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• Understand the reason for optical busses.
 Know how optical busses transfer information.
 Relate the direction and flow of information on the MOST Bus.
 Perform diagnosis and troubleshooting of MOST Bus.
course of the development, the number of components increased continuously.
high-quality overall system. This results in significant growth in system complexity.
organizes the functions of the overall system.
can also carry digital audio and video signals and graphics as well as other data services.
 Additional signal wiring harnesses are eliminated.
 The only addition many control units need is the power supply.
will be increased to 50 and then later to 150 Mbits/s (as of approx. 2002).
compared to CAN bus data.
properties of the transmitter and receiver enable optical wake-up by the MOST bus.
signal is amplified and further processed at the MOST network interface.
The MOST ring is composed of optical point-to-point connections between 2 control units.
 An opto-electrical converter (optical waveguide receiver, already mentioned).
 An opto-electrical converter (optical waveguide transmitter, already mentioned).
 A network driver, the so-called NetServices.
power master. It wakes up the bus and is responsible for switching it off (power down).
The DIS Plus and GT1 will show a Control Display and a Control Display (Gateway).
down is initiated and started by the ASK.
is started and compares it to the stored coded configuration.
switched to low power mode so that they do not affect bus communication.
vehicle and to distribute them to their destinations.
ity acoustic sound is obtained.
The ASK also assumes the generation and preparation of different acoustic signals, e.g.
a control unit, the ASK provides a clean acoustic change of the signals.
format at a sampling rate of 44.1 MHz.
(e.g. navigation, radio) is possible.
the instrument cluster and the Control Display.
The following sounds can be generated in the ASK.
 Beeping for the PDC.
 Various Check Control and warning gongs.
importance. Sounds requested exceeding three will be lost.
bus and distribute the audio signals on the outputs (loudspeakers).
The connection master also controls the basic Hi-Fi or the LOGIC 7 Hi-Fi amplifiers.
The CD changer is a slave control unit in the MOST framework.


text:
Devil May Cry 4 Special Edition PC - Steam Key - EUROPE
Take control of one of five playable characters in the Special Edition of Devil May Cry 4, the ultimate version of the smash-hit stylish action game! Devil May Cry 4 immerses gamers in a gothic supernatural world, where ...
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Take control of one of five playable characters in the Special Edition of Devil May Cry 4, the ultimate version of the smash-hit stylish action game!
Devil May Cry 4 immerses gamers in a gothic supernatural world, where a new protagonist clashes with a familiar hero. As the new leading man, Nero, players will unleash incredible attacks and non-stop combos using a unique new gameplay mechanic, his powerful "Devil Bringer" arm.
On the coast of a distant land lies the castle town of Fortuna. It is here that the group known as the Order of the Sword practices a mysterious religion. They revere the demon warrior Sparda, who as their god fought to protect humans, and are committed to the extermination of all demons. Nero, a young knight from the Order, is tasked with finding Dante, the mysterious assassin who murdered the head of the Order of the Sword. At the same time, more demons begin to appear throughout the city. Nero will soon come to discover the motives behind Dante's appearance and the truth behind the intentions of the Order of the Sword.
Below are the minimum and recommended system specifications for Devil May Cry 4 Special Edition PC - Steam Key - EUROPE. Due to potential programming changes, the minimum system requirements for Devil May Cry 4 Special Edition PC - Steam Key - EUROPE may change over time.
Bayonetta vs Devil May Cry
Devil May Cry and Bayonetta are arguably the most recognizable Japanese hack and slash franchises on the gaming market...
Top 25 Action RPG Games of All Time | 2022
Action RPG – a hybrid genre that mixes the best elements of both action and role-playing. This article has some...

redpajama_set_name: RedPajamaCommonCrawl


These stone washed denim 5 pocket pants ""stolen"" from the a rapper's wardrobe feature a logoed elastic waistband. Thermosealed sidebands on both legs. The Maison's hexagonal logo is sewn over the right rear pocket. Bottom: 32 cm. Fit: Boyfriend.


text:
layout: post
title: Hello World!
---

This is a engineer's way to start something new :)

{% highlight javascript %}
console.log("Hello World!");
{% endhighlight %}

I'm currently learning a lot of new stuffs trying to build a internet startup with my partner. Everything is new to me, such as *Javascript, RESTFul API, Flask, SaaS...*

Also, I started to run from last year. Begin with finishing 1 miles till now I'm on the way to finish an offical half marathon next weekend in San Francisco. Unfortunately, my ankle was injured during the training, hope it will be ok next weekend!

![placeholder](http://rnr30.compgroup.netdna-cdn.com/wp-content/sites/1/2015/04/hero_image-sf.jpg "golden gate bridge")

