving notification of registration from the Board, you can work in a pharmacy. According to Board rule §297.6, every pharmacy must provide their employees with initial on-the-job training. The rule clearly states which areas should be covered during this training. As this is the only formal training many people get, it is important that the training covers everything and is taken seriously.
Even though no formal education is expected, many people choose to attain formal training and certification. This is a smart choice as the TSBP recognizes the effort and values candidates who has better idea of the job. Depending on where you enroll, the curriculum and expense varies.
Consideration #1: The program you choose must be accredited by the American Society of Health-System Pharmacists (ASHP). TSBP has approved ASHP-accredited programs as board approved programs.
Consideration #2: Also consider the duration and cost of the program. Different technical and community colleges offer programs that are designed differently. Do prior research and select one that best serves your requirements and ability.
Consideration #3: Check if the program includes externship. These allow students to work in a Pharmacy and gain first-hand experience as part of the curriculum. However, it is important for Individuals to be registered with the Board as a pharmacy technician of trainee before starting their externship in a Texas-licensed pharmacy.
Also, you cannot be designated as a pharmacy technician trainee for more than 2 years. You shall complete all processes and fulfil all requirements for registration as a pharmacy technician within this period.
Another common concern is whether pharmacy techs must maintain both their state registration and PTCB registration. Based on the Board rules, you need the PTCB certification to complete the initial registration. After completing registration with the Texas State Board of Pharmacy, you can choose whether you want to maintain your PTCB certification or not.
Even though it is not a mandatory requirement to maintain this document and only the state registration is sufficient, there are some advantages of maintaining it. If you have the PTCB certificate, you will not be subject to the CE audits by TSBP. Another advantage is that this document is recognized on a national level. So, if you even wish to move to another state, you will benefit from it.
It is important to renew your license. A pharmacy technician registration should be renewed after every 2 years. The process for this is quite simple as you can register or renew your license online by following simple steps and using your credit card to pay the renewal fee. The online system is both fast and convenient. Keep in mind that it can take as long as 3 working days to show an active status. After it is active, the certificate and wallet card will be e-mailed. It is recommended not to wait until last minute.
Online renewals are available 60 days prior to expiration. You cannot perform any of your job duties if you do not have active registration. You will be considered delinquent if you do not renew on or before the very last date of the month of license expiration.
After the expiration date, delinquent penalties will be added. The Board will not accept any renewals over telephone. The certificate will be sent to the mailing address you enter on the renewal form, so updating it is essential. Expect that the new certificate will take minimum 10 to 17 working days to arrive via postal service. There is no option for pick-up or emergency delivery.
Based on information from the Bureau of Labor Statistics, the average national salary for technicians of different expertise and skill level is $14.63 per hour. The average annual salary is $30,430. The 25% pharmacy techs who received lowest wage get hourly payment of $11.99. This mostly comprises on the entry-level employees who have annual income of $24,320. Depending on which part of the country you work at, the starting pay might vary significantly.
There are total 379,430 people employed as pharmacy technicians in the country, with best work opportunities in Texas and the East Coast. The job prospect is impressive in Texas as 32,000 people are enjoying the career. They enjoy an hourly wage of $15.66 and mean annual salary of $32,580, both of which are higher than the national average. Best payment for the job is in Texas where you can get a wage of $19.31 per hour and an annual salary of $40,170.
Considering the flexible job requirements, this profession is a great option for those living in Texas. The payment is great and you can avoid expense of any formal education. Obtaining a license and securing a job is a simple process as well.
The job outlook is quite impressive. The population of America is increasing and the baby boom generation is aging. This boosts the demand for medication in United States. This means more pharmacies and pharmacy technicians are needed. It is expected that 32% new jobs will be created by the year 2020. Approximately 108,300 new jobs for pharmacy techs will be available by 2020. In fact, if you have a formal post-secondary degree, you will have great employment opportunities.
If you wish to maintain the national certification with PTCB, you have to recertify after every 2 years by taking minimum 20 hours of continuing education courses held by approved education providers. By satisfying the requirements of pharmacy technician continuing education, you can make sure you have updated skills and knowledge to survive in the competitive pharmacy industry. Make sure you attend these classes before your license expires.
As mentioned previously, a pharmacy technician does not require any official education. TSBP also does not require you to get CE audits if you maintain your PTCB certification. In case you do not maintain it, you will continue earning 20 CE's. If you are among the few who are randomly audited by the Board, you will be notified via mail. They will send the documents that need to be submitted.
The Continuing Education programs offered by TSBP meet the Texas pharmacy law CE requirement for pharmacy technicians and pharmacists. In fact, even the ACPE-approved programs which cover Texas pharmacy laws and rules will satisfy the requirement. Some of the continuing education courses which you can take for reinstatement are mathematics, interpersonal skills, pharmaceutical science, medication distribution, drug therapy, roles of pharmacy technicians and inventory control in the pharmacy. Generally, each of these classes give 1 hour of CE credit.
All pharmacists and pharmacy technicians can take part in these CE programs offered by the Board. After completion of this Texas pharmacy law credit, you may continue to attend programs for general credit. This means pharmacy technicians can receive training for Pharmacist-in-Charge positions and count it toward their Texas pharmacy law CE credit. If you already have received Texas pharmacy law CE, it will be counted as general CE credit.
It is important for certified pharmacy techs to keep good records of their continuing education hours. They should maintain these records for at least 1 year after recertification. Acceptable documentation for continuing education is results of college courses.