redpajama_set_name: RedPajamaGithub


text:
Visit Museum
Directors & Volunteers
Railroads & Logging
The Tacoma
Historic and Cultural Sites
Film Locations in Columbia County
Scappoose Centennial
Video Tour of St. Helens - 1980s
Elaine's Memories
Elaine Haling Lease Performances
Columbia Theatre
Columbus Day Storm 1962
Peterson Basket Program Video
Dutch Canyon
Nora Lou Martin
Crown Z Trail
Ledford Case
Willemse Glass
Knighton House
Wilkinson Token
Dalton Lake
The Multnomah
Ross Family in St. Helens
Ross Family Timeline
Map of Ross/Muckle Family in St. Helens
Edwin Ross
E. Adin Ross
L G Ross
Cecil Ross
Images of America
Italianate Cottage
Early Quarry photos
Stone structures
Photos of Rock Quarries
Quarry Remnants
Marvel Man
Arcadia Book St. Helens
Bethany Memorial, Warren
Maps with names
Plat Maps
Kinder Cemetery
Halloweentown & Twilight locations
St. Helens Historic District
Deer Island
Goble
Neer City
Scappoose Grade School
Warren Grade School
Scappoose High School
St Helens Schools
Bachelor Flat
Columbia Heights School
Lions' Roar
John Gumm
McBride
St. Frederic
L. G. Ross
Dr. L.G. Ross
Dr. Levi Gilbert Ross Biography
Dr. Levi Gilbert Ross, physician and surgeon, who for many years has acted as city and county health officer, was born in October, 1879, in Avon, Wisconsin. His father, William M. Ross, though not a pioneer of Oregon's early days, was certainly a pioneer in the commercial growth of the state. He located in St. Helens in 1905 and organized the Columbia County Bank the following year. He was elected its president and served in this capacity until his death in 1916. Under his guidance the bank, now the oldest in the county, prospered and during his incumbency as president the present handsome bank building was erected. Next to the County courthouse it is the most attractive block in the city and is built entirely of St. Helens rock.
Dr. Ross began his education in the grade schools of Janesville, Wisconsin. Later he worked his way through college, graduating from the Northwestern Medical University in 1907, with the degree of M. D., and came immediately to Oregon. Determining not to be a burden to his parents while obtaining his medical education, he worked at various jobs to obtain the necessary funds. He taught in the State Industrial School, served as a waiter during vacations, and for one year served under the railroad surgeon in the construction camps at Huntington. Later he served at the Good Samaritan Hospital, where he met the charming young woman who later became his wife. Since coming to St. Helens Dr. Ross has through his ability as a physician advanced to the very forefront of his profession, while as a citizen his record is as good as his professional standing. He attempted to enter the medical corps for war service but was debarred by the government's decision to decline enlistments from all health officers, on the ground that their services were needed at home. Devoting his efforts solely to his profession, he has steadily declined to hold public officer and has built up a very large practice in this section. Dr. Ross specializes in gynecology and obstetrics and has attained fame in that branch of medical science.
During his work at the Good Samaritan Hospital Dr. Ross became acquainted with Miss Vena E. Shaffer, a native of Ohio, who was taking the trained nurse's course in the hospital. They were married in 1911, and have become the parents of one child, John Morse, named after the distinguished inventor of the telegraph, who is one of his forbears.
Dr. and Mrs. Ross are both prominent in social and club circles in the city. During the war Mrs. Ross organized a class in nursing and instructed a number of young women for war service. Dr. Ross was the physical examiner of all enlistments and county chairman of the Red Cross drives. He is a director of the Columbia County Bank and is an active member of the Chamber of Commerce. He is superintendent of the Methodist Sunday school and prominent in church and social affairs. Fraternally Dr. Ross is a Mason and holds membership with the Knights of Pythias and the Modern Woodmen. He is a man of high personal worth as well as marked professional ability.
History of Oregon Illustrated, Vol. 3
BY: Charles H. Carney
The Pioneer Historical Publishing Company
LG Ross
Source: History of the Columbia River Valley From The Dalles to the Sea, Vol. III, Published 1928, Pages 35-36 Author: The S. J. Clarke Publishing Company
High on the list of the able and successful physicians of the Columbia River valley stands the name of Dr. Levi G. Ross, of St. Helens, Oregon, where he has been engaged in the practice of his profession continuously since 1910. He was born at Avon, Wisconsin, in October, 1879, and is a son of William M. and Clara (Ross) Ross, who though of the same name were not related. His father was reared to the life of a farmer in Wisconsin, but later turned his attention to educational affairs, teaching school for a number of years and serving as county superintendent of schools of Rock county, that state. Later he went to Janesville, Wisconsin, where he was employed in newspaper work on the staff of the Janesville Gazette for several years. In 1905 he came to St. Helens, Oregon, and, liking the appearance of the place, made a few investments. In 1906 he established the first bank in Columbia county, known as the Columbia County Bank, of which he was the first president and cashier. A few years later he established a bank at Scappoose, Oregon. He was greatly interested in the development of St. Helens, serving as mayor and on the city council. His death occurred October 17, 1916. He was married twice, by the first union having two children, Levi Gilbert, of this review, and Mrs. Amy Knutson, of Hadley, Minnesota. By his second marriage he became the father of two children, Harold, who enlisted for service in the World war and died at Vancouver Barracks from the "flu," and Dr. Cecil J., who is engaged in the practice of medicine in Portland, Oregon. Levi G. Ross received his early education in the public schools of Janesville, Wisconsin, after which he matriculated in the medical school of Northwestern University, at Chicago, from which he was graduated with the degree of Doctor of Medicine in 1907. He paid his own way through college by working at various occupations. He then came to Portland, Oregon, where he served one year as interne in the Good Samaritan Hospital, and in 1908 went to Huntington, Baker county, Oregon, where he was associated with Dr. William Spencer for two years. In 1910 Dr. Ross came to St. Helens, where he has met with notable success as physician and surgeon, specializing in gynecology and obstetrics. He rendered a distinct and appreciated service to this section of the country when, in 1925, he built and equipped St. Helens general hospital, which in all respects is modern, having the latest medical and surgical appliances. Sincerely devoted to his profession, and with a profound sympathy for the sick and afflicted, he has proven well worthy of the confidence and respect in which he is held throughout the community. Dr. Levi G. Ross has been county health officer of Columbia county, Oregon, since 1910, and is now the oldest health officer in point of continuous service, in the state. On August 31, 1911, in Montana, Dr. Ross was united in marriage to Miss Verna E. Shaffer, who is a native of Indiana and whom he first met in the Good Samaritan Hospital, from which she later graduated in nursing. Dr. and Mrs. Ross are the parents of one child, John Morse, born February 11, 1916, the name Morse being after the inventor of the telegraph, who was of this same blood. Dr. and Mrs. Ross are also bringing up Frances Ann Ross, born April 25, 1923, of whom they are legal guardians. The Doctor is a member of St. Helens Lodge No. 32, A. F. & A. M.; St. Helens Chapter, No. 53, R. A. M.; and Avon Lodge, No. 62, K. P. He also belongs to the Kiwanis Club and the Chamber of Commerce. He is a member of the board of education and is a director of the Columbia County Bank, which was established by his father. He is an active member of the Methodist Episcopal church, in which he is a steward and is also a member of the choir, in which he takes an active interest. During the World war he was the physical examiner of all enlistments and was county chairman of the Red Cross drives, and Mrs. Ross organized a class in nursing and instructed a number of young women for war service. Dr. Ross possesses a genial and kindly manner, calculated to inspire confidence on the part of his patients, and all who have come in contact with him hold him in the highest measure of regard.
Dr. L. G. Ross
Excerpt from Ross Family Album
Levi Gilbert Ross was born at Avon, Wisconsin, October 16, 1879. He was the son of William M. Ross and Clara M. Ross. When he was but four years old his mother died leaving him and Amy his sister motherless. Three years later his father married Miss Fannie Partridge and the two children grew up under the care of their step-mother.
He received his earlier education in the public schools of Janesville, and then entered the Medical School of Northwestern University, In Chicago. When his father and family moved West in 1905, he had already completed two years of his training and received his doctors degree two years later.
After completing his internship in Good Samaritan Hospital, Portland, he went to Copperfield in Eastern Oregon as resident physician for a construction company engaged in operation of the Snake River This place turned out to be a godless, lawless, frontier town which had mushroomed up about work on a large power plant and a tunnel. There were no law enforcement officers--city, county, State, or Federal--to maintain law and order. The 2000 inhabitants ran wild. It was no place for a law abiding citizen.
As an uncle and also his father were already living in St. Helens, it was but natural that his mind should be turned in that direction. And as Dr. Harry Cliff was about to sell out and move on to Portland, Dr. L. G. bought his practice in 1910. He hung out his shingle from the old City Hall building, a location he maintained till his death. On August 31, 1911, he married Verna Shaffer Rudig and set up his residence in the town. To this union one child was born, John M. Ross. A year after he began his practice he was appointed Health Officer for Columbia County, an office which he held continuously until the day of his death, thus winning the honor of being the oldest health officer in time of service in the State.
Like his uncle before him, Dr. Ross had to carry on his practice under trying and unfavorable circumstances, travelling the rough country road night and day with horse and buggy and ministering as best he could to the sick in the homes. He was the third person to own an automobile,--a Buick of early vintage. With the outbreak of the First World War he was active as examining physician of the raw recruits. For a number of years he was a member of the Executive Board of Columbia County Chapter of the American Red Cross. A check of the doctor's records shows that he had delivered some 2,996 babies during his thirty years of practice.
In 1925, Dr. Ross opened what was the only hospital in Columbia County, when he purchased a house on Fourth Street from the Methodist church, named the institution the St. Helens General Hospital, and used it to house his patients needing to be hospitalized. Prior to that cases requiring hospitalization were shipped to Portland, or if the situation was acute the doctor had to practice surgery either in his office or at the home of the the patient.
Dr. Ross was active in the Masonic Order and the Knights of Pythias, of which he was past Grand Master. He took a special interest in the annual father-and-son banquet, a project which he organized. He was also a member of the Chamber of Commerce, and of the Board of Education, and an ardent supporter of the Boy Scouts. In fact, he gave freely of his time to all matters pertaining to the good of the community.
There is abundant evidence that the Rosses came from a long line of devout Christian people, as is seen in the faithful support given to the church by the three brothers--William, Edwin and Adin--and also by "L.G" the son and nephew. He was fond of music and for many years was a leader and a member of the Methodist church choir. Many admired his clear tenor voice at Easter and Christmas services. It was a very fitting tribute to his memory then that two years after his death a pipe organ costing $2,240 was installed in the church--the money being raised entirely by voluntary subscriptions from his many friends and neighbors. The formal presentation of the organ was made by J. W. Thompson, chairman of the Board of Trustees, Miss Margaret Rippey, guest organist from Portland, gave a sacred concert following the dedication ceremonies.
After the doctor became ill it was his principal desire to live until he could see the graduation of his son, John, who was follow in his footsteps. He had been present a a family dinner party in his home Sunday, but took a turn for the worse in the afternoon and was rushed back to the hospital where he continued to lose ground until he passed away, May 31, 1939. The following affectionate appreciation appeared in the local press a few days later:
"Dr. Levi Ross will be missed; in the church where he was a pillar of strength; in the choir where his clear tenor voice rang out with joyous Easter songs and on special occasions when an enlarged choir was needed. He will be missed in Kiwanis where his advice as to social betterment was eagerly sought and followed; in Boy Scout work where his endeavors were to impress upon the youthful mind the value and satisfaction of good citizenship; in Sunday School work and in city schools where he delighted in meeting the younger ones, and in a multitude of other upright activities. Yes, Dr. Ross will be missed by hundreds to whom he ministered, oftentimes without thought of monetary recompense when, in those horse and buggy days of three decades past and over muddy and almost impassible road, he answered the call of distress night and day through stormy or good weather......Peace to his ashes; and may the heartfelt sympathy of the community be of some comfort to the bereaved."
St. Helens Hospital
Home on South 1st Street built by Dr. Cliff, later purchased as residence for William Ross family and after his death, his son L.G. Ross.
Dr. L.G. Ross in his Buick
courtesy Dr. John Ross, M.D.
How you can help support the Museum-- Become a member. Donate using your credit card, by mail or in person during museum hours.
Please contact us if you have any questions or need assistance.


In this paper has three objectives to analyze which are to study jean-Paul Sartre's concept of the Existentialism, to study the concept of the existentialism in Theravada Buddhist philosophy, and to critically analyze the existentialism according to the concept of Theravada Buddhist Philosophy. It is found that: in relation with the first objective, it's found that Sartre's existentialism is of two characteristics of phenomenology: the ontological concept processing two kinds of beings, namely 'the being in itself' and 'being for itself' and the concept of humanism concerning the existence of human being that preceded the essence, in relation with the second objective, it is found that the concept of existentialism in Buddhist philosophy consists of two parts: the metaphysical concept concerning the existence of materiality and immateriality together with the law of causation and the concept in terms of humanism regarded as the five aggregates-the non-ego, in relation with the third objective, it's found that the concept of existentialism in Buddhist philosophy is focused on the human being which is not just a living being but to live consciously with the awareness of phenomenon is real existent because the only existence is not the true goal but attainment of Nibbana (ultimate goal).
Venerable Shimo Sraman was born in 1990, Bangaldesh. He was ordinated as a Buddhist Monk in 2008 and becomes an exclusive member of the Shupreme Sangha Council, Bangladesh. He obtained B.A Hons. with the department of Budhist Studies at Mahachulalongkornrajavidyalaya University, Ayutthaya, Thailand. In 2015, he was appointed to play an active role in the missionary activities at northern Bangladesh, particularly to work on socio-cultural and education development of the neglected people's and taught them to develop their ethical aspects for resolving conflicts in daily life. In 2016, he was appointed as a teacher at Wat Mai Amatarot School, Bangkok when he was coming back in Thailand. Right now, he is pursuing M.A degree at Shanxi University under the department of Tourism management.


text:
Department of Extended Studies
Electrical Engineering, B.S.
Major Code: 7041 Degree Awarded: Bachelor of Science
Delivery Mode(s): Classroom Age Restriction: No
Admission Status: Undergraduate Location(s): Main Campus - Melbourne
The goal of the electrical engineering major is to provide the student with a total learning experience. It is designed to expose the entire spectrum of electrical engineering concepts from the basic building blocks of transistors and gates, through communications, control, electromagnetic, computer and photonic systems. Electrical engineering majors develop an extensive knowledge of hardware, along with skills in software simulation and analysis. In the senior year, students design, build and test complete systems as part of their senior design course.
The educational objectives for electrical engineering are to produce graduates who will establish themselves as practicing professionals who will engage in advanced studies in engineering or a related field; display awareness of the importance of an opportunities for lifelong learning; excel in the global marketplace; and demonstrate the ability to work successfully as members of professional teams and function effectively as responsible professionals.
A major component of the electrical engineering major at Florida Tech involves hands-on learning. The electrical engineering student begins taking electrical engineering courses during their freshman year. The freshman-level courses include programming and interfacing an embedded microcontroller. Laboratory experience and computer-based analysis are integrated into most classes and all laboratories.
In electrical engineering, a strong emphasis is on the mastery principle. It is assured that electrical engineering students not only know the material critical to engineering, but also can demonstrate mastery of the material, which is the goal of everyone in the program.
During the freshman and sophomore years, students learn the basics of electrical engineering along with college-level mathematics and physics. In addition, courses in computer design with hands-on lab experiences are taken both terms of the freshman year.
Throughout the sophomore and junior years, students learn the basic analytical techniques of engineering-ways in which the engineer views physical situations and uses mathematical techniques to design basic subsystems. Many of the courses taken by students at this level offer integrated lab experiences. In this way, students can visualize the practical aspects of various electronic theories they encounter.
During the senior year, students continue to build their knowledge base to develop a systems approach to engineering design. They gain a deeper knowledge in at least two specializations through combination lecture/lab courses, followed by advanced courses in related areas. Through electives, students may explore various topics within electrical engineering for which they have developed specific interests.
Candidates for the Bachelor of Science in Electrical Engineering must complete the minimum course requirements as outlined in the following full-time curriculum. Deviations from the recommended program may be made only with the approval of the student's advisor and concurrence of the department head, in accordance with ABET criteria. Students may complete these requirements on a part-time basis.
Proficiency in certain key areas is of primary importance to success as electrical engineers. For this reason, a student who receives a grade of D in any of the following courses is strongly urged to repeat the course to attain a grade of at least C:
ECE 2111 Circuit Theory 1
ECE 3111 Electronics
ECE 3222 Signals and Systems
ECE 3442 Electromagnetic Waves
MTH 1001 Calculus 1
MTH 2201 Differential Equations/Linear Algebra
PHY 1001 Physics 1
PHY 2003 Modern Physics
Students must successfully complete a minimum of 90 percent of all the courses listed below under the freshman and sophomore years before being allowed to register for upper-level (3000/4000) courses.
Electrical engineering majors who have completed 24 credit hours and have not passed COM 1101 Composition and Rhetoric will register for this course in the next available semester. Students who have completed 48 credit hours and have not passed COM 1102 Writing About Literature will register for this course in the next available semester.
Courses that are acceptable as humanities/social science electives are identified as such in the Course Descriptions section. Definitions of electives for engineering programs are presented in the Academic Overview section.
Additional policies and procedures governing degree requirements may be found in the program's student handbook and online in the learning management system.
Candidates for the degree must successfully complete the following curriculum.
Fall (16 credit hours)
CHM 1101 General Chemistry 1
BIO 1010 Biological Discovery 1
BIO 1030 Introduction to Biotechnology
COM 1101 Composition and Rhetoric
ECE 1551 Digital Logic
FYE 1000 University Experience
MTH 1010 Honors Calculus 1
Spring (16 credit hours)
COM 1102 Writing About Literature
ECE 1552 Computer Design
PHY 2091 Physics Laboratory 1
ECE 2551 Software/Hardware Design
MTH 3200 Honors Differential Equations
MTH 2401 Probability and Statistics
Select first HUM Core Course:
HUM 2051 Civilization 1: Ancient Through Medieval
HUM 2141 World Art History 1: Pre-History to Early Global Awareness
HUM 2211 British Literature and Culture
HUM 2212 British and American Literature 1
HUM 2331 American History: Pre-Columbian to Civil War Era
HUM 2551 Survey of Ancient and Medieval Philosophy
COM 2223 Scientific and Technical Communication
ECE 3441 Electromagnetic Fields
ECE 3551 Microcomputer Systems 1
ECE 3240 Junior Design
ECE 4112 Digital Electronics
ECE 4221 Communication Systems
Free Elective Credit Hours: 3
Select second HUM Core Course:
HUM 2052 Civilization 2: Renaissance Through Modern
HUM 2142 World Art History 2: Early Modern to Post-Colonial
HUM 2212 British and American Literature 1 (may not be repeated for credit)
HUM 2332 American History: From Reconstruction to the Present
HUM 2552 Survey of Modern and Contemporary Philosophy
ECE 4231 Control Systems
ECE 4241 System Design 1 (Q)
Restricted Electives (Electrical Engineering) Credit Hours: 6*
Social Science Elective Credit Hours: 3
Technical Elective Credit Hours: 3
ECE 4332 Electrooptic Devices and Systems
Humanities/Social Science Elective Credit Hours: 3
Humanities Elective (HU) 3000-level or higher recommended Credit Hours: 3
Total Credits Required: 130
*A list of approved electives is available from the department.


Rotatrixfriends is also a social media site that pays you.I found this very attractive and multipurpose for blogger and webmasters.They allow you to post your advertisement links through which you can earn few bugs every month except that you will be get paid for your activity that will be bonus and you can use those points for traffic exchange.
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When I first trained as a science teacher there was a real focus on developing questioning skills. I remember sitting at the back of classrooms and recording the number of closed and open questions that were being asked, and to whom. Questioning was a good thing and we needed to get better at doing it.
Roll on ten-plus years and in my experience the number one misused tool by science teachers is questioning, or more specifically whole-class questioning. Don't get me wrong, my PGCE tutors were right. Questioning is a critical pedagogical tool that allows us to assess prior knowledge, to draw out students' ideas, asses learning and help students to construct meaning (Chin, 2006). But questioning done badly has the potential to ruin a lesson. It can distract explanations, undermine pace and involve only a few students. Let me explain what I mean.
Mr Bunsen writes a question on the board. Why does active transport require energy? Students attempt to write down their answers in their books. Mr Bunsen then asks student A. Student A says 'he does not know'. He then turns to student B, "because it needs energy". Slightly confused, Mr Bunsen then asks students C, D and E the same question. But the students don't know it and their answers add to further confusion. Surely someone knows it! Mr Bunsen pushes on and asks students F and G but this was wishful thinking, he can't 'find' the correct answer. Mr Bunsen finally gives up and writes the answer on the board. Some students copy it down but few people understand it. Pace slows and confusion reigns. Mr Bunsen is exhausted!
If questioning has determined that students don't know an answer then you must adapt the lesson – don't just push on asking the same question in the hope that the answer will be found somewhere in the classroom. This doesn't lead to progress. Provide the knowledge using good pedagogy and sound subject knowledge; direct instruction is ideal here as it can provide clarity and modelled explanations. And there's no need to pepper your explanations with distracting questions. Once understood, you can get creative and design some tasks to consolidate and challenge and indeed use questioning to support students to construct meaning.
Encourage thinking and arouse curiosity with deep, open questions e.g. where do the stars go during the day? Are humans still evolving?
Download some deep science questions here. These questions provide an excellent way of making student thinking visible whilst also providing an opportunity for students to extend their own thinking about a topic.
Chin, C., (2006). Teacher questioning in science classrooms: What approaches stimulate productive thinking?
Chin, C. (2007), Teacher questioning in science classrooms: Approaches that stimulate productive thinking. Journal of Research in Science Teaching, 44: 815–843.
Chin, C., & Osborne, J. (2008). Students' questions: a potential resource for teaching and learning science. Studies in science education, 44(1), 1-39.


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David Lee Murphy at 2018 CMA Award: 'I Wish Kenny Chesney Was Here'
Backstage at the 2018 CMA Awards in Nashville, Tenn., on Wednesday evening (Nov. 14), David Lee Murphy reflected on his win in the category of Musical Event of the Year. The award went to "Everything's Gonna Be Alright," a duet between Murphy and country superstar Kenny Chesney. However, unfortunately, Chesney was not able to attend the Wednesday evening ceremony due to a death in his family.
"I wish Kenny was here," Murphy admitted during the ceremony. "Of course, he's had a loss. He was one of the first people to let me know we won this morning."
Murphy went on to say that Chesney had told him about the win via text message. "He just said, 'Brother, we've won it,'" Murphy goes on to say. "It was really special, because we have put a lot of time into this record, and you know, he had me out on tour this summer, and has spent a lot of time in the studio with me.
"It was really special to me that he believed in this record," he continues. "That made me happy, that we got this award, for that reason."
"Everything's Gonna Be Alright" was written by Murphy, Chris Stevens and Jimmy Yeary, and appears on Murphy's No Zip Code album. The song is Murphy's first No. 1 since 1995's "Dust on the Bottle," and this is Murphy's first CMA Awards win.
Top 10 CMA Awards Moments
Unforgettable CMA Awards Controversies
NEXT: More From the 2018 CMA Awards
Filed Under: CMA Awards, david lee murphy, Editor's Picks, Kenny Chesney
Categories: CMA Awards, Country News


Enjoy this week's Crochet Finds! Lots of pretty and fun projects and many of them are free patterns too!
The kids will be delighted with this weeks fun and colorful projects…..
How sweet is this Tessa Skirt Romper by Crochet by Jennifer. Perfect for summertime fun too. Add a cute pair of sandals and a headband and the little miss is ready to party!
Super Cute! That's what I think of the Scrappy the Happy Puppy Slippers stitched up by The Hooked Haberdasher and designed by One and Two Company! Don't these just put a smile on your face?
Little ones will undoubtedly have hours of fun playing with Geri the Giraffe by One and Two Company! Make this cutie in bright colors or more traditional ones for a companion your little one will treasure.
And for Mom, we have some pretty and functional garments.
Relax in style with the Rejuvenation Robe by Crytalized Designs. I can't wait to make this one and enjoy a cup of coffee on my patio on those lazy summer Sunday mornings.
When you are done relaxing and enjoying your morning coffee, throw on a T Shirt and this cute Flaunty Flared Skirt by Maz Kwok and start your day in cool elegance.
As the day gets chilly throw this beautiful Single Skein Shawl by Helen Kennedy over your shoulders.
And of course, you don't want to neglect the home. These projects are sure to be a hit!
Make a colorful throw with this pretty Patriotic Square by Crochet Memories. This would look gorgeous in many color combinations and make a pretty finished project.
Who doesn't like a colorful bright kitchen. This pretty Autumn Blooms set by Tamara of Moogly will give you a splash of bright color and pretty blooms.


Ornua has hired a consultancy firm in order to standardise its business model after a series of acquisitions, according to the Irish Independent.
The Irish dairy group has hired Pebble Business Transformation, a small Dublin firm, to assist with the process.
The firm's co-managing partner, Joe Hughes, was formers the director of global supply chain processes at Kerry Group. The other co-founder, Conor Duggan, also previously worked at Kerry Group, as a global process integration architect.
"In late 2016, we launched Ornua 2021, our group five-year plan, and as part of this plan, it was evident that we needed to focus on the integration of these businesses to help standardise our operating model," said an Ornua spokeswoman.
"We have engaged with Pebble to support us in this process and this project relates solely to standardisation."
Ornua has been under pressure in the US following the launch of Glanbia's new consumer brand, Truly Grass Fed, which focuses on the sale of cheese.


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1988, ⓏⒺⓇⓄ, Television
The Incredible Hulk Returns (1988, Nicholas Corea)
3 November 2018 Andrew Wickliffe	Leave a comment
The Incredible Hulk Returns is severely lacking. It's severely lacking pretty much everything. Despite being set in and filmed in Los Angeles, the movie looks generic and constrained–director Corea has a truly exceptional aversion to establishing shots. The interior shots often have a different visual feel. More like video (Returns was shot on film, but edited on video). The video feel makes everything seem more immediate. But the last thing Returns has is immediacy. It lacks an immediacy, even though it's incredibly dramatic.
No pun.
The movie's set an indeterminate time since the TV series ended, but two years since Bill Bixby has turned into Lou Ferrigno. He's in L.A. making a gamma ray to cure himself and romancing fellow scientist Lee Purcell. Despite a not too big thirteen year age difference, Bixby and Purcell lack chemistry. They're not bad together, they just don't seem into one another. The script tries too hard to make them cute and they're not. The dialogue's real bad on their romance too. There's a lack of affection, even implied.
It doesn't really matter because Purcell's not important. She even gets kidnapped at one point and manages not to be important. The movie willfully ignores her. Because after the first act, it becomes a pilot for a "Thor" TV show and not really a Hulk TV movie.
Bixby's about to cure himself when annoying rogue nerdy but late eighties nerdy cool doctor (medical doctor… sure, why not) Steve Levitt shows up. Seems Levitt's gone and found himself an ancient Viking war hammer and become bound to giant, buff, blond Viking warrior god Eric Allan Kramer. Pretty soon Kramer is fighting Ferrigno and they break the lab, causing a big problem for Bixby.
Except not because they just fix up the lab, much to the chagrin of Bixby's boss's little brother, Jay Baker. Baker works his ass off in The Incredible Hulk Returns. He takes this movie really, really seriously. More seriously than anyone else, including Charles Napier playing a Cajun mercenary without a Cajun accent but TV Cajun speech patterns. It's painful. Anyway. Baker. He tries. He's also a corrupt little shit who hates his older brother John Gabriel. Baker doesn't like Bixby much either. Or Levitt. They work too hard. Not really a subplot, but it comes up a couple times and it's a lot of character development for Returns. Baker goes wild with it.
The movie utterly fails him, of course, but he does try. No one else really tries. Tim Thomerson doesn't try as the villain. He's also a Cajun but he's ashamed of it. Or so Napier implies. Because Corea's script for Returns puts more effort into the back story on the industrial mercenaries than on its lead female actor. Oh, wait. It's only female actor. Purcell manages to weather Returns with dignity. Maybe having less to do helps.
Bixby's completely flat throughout. He's default likable, but never anything more. He's not bored or condescending to the material or anything. He's just completely flat. He's supposed to have figured out some zen thing to control the Hulk but still. A lot of it is probably the script. Or Correa's direction. Neither succeed at all.
Regarding Baker and his valiant efforts in his role–he's not auditioning for a series. Levitt and Kramer would be the leads on the "Thor" show and, although Kramer does try, he doesn't try as hard. And Levitt is exceptionally bland. Again, some of it's the script. Some isn't.
Kramer at least has fun. But his character is supposed to enjoy having fun. No one else in the movie enjoys anything. Not even Ferringo enjoys breaking things. Then again Correa kind of gives Ferringo the worst stuff in the movie. Not just the script or how Correa directs him–though I guess Ferrigno does get a couple spotlight action sequences–but also the make-up. When Ferrigno needs to do "Hulk sad," he can do it. Shame Correa only has him emote twice in the movie.
Jack Colvin (from the "Hulk" TV show) comes back too. He's barely got a part and spends a lot of his screen time talking on phones. He's not good but he's not terrible.
The music from Lance Rubin needs to be heard to be believed. At least for the first thirty or so minutes. Then there's less or different music, but Rubin's action sequence music? It's loud, fast, layed, and terrible. There's one good bit of music–when not using the show theme–and it's a shock, because it suggests Rubin can do different approaches. He actually can't. The good bit was anomalous.
The Chuck Colwell photography is bad. But is it because Colwell's work is bad or because Correa doesn't really do the whole shot composition thing. Either way, the result is bad. The movie never looks right. Or good. Unlike some things, the bad photography is quite bad. It isn't just not good. It's bad.
I suppose at the very least, The Incredible Hulk Returns is never boring. It's just never good. And it's often bad. Correa does a rather poor job, both at the directing and the writing.
ⓏⒺⓇⓄ
Directed by Nicholas Corea; teleplay by Corea, based on the Marvel comic book created by Stan Lee and Jack Kirby; director of photography, Chuck Colwell; edited by Janet Ashikaga and Briana London; music by Lance Rubin; executive produced by Bill Bixby and Corea; aired by the National Broadcasting Company.
Starring Bill Bixby (David Banner), Steve Levitt (Donald Blake), Eric Allan Kramer (Thor), Lee Purcell (Maggie Shaw), Jack Colvin (Jack McGee), Tim Thomerson (Jack LeBeau), Charles Napier (Mike Fouche), John Gabriel (Joshua Lambert), Jay Baker (Zack Lambert), and Lou Ferrigno (The Incredible Hulk).
OTHER HULK FILMS
Bill BixbyCharles NapierEric Allan KramerJack KirbyLee PurcellLou FerrignoNBCStan LeeThe Incredible Hulk Returns
2018, ★, Television
Jesus Christ Superstar Live in Concert (2018, David Leveaux and Alex Rudzinski)
3 April 2018 Andrew Wickliffe	Leave a comment
The opening of Jesus Christ Superstar is the only place the three leads really interact. Jesus, Mary, and Judas all interact. Through and behind the songs, this quick narrative plays out. In addition to showcasing the performers–John Legend is Jesus, Sara Bareilles is Mary, Brandon Victor Dixon is Judas–and giving them brief solos, the sequence also establishes certain aspects (and limits) of the adaptation. Jesus Christ Superstar Live in Concert is both stage production and filmed performance of stage production. Sometimes the direction syncs, sometimes it doesn't.
For example, director Rudzinski (who directed the filming) is far more interested in the physicality–and implied physicality–of Bareilles and Legends's relationship. How they move and touch. Whereas Leveaux, who directed the stage production, isn't really interested. Leveaux isn't interested in how the cast emotes. Otherwise you wouldn't have the guy at the end blinking rapidly to show interest in levitating messiahs.
Rudzinski, on the other hand, is very interested in the emoting. Sometimes way too interested in it. Well, only when the stage production is in a lull. Rudzinski can direct movement, he can't direct lull. The opening is good, the finale is great (because it fully showcases Dixon), and the "Arrest" direction is truly awesome. Leveaux and Rudzinski do it as reporters sticking microphones and cameras in Legend's face. But Leveaux has a lot of lulls. And Rudzinksi can't really direct them.
Partially because Legend's not great at the close-up acting. Dixon's great at it. It's hard to believe Dixon is going through all that work when no one's even going to see him from the audience (but the camera sees this performance). Bareilles is somewhere in between. Her numbers usually stay in long shot, the close-ups saved for the more personal moments with Legend. Singing-wise, Dixon and Bareilles are good. Bareilles has one great number, but not the previous one, which is way too restrained.
Legend's fine. It's not a particularly great part. And he does look like he wandered off a Star Wars set. His followers look like an eighties multi-racial (but mostly white) movie gang. The priests look like something out of a Matrix sequel. The sets are scaffolding but generically urban. It looks very eighties. Down to the multi-racial gang.
But Legend's fine. He just doesn't impress like Bareilles or, particularly, Dixon. Though "The Temple" is pretty awesome in Live. It works out.
Jin Ha is great. Norm Lewis is almost as great. Jason Tam's way too much just there. Erik Grönwall isn't good. Ben Daniels is good but not great. He's ostentatious in the wrong way. Similar to Alice Cooper, who's cameoing. Thanks to the filmed live nature of Live in Concert, you even get to see him going around the front of the stage for the audience. He takes a victory lap for what amounts to stunt miscasting. He's okay, but it's a lousy "King Herod's Song" number.
They should've gotten David Lee Roth.
The end is really impressive, starting with "Superstar." Leveaux saved all the flash for the finale; the flash is big enough scale, Rudzinski can get a lot of coverage. It works out. Because so long as Jesus Christ Superstar doesn't mess up a few things, it's always going to work out.
Dixon should've gotten to dance through the whole thing. And Legend needed an acting coach. Or Leveaux needed a better take on the character.
And David Lee Roth. He would've been so good.
Directed by David Leveaux and Alex Rudzinski; written by Andrew Lloyd Weber and Tim Rice; produced by Neil Meron, Marc Platt, and Craig Zadan; aired by the National Broadcasting Company.
Starring Brandon Victor Dixon (Judas), John Legend (Jesus Christ), Sara Bareilles (Mary Magdalane), Ben Daniels (Pontius Pilate), Norm Lewis (Caiaphas), Jin Ha (Annas), Jason Tam (Peter), Erik Grönwall (Simon), and Alice Cooper (King Herod).
OTHER JESUS CHRIST SUPERSTAR FILMS
Alice CooperAndrew Lloyd WebberBen DanielsBrandon Victor DixonJesus Christ Superstar Live in ConcertJohn LegendNBCSara BareillesTim Rice
1953, Not Recommended, Television
Harvest (1953, James Sheldon)
28 January 2018 Andrew Wickliffe	Leave a comment
Dorothy Gish isn't just top-billed in Harvest, host (and narrator) Robert Montgomery introduces the episode hyping her presence. So it's a tad disappointing when it turns out Gish gets less and less to do throughout the hour-long television play. When she does get things to do, they happen off-screen. Instead of giving her an arc, writer Sandra Michael actually takes away from Gish in the third act, giving time to a newly introduced character.
It might be okay if there were something more interesting going on, but there's really not. Most of Harvest has to do with nonagenarian Vaughn Taylor preparing for his one hundredth birthday. Mentally preparing, not party-planning. Taylor's in a bunch of makeup and sort of dodders around, talking too loud about how grandson James Dean isn't going to take over the family farm.
Dean gets a lot to do. He's in love with city girl Rebecca Welles, who just can't understand why he'd want to stay on that smelly old farm anyway. Dad Ed Begley doesn't know Dean doesn't want to be a farmer–writer Michael knows Begley and Dean ought to have some scenes together because the characters have things to talk about, but Harvest skips every single one of those conversations. Instead, Begley either tells Gish or Taylor he's talked to Dean.
The action takes place around the house, specifically the kitchen, occasionally the front porch. Harvest takes some side trips–into the city, out into the field, 1,000 miles away to check in on Gish and Begley's other sons–but it's mostly just the kitchen. Where Gish prepares coffee, Begley sits silently, Dean sits jittery, and Taylor dodders.
Harvest doesn't take any of its characters seriously enough. If it's going to be about homesteader turned farmer Taylor turning one hundred and watching his family farm collapse, the writing needs to be better and a better actor needs to be playing the part. Director Sheldon doesn't do much with his actors, but no one's anywhere near as problematic as Taylor. While Begley is mostly scenery (which is almost better than when he gets lines because Michael writes them so poorly), he's better than Taylor's "best" scenes.
Dean's okay. Harvest cuts away from his character development just as it gets interesting. Gish is okay. She really doesn't have anything to do but make coffee in a percolator but she does it with a level of engagement far beyond anyone else. Begley looks lost.
Welles is pretty bad.
Montgomery's narration is obnoxious, but no worse than the frequent choir singing reminding the viewer how blessed are the starving farmers and aren't they quaint. Keep hope alive for tomorrow is Harvest's motto (or some such thing). Instead, it seems like the television play just wants to avoid responsibility for its content.
Sheldon's direction–outside his lack of interest in the performances–is fine. Harvest never feels cramped, one primary set or not.
Directed by James Sheldon; written by Sandra Michael; produced by Robert Montgomery; aired by the National Broadcast Company.
Starring Dorothy Gish (Ellen Zalinka), Ed Begley (Karl Zalinka), Vaughn Taylor (Gramps), James Dean (Paul Zalinka), Rebecca Welles (Arlene), John Connell (Chuck), John Dennis (Joe), Joseph Foley (Herb), Nancy Sheridan (Louise), Mary Lou Taylor (Fran), and Frank Tweddell (Mr. Franklin); narrated by Robert Montgomery.
Dorothy GishEd BegleyHarvestJames DeanJohn DennisNBCRebecca WellesRobert MontgomeryRobert Montgomery PresentsVaughn Taylor
1983, ★½, Television
V (1983, Kenneth Johnson)
About half of V is quite good. Unfortunately, V was a two-night mini-series and the first half is good part. The second half, not so much. The first half has human-like alien visitors arriving on Earth, in hopes of making a chemical compound to take back home to save their planet. Turns out they're lying about pretty much everything and they're actually bad aliens. It's just they've taken over the planet by the time anyone notices. Traditional good guys like American presidents or the military are taken completely unawares and it's up to the little people. Actually, specifically, it's up to the scientists. Because the aliens hate scientists. Because they science things and find out the truth. It's actually never explained.
Writer and director Johnson sets most of the action in Los Angeles. There are the doctors at a hospital and their supporting cast, then these families in one neighborhood. Everyone is interconnected. Richard Lawson is a doctor at the hospital, his dad (Jason Bernard) works at a chemical plant, that chemical plant is run by Hansford Rowe, who is married to Neva Patterson, whose son from a previous marriage is lead Marc Singer.
In the first half, Singer's only the lead because he's the cocky white guy. In the second half, he's the lead because he's the cocky white guy who does dangerous things and makes the hard decisions. Second lead technically is Faye Grant. She's a med student who ends up running a resistance cell. She works with Lawson. Remember him? He started this particular interconnected character web.
Grant starts V kind of second-fiddle to Ron Hajak. They're a couple, living together, she's the med student, he's the stockbroker. Yuppie love. Or, as my wife put it, Ken and Barbie in the Malibu Beach House. It's only significant because eventually Hajak disappears. And it turns out without the Ken and Barbie bicker thing, there's not much to Grant. Johnson gets her about halfway through the first episode without having anything just for her.
Second half, she's the resistance leader.
Grant is not good. She's sympathetic. But the performance isn't good. The part isn't well-written. Johnson has a problem with the female parts here. Though it's cool how V passes Bechdel; Grant is unsure in her newfound command, sweet older woman Camila Ashland reassures her. Unfortunately, Ashland's not good either. She's sympathetic. And Blair Tefkin's feckless teenage girl is a whole other problem.
Oh, and Joanna Kerns as Singer's ex-wife. Her part's crap.
Anyway. Those parts are problems. Penelope Windust's part is better for half of V–she disappears in the second half because… well, because her husband–Michael Durrell–gets to have a huge character arc out of nowhere. Not a particularly good arc either, in terms of writing or plotting. It drags, actually; Johnson makes a movie with flying saucers and somehow makes more requests for disbelief suspension when the sci-fi visual part is done. Sure, it comes back for the grand finale, but it's way too action-oriented. Johnson is not good at the action. He's good at the gee whiz factor, which isn't appropriate in V after twenty or thirty minutes and he knows it. So then there's no more gee whiz.
The finale features a starfighter battle. But the starfighters are spacious minivan-type starfighters. Johnson tries for sci-fi action in the sequence and fails miserably. It's also way too long a sequence. It's okay compost shots of the starfighter minivans, but then there are these terrible one or two-shots of the starfighter pilots. It looks like they're sitting at tables. There's even a rear gun in the minivan. Because Johnson needs another Star Wars nod. Besides some production design stuff, there's also a sequence where the aliens arrive and a high school band plays The Imperial March from Empire.
That arrival sequence? It's at Patterson's husband's plant, which Singer is covering, and Tefkin is playing in the band. It's so unfortunate the second half of V doesn't bring the cast together better. Johnson spends a lot of time being pragmatic about how to transition between characters and how to build subplots. Even when the writing is thin (Tefkin) or the acting isn't great, there's always something going on.
And then the beginning of the second half brings in a bunch of stray threads. Only Johnson doesn't want to do melodrama so he goes for surprise. Melodrama probably would've worked better.
The second half also throws in good guy alien Frank Ashmore and his sexy sidekick, Jenny Neumann.
Johnson has an intricate thoughtful script for the first half. He builds his subplots, he cultivates them. Second half, he either tears them up or ignores them. He doesn't build anything new for half of V. He just stops. The second night is a premature victory lap.
And gives Durrell way too much to do.
The first half just has the better writing, both of events and characters. Leonardo Cimino lives in the same neighborhood as Durrell. Cimino's grandson is a collaborator. There are a lot of collaborators. Johnson's a realist. David Packer plays the grandson. He's crushing on Tefkin, incidentally. Packer's good, though he gets a lot better writing and direction than Tefkin.
So you watch the first half and it's all these interesting characters and how they're experiencing an alien invasion. The second-half is totally different. At least, except when–especially at the end–Johnson wants to do callbacks to the first half.
The biggest and most immediate callback is Michael Wright. He's Lawson's thieving baby brother. But then he gets a great monologue and Johnson directs the heck out of it. So is it a problematic callback?
Sure?
Wright's fine. Singer's fine. Jason Bernard, Cimino, Evan C. Kim, Rafael Campos. They're all fine. Bonnie Bartlett gives the best performance, even with a small, thin role. Overall, adequate acting, lot of charm; the TV movie way.
With caveats–V is a successful TV miniseries. Johnson keeps it together for over three hours and over a hundred speaking roles.
He should've just done the first half. Written the women's parts better too, but the second half is superfluous. The narrative ambition is gone. The special effects ambition is present, but distorted. Bad finish. Especially when people are reconnecting and the scenes are all weak.
Good special effects overall. Some great makeup effects. Johnson does do one great action sequence. It's right at the beginning. Again, he had a lot more ambition at minute four versus minute 105.
V doesn't have a good ending. Johnson doesn't even try to find one. It's infuriating.
Written and directed by Kenneth Johnson; director of photography, John McPherson; edited by Paul Dixon, Alan C. Marks, Robert K. Richard, and Jack W. Schoengarth; music by Joseph Harnell; production designer, Charles R. Davis; produced by Chuck Bowman; aired by the National Broadcasting Company.
Starring Marc Singer (Mike Donovan), Faye Grant (Juliet Parrish), Jane Badler (Diana), Michael Durrell (Robert Maxwell), Michael Wright (Elias Taylor), David Packer (Daniel Bernstein), Leonardo Cimino (Abraham Bernstein), Evan C. Kim (Tony Wah Chong Leonetti), Jenny Sullivan (Kristine Walsh), Blair Tefkin (Robin Maxwell), Penelope Windust (Kathleen Maxwell), Richard Lawson (Dr. Ben Taylor), Peter Nelson (Brian), George Morfogen (Stanley Bernstein), Bonnie Bartlett (Lynn Bernstein), Frank Ashmore (Martin), Jason Bernard (Caleb Taylor), Rafael Campos (Sancho Gomez), Diane Cary (Harmony Moore), Robert Englund (Willie), Ron Hajak (Dennis Lowell), Joanna Kerns (Marjorie Donovan), Camila Ashland (Ruby Engels), Viveka Davis (Polly Maxwell), William Russ (Brad), Neva Patterson (Eleanor Dupres), Andrew Prine (Steven), Tommy Petersen (Josh Brooks), Jenny Neumann (Barbara), and Richard Herd (John).
OTHER FILMS DIRECTED BY KENNETH JOHNSON
Faye GrantJane BadlerJoanna KernsMarc SingerMichael WrightNBCRichard LawsonRobert EnglundV


Discussion in 'Photography Sites, Blogs & Videos' started by james60059, 27 Nov 2011.
31417 and another un-id Class 31 at Nuneaton on a ballast, the remains of the hump yard still extant where Platform's 6 & 7 stand today .
Brilliant! Makes me wish I was more interested in railways when I was younger.
I'm suprised more locos haven't ended up like 90129, given the current owners of the former EWS!
Thank you for the comments peeps, glad you like them. It certainly is nice to look back on to what we once had . I'll have a few more on during the week all being well .
Fantastic stuff mate, checked out all of the other ones too. Truly brilliant days, I somehow doubt we will look back on todays railways with the same fondness.
I'm sure they have said that every generation since The Rocket.
Still, I imagine preservation will be rather more complex with the prevalence of multiple units - don't think a Virgin Voyager will ever replace the Green DMUs on the Keighley and Worth Valley.


I'm not the guy to come running to when you've got an itch for some candy or BBQ ribs… Your plea for mercy and sympathy will be met with a stern "MTFU" response, because anybody who's ever achieved the things you want has had to make sacrifices along the way. Why should you be any different? You either want this or you don't, there's no halfway house.
Yet there are things which are within your capacity to help mediate cravings, you've just got to know where to look. I've saved you the trouble of having to look all over the internet, by giving you all the information you need to start building your diet to shoot cravings down.
Hydration requires the simple principle of drinking enough water to match your active lifestyle, which I always recommend being at least 1 gallon per day. Water alone isn't the optimal way to hydrate though, science has taught us otherwise. Consuming specific electrolytes in scientific dosages is the penultimate in hydration, which is why HYDRA-CHARGEhas become the world's most wanted hydration formula. When you supplement with HYDRA-CHARGEyou're benefitting from 5 different natural electrolytes from tender coconut water, which are the best of their type in the world. This is why you suddenly feel so alert and energised when you start using this supplement. Cravings quickly become a thing of the past.
Getting your more fiber into your diet is also a simple process, you just commit to adding in 3 fist sized portions of greens each day. Whether you choose cabbage, broccoli, green beans, spinach, kale or asparagus just make sure you do this. The fiber will slow everything down; manage your blood sugar level balance so that you're not faced with an aggressive cascade in energy dropout where cravings then breed rapidly.


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Artist Spotlight: The Mystery of Trans-Siberian Orchestra
Now that December is upon us, it's time to break out the usual accoutrements of the holiday season. Reindeer. Snowmen. Gingerbread houses. Nativity scenes. And, of course, blistering prog-rock solos played on Gibson Flying V guitars while laser light shows and pyrotechnic effects melt your face off.
I'm talking about Trans-Siberian Orchestra, an act that, frankly, defies logical explanation. And you know, I don't say that lightly. When it comes to music, I've seen some weird shit. We all have. Whether it's Iggy Pop flashing his dick, Wesley Willis' lyrics, Katy Perry strapping whipped cream cans to her breasts, Axl Rose swimming with dolphins … the list goes on. But still, what the fuck is Trans-Siberian Orchestra?
Here's the obligatory background. The band was formed in 1996 by Paul O'Neill, a music management/promoter/producer type who worked closely with progressive metal acts like Savatage. Yeah, I never heard of them either. Anyway, in the '90s he decided to recruit several other dudes from Savatage and create … well, a spectacle is the only way to put it.
"The best description of a T.S.O. show I ever saw came from a reporter who said the only way to describe T.S.O. is 'the Who meets 'Phantom of the Opera' with Pink Floyd's light show,' " Mr. O'Neill told The Tampa Bay Times in 2012. "I would take any one of those alone as a compliment."
So basically, the band plays Christmas-themed progressive rock opera, and their live shows are overwhelming productions filled with laser shows, hundreds of flashing video screens, fog machines, fire and spark shower effects, children's choirs, and who knows what else.
Did I mention they're one of the biggest live acts in America? Because they are.
These live shows are TSO's bread and butter. They've sold tons of records, too, but the shows are what they're known for and what they're about. They have two touring acts, like their erstwhile competitor Mannheim Steamroller, so that they can cram twice as many shows into the holiday season.
Look, I don't care if there is a prog-rock Christmas act floating around out there, even if the music sounds like Yngwie Malmsteen assembling a candy cane factory. Why the hell not? I've heard Fela Kuti-Beatles mashups and Hasidic reggae and kawaii speed metal. I saw Snoop Dogg rap with a hologram. There are no rules.
But what I find so baffling is why this shit is so popular. This band is huge! According to Pollstar, their 2009 tour was bigger than reliable arena-fillers like the Eagles, Toby Keith, The Dead, Beyoncé, Paul McCartney, and Phish. Billboard lists them as one of the 25 top touring acts of the 2000s. Several of Trans-Siberian Orchestra's records have gone platinum. And, I might add, the band's work goes beyond covers of traditional holiday songs on steroids (another similarity with Mannheim Steamroller). The majority of TSO's works are original compositions, sprinkled liberally with motifs lifted from familiar holiday tunes. So you can't explain away their success by simply saying people like Christmas music.
I guess I don't understand it because none of the things that this band is about are big things. Prog rock is not a big thing. Rock opera is not a big thing. Laser shows are not big things. Christmas music composed after 1994 (the year Mariah Carey released "All I Want For Christmas Is You") is not a big thing.
I've got a hypothesis about TSO's wild and improbable success. Maybe they're lapping up all the prog-rock/pyrotechnic spectacular fandom that's left in the world. There are still plenty of progressive metal bands, but it's a small niche and the fans are spread out across a bunch of small acts. Let's say, however, that the one thing all these fans can agree on is TSO. They're the one act that everyone who likes this music will go see. And, because it's "Christmas music," and an eye-popping spectacle, your mom will go see them, too — the same way people who don't give a shit about circuses or acrobatics will stand in line for Cirque du Soleil when they go to Vegas, or how people who know nothing about Broadway will spend $200 per ticket to see Jersey Boys.
Maybe that's it. I don't know. They remain a mystery to me. Band founder O'Neill died earlier this year from a drug overdose. But like Mannheim Steamroller, the anonymity of Trans-Siberian Orchestra has helped it become a juggernaut, and O'Neill's death won't stop this train. No death could, because TSO isn't a band composed of people. It's an aesthetic, a combination of music and instrumentation and thundering visual effects, and the people inside that aesthetic are as replaceable as the dancers in a Taylor Swift video.
The other odd thing is that for an act focused so exclusively on Christmas, TSO incorporates virtually no traditional holiday trappings into their exhaustively visual performances. The lasers and pinlights are in every color, with a preponderance of blue and purple, not red and green. The projections on screen range from castles to dragons, with nary a snowflake or reindeer to be seen. No one wears a santa hat or carries a belt of jingle bells. Everyone on stage dresses in black. While TSO's album covers and half-assed music videos rely on imagery of young children in pajamas, waiting for Santa Claus near Christmas trees and toasty fireplaces, their live shows feature stark mechanical devices and faceless performers beneath a punishing array of lights and pyro. Not exactly the Hallmark version of the holiday.
Maybe I shouldn't be confused by Trans-Siberian Orchestra's success. There are multiple touring acts out of Japan that consist of a projected hologram of an anime character who sings with a synthesized voice, and they sell thousands of tickets. B.o.B has multiple No. 1 singles and albums and he believes the Earth is flat. Negativland sold their last album with plastic bags attached that contained their dead lead singer's cremated ashes.
So if a million midwesterners want to watch coked-up guitarists play "Christmastime, Fuck Yeah!" while CGI gargoyles glare across their flaming stagecraft, that's not the weirdest thing in American popular music. It's not even the weirdest thing I've heard today. You do you, rock violinists, head-banging choirs, wide-collar singers, arpeggiating pianists, and overworked roadies. You do you.
December 1, 2017 December 1, 2017 Troubled by NounsArtist Spotlight
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The Borsch-Rast Book Prize and Lectureship of the Graduate Theological Union has as its purpose the encouragement of the writing and publication of theological scholarship by GTU graduates and current faculty. The endowment for the Borsch-Rast Book Prize and Lectureship comes from the sale of Trinity Press International, a venture dedicated to the publication of scholarly and often interdisciplinary theological studies. The prize and lectureship honor the joint example and collaboration of Frederick Houk Borsch (1935-2017) and Harold W. Rast (1933-2004). Hal Rast, after years as a senior...
AcademicsLife at GTUNews & EventsGTU AlumniGraduate Theological Union
Celebrating Women's History Month at the GTU
The GTU is celebrating Women's History Month in March by highlighting the voices of GTU alumnae through our "Women's Voices Campaign." Beginning on International Women's Day (Thursday, March 8) and extending through the month, we will feature a short quote from a different GTU alumna each weekday on our Facebook page—and we'll compile all the quotes on the "Women's Voices Campaign" page of the GTU website. You'll want to check back every day as these GTU graduates reflect on how their GTU experiences prepared them for the work they are now doing. In addition, the GTU Women's Studies in...
Admissions & AidLife at GTUGTU AlumniWomen's Studies in Religion
As you prepare to begin your new journey at the GTU and in Berkeley, here are some dates and links to helpful and important information. GTU Spring Instruction begins February 1, 2021 (Access the Extended Calendar via our Academic and Administrative Calendars Page)
Coronavirus Resources at the GTU
The GTU is committed to helping ensure the safety and health of its students, faculty, staff, and extended community, while minimizing the disruption to the academic progress of our students. This page contains the latest resources and information regarding the GTU's prevention and response efforts related to novel coronavirus disease (COVID-19). The page will be updated regularly as the situation evolves. (Updated December 8, 2020)
GTU Courses for Life, Liberty, and the Pursuit of Peace
The GTU is committed to offering the educational foundation, practical training, connections and opportunities students need to make a meaningful impact on the world. This semester, as we approach the general election, among many course, we highlight these courses that showcase the ways in which our faculty and students are critically engaging with issues of democracy. ETHICS OF SOCIAL RECONCILIATION (CEST-4130) This seminar will consider theological and ethical questions connected to social reconciliation: How is the reconciliation of peoples related to themes of justice, liberation,...
Life, Liberty & the Pursuit of PeaceAdmissions & AidAcademicsNews & EventsCurrent Student Resources
The Asia Project has been evolving from more than a decades' efforts for an effective engagement with Asian contexts and cultures in the theological education, research and leadership development of faith communities at the GTU. In 1999, a faculty working group reviewed related educational initiatives within the GTU and eventually led to the "Asian Theologies and Perspectives in North American Theological Education" project, funded by a 3-year grant of $750,000 from Henry Luce Foundation since 2004 and another subsequent grant of $500,000. In collaboration with United Board for Christian...
For more than a decade, the GTU has offered its Visiting Scholar program to faculty from academic institutions who are visiting temporarily in the area and who are not employed locally either by the GTU or any other institution as well as to GTU alumni. The program is intended to enable and facilitate the research projects of those involved which could not be done otherwise. Visiting Scholars are granted full privileges at the GTU's Flora Lamson Hewlett Library and access to the libraries at the University of California, Berkeley. Members of the program are also able to audit courses at the...
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All students are invited and encouraged to use the GTU Student Lounge. This lounge space is located on the first floor of the GTU North Building (2465 Le Conte Avenue). The lounge is available from 9:00 a.m. through 5:00 p.m. Monday through Friday when the GTU is in session. NOTE: Due to the shelter-in-place orders in Berkeley, the lounge is not accessible until further notice.
Call for Proposals: Henry Luce Foundation Grant
The Graduate Theological Union is pleased to announce community grants of up to $5000 as an extension of a generous grant from the Henry Luce Foundation. We welcome proposals from 501(c)(3) organizations in the Bay Area working on the frontlines with communities disproportionately affected by COVID-19, particularly communities of color. We especially encourage proposals from organizations working with issues related to school/education access, homeschooling/tutoring, and technological divides. For information about the Henry Luce Foundation grant, please see: https://www.gtu.edu/news/henry...
The Center for Islamic Studies (CIS)News & EventsCurrent Student ResourcesGraduate Theological UnionThe Mira and Ajay Shingal Center for Dharma Studies (CDS) Black Church/Africana Religious Studies Madrasa-Midrasha ProgramInterreligious Education and Pedagogy ProjectLife, Liberty & the Pursuit of PeaceInterreligious Chaplaincy ProgramSpiritual Care and Ethical Leadership for Our Times
As with housing, parking is at a premium in Berkeley. All parking near the GTU is either metered or requires a residential permit in order to park for more than two hours. If you must drive, try to carpool and be prepared to park at some distance and walk. (Remember that we are located on a hill.) If you can take public transportation, we encourage you to do so. GTU and member school staff and faculty members pay for parking spaces in the lot behind/to the north of the GTU LeConte Building. Three spaces are reserved for vans that shuttle between GTU and SFTS. Students living in the GTU...
The PSR dining hall is available to GTU students at regular mealtimes.
A unique partnership between the Graduate Theological Union and the University of California, Berkeley, creates unparalleled opportunities for GTU students and faculty. The cooperative relationship with this world-class university just a five-minute walk from our campus enables GTU students to cross register for courses at UC Berkeley, to access university libraries, and to enhance their studies through the incorporation of university disciplines such as anthropology, sociology, linguistics, ethnic studies, and Near Eastern studies. The collaborative relationship with the UC Berkeley has...
AcademicsAdmissions & AidLife at GTUFaculty & Staff ResourcesCurrent Student ResourcesGraduate Theological Union
Certificate in Asian and Oceanic Cultures and Faith Traditions Program (AOCFT)
The AOCFT Program is an interdisciplinary, multi-faith, and cross-cultural program. It grows out of the GTU's commitment to partner with persons and institutions from this vast region with the purpose of studying and engaging issues of common interest. Aims Cognitive aims: at the successful completion of the program the student will have an understanding of: 1) the presuppositions that support the thought and practice of at least two Asian/ Oceanic cultural and faith traditions, 2) their major doctrines, 3) and practices, including their respective ritual cycles and expressive cultures...
Asia Project - Resources
1. Resources at the GTU member schools (click for details) 2. Consortium resources at GTU include the Center for Islamic Studies (CIS) and Institute for Buddhist Studies (IBS): Both CIS and IBS have greatly increased the scholarly exchange and interfaith dialogue with the Islamic and Buddhist communities respectively at the curricular and extra-curricular levels.
Memberships for GTU Students, Faculty and Staff As a student, faculty, or staff member of the GTU you are welcome to join the Cal Rec Club (CRC), the Recreational Sports Facility's (RSF) membership program. The CRC Membership Office is located at 2301 Bancroft Way. For more information and office hours, visit the UC Berkeley Recsports site or call 510/642-7796. Cal Rec Club Membership Benefits Cybex Weight Machines and Complete Free Weights Complimentary Day Use of Lockers StairMasters, Treadmills, Concept II Rowing Machines Handball, Racquetball, Squash Courts Precor...
Persevera y Vencerás: An Abuelita's Imperative for a Future in Progress
Reflections by Wendy Arce (PhD, 2016)GTU Commencement, May 12, 2016 Greetings. It is an honor to share some reflections today and to graduate with such a diverse class! I would like to say I took so long to finish because I was waiting to walk with this beautiful group of scholars, but those of you who know me, know that I've been a little busy. My doctoral career, which is the case for many of you graduating today, was a balancing act. For me, it involved traveling the four corners of the bay: teaching, working, writing, driving – sometimes, all at once. In fact, time passed by so quickly...
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Regional Consultations Pilot theological workshops to develop "base" theological communities and to engage theologians throughout Asia to share their visions of theological education were held in Singapore, Korea, Indonesia, Taiwan, India, Hong Kong, the Philippines, Japan, and American Samoa between 2005 and 2007. Specific issues arose from these regional consultations such as han in Korea, dalit in India, and decolonization of Christianity in Indonesia. About 100 participants attended these consultations. In March 2007, another consultation was held at GTU for workshop participants to...
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George Grantham Bain Collection/Library of Congress, Washington, D.C. (Digital File Number: LC-DIG-ggbain-34657)
(1888–1963). Hungarian-born U.S. orchestra conductor Fritz Reiner was known for his technical command of the music of German classical and Romantic composers. Reiner was born on Dec. 19, 1888, in Budapest, Hungary. He was principal conductor of the Cincinnati (Ohio) Symphony Orchestra from 1922 to 1931. He became a United States citizen in 1928. He served on the faculty of the Curtis Institute for Music in Philadelphia, Pa., from 1931 to 1941. From 1938 to 1948 he conducted the Pittsburgh (Pa.) Symphony Orchestra. He was especially known for his tenure as conductor and musical director of the Chicago Symphony Orchestra (1953–62). Reiner was one of the leading conductors of the Metropolitan Opera Company in New York City (1948–53), and a guest conductor of the San Francisco and Covent Garden operas. He died on Nov. 15, 1963, in New York, New York. (See also orchestra.)


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Ron Paul Says U.S. 'Likely Hiding Truth' About MH17 Crash
by jhonas / August 11, 2014 Latest Posts, World News No Comments
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The U.S. government "knows a lot more" than it's letting on about the Malaysia Airlines Flight 17 crash and is "likely hiding [the] truth," according to former Rep. Ron Paul (R-Texas).
In an Aug. 7 post on his news site, Voices of Liberty, Paul said he believes the U.S., with all its intelligence-gathering capabilities, should have a clear idea of what happened on July 17 when MH17 was shot down over Ukraine, killing all 298 people on board. But much of that information, he says, has likely been withheld from the public.
"The U.S. government has grown strangely quite on the accusation that it was Russia or her allies that brought down the Malaysian airliner with a buck anti-aircraft missile [sic]," the former GOP presidential candidate wrote. "The little that we have heard from U.S. intelligence is that it has no evidence that Russia was involved. Yet the war propaganda were successful in convincing the American public that it was all Russia's fault."
"It's hard to believe that the U.S., with all of its spy satellites available for monitoring everything in Ukraine that precise proof of who did what and when is not available," he added.
The Obama administration has said that pro-Russian separatists who have been trained and equipped by Moscow likely shot down MH17.
Malaysia Airlines Flight
jhonas


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The Centro Sperimentale di Cinematografia
The Centro sperimentale di cinematografia (Experimental film centre or Italian National film school) was established in 1935 in Italy and aims to promote the art and technique of cinematography and film.
It is the oldest film school in Western Europe, founded in the city of Rome in 1935 during the Benito Mussolini era by his head of cinema Luigi Freddi, was and is still financed by the Italian government and focuses on education, research, publication and theory.
The center is the most important Italian institution for training, research and experimentation in the field of cinema, intended in its widest sense, of films, documentaries, fiction and animation.
2.1 Directors
2.2 Actors
2.3 Cinematographers
2.4 Costume Designers
Function[edit]
Among its goals, are the development of the cinema and audio-visual art and techniques to levels of excellency, through distinct sectors of the Foundation itself, the National Film School and the National Film Archive.
The National Film School has its main headquarters in Rome with triennial courses of acting, screenplay writing, production design, set design and costuming, cinematography, sound engineering, production and editing. It is a full member of the international CILECT network of film schools.
Located near Cinecittà, the school trains its students using 35mm equipment over a 3-yr period. With only 6 places available per class, selection is highly competitive.
Among its mentors are[1] Piero Tosi (costumes), Giuseppe Rotunno (photography) and Giancarlo Giannini (acting).
Alumni include:[2][3]
Directors[edit]
Giuseppe De Santis
Luigi Zampa
Pietro Germi
Francesco Maselli
Folco Quilici
Christian Filippella
Domenico Distilo
Emidio Greco
Carlo Verdone
Francesca Archibugi
Liliana Cavani
Silvano Agosti
Roberto Faenza
Fausto Brizzi
Salvatore Mereu
Giuseppe Petitto
Eros Puglielli
Sergio Sollima
Roberta Torre
Veljko Bulajic
Margaret Tait
Actors[edit]
Carla Del Poggio
Andrea Checchi
Domenico Modugno
Francesca Neri
Lorenzo Richelmy **He was the youngest student ever admitted to the school**
Babak Karimi
Maria Pia Calzone
Giovanni Morassutti
Cinematographers[edit]
Nestor Almendros
Philo Bregstein
Pasqualino De Santis
Costume Designers[edit]
Daniela Ciancio
Anina Pinter
^ "Scuola Nazionale di Cinema/Docenti" (in Italian). Centro Sperimentale di Cinematografia. Retrieved 2012-09-16.
^ "Scuola Nazionale di Cinema/Ex allievi". List of the famous alumni (in Italian). Centro Sperimentale di Cinematografia. Retrieved 2012-09-16.
^ "Versione definitiva del 8 febbraio 2011 elenco exallievi CSC per sito web" (PDF). Full list of the CSC Alumni (08.02.2011) (in Italian). Centro Sperimentale di Cinematografia. 08.02.2011. Retrieved 2012-09-16. Check date values in: |date= (help)
"Official website" (in Italian). Centro Sperimentale di Cinematografia. Retrieved 2012-09-16.
"C.S.C. Students". Archived from the original on June 5, 2010.
This article related to a film organization is a stub. You can help Wikipedia by expanding it.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Centro_Sperimentale_di_Cinematografia&oldid=932012179"
Media in Rome
Drama schools in Italy
Film organization stubs
CS1 Italian-language sources (it)


What you do now will have a big impact next spring on the lawns you maintain.
Are you ready for winter? More to the point, are your customers' lawns ready for this coming winter? Conditions have been tough on lawns in many parts of the U.S. and Canada this season, and many of these lawns will require early fall TLC.
You want your customers to enjoy the sight of uniformly green, weed-free lawns in spring, right? Happy customers tend to remain customers, and customer retention is huge in these ultracompetitive times.
COURTESY OF SPORTS TURF MANAGERS ASSOCIATION.
Fall fertilization, weed control, aerification, reseeding and resodding are the primary cultural practices used to prepare lawns for winter's colder temperatures and shorter days. Be advised, of course, that one size does not fit all in turfgrass management.
For example, some of you maintain warm-season turfgrass, some cool-season turfgrass, and many of you care for both. Warm and cool-season grasses require significantly different management regimens, including preparation for winter. That presents a dilemma for those of you with many different types of turfgrass to maintain.
Complicating the situation even more, individual species of either category require different levels of care. For example, the amount of nitrogen needed to keep Kentucky bluegrass green and healthy is greater than the amount of nitrogen required by fine-leaf fescues. Both species, of course, are commonly found on lawns across the northern half of the U.S.
Another variable that affects your fall turf program is weather. Conditions often differ markedly from year to year, regardless of where you provide services. This summer's heat and dry weather devastated nonirrigated lawns across Texas and in many regions east of the Mississippi. It will take more than fall fertilization and an application of a winter weed control to restore these lawns. In fact, these lawns (or portions of them) may need to be renovated, including reseeding or resodding.
Then, of course, there are tree leaves, and what to do with them?
The answer is simple: remove them. Property owners realize you can't grow healthy turfgrass under a mat of tree leaves. Turfgrass, like all living plants, needs oxygen to survive. Also, allowing tree leaves to remain on turfgrass may adversely affect the effectiveness of your application of herbicides necessary for winter weed control. Clients appreciate fall leaf pick up as part of your fall property services, and they'll pay for it.
These are all reasons why homeowners are often overwhelmed when attempting to keep the turfgrass on their properties healthy and attractive. If they're serious about having fine turf, most property owners will eventually turn to a professional like you who understands the challenges of turfgrass management and how to deal with them.
OK, let's get to some general information about preparing turfgrass for winter. Consider it the starting point from which to fine-tune your late-summer and autumn fertilization and weed-control programs.
This summer's heat and dry conditions caused cool-season turf to thin in many regions of the country. Your task, starting now, is to provide the nutrients necessary to revive the turfgrass. As summer wanes, cooler temperatures arrive, lawns get more moisture, and the grass will start to grow again. Continue mowing — you don't want growth to get out of hand requiring you to bag clippings.
Eventually, of course, falling temperatures and shorter daylight hours will significantly slow plant growth. Research has shown that shoot growth of Kentucky bluegrass slows dramatically as the soil temperature approaches 55 degrees Fahrenheit, but roots continue growing to 40 degrees. As roots continue to grow, they take up nutrients to aid in the production of stored carbohydrates, the energy source that helps turfgrass survive the winter and green up and thicken in the spring.
Many turf pros make two fertilizer applications to prepare turfgrass for winter. They schedule one in late August or September to aid in recovery from drought and heat stress, and another in October or November.
Fertilizing turfgrass in the late fall keeps it greener than unfertilized turfgrass during the winter, and speeds spring green-up by two to six weeks. The enhanced rate of spring greening occurs without stimulating excessive shoot growth, in fact, far short of what takes place with early spring fertilization.
Lawn care companies typically turn to nitrogen sources that aren't dependent upon microbial activity to effect nitrogen release – urea, sulfur-coated urea, IDBU and ammonium sulfate, for example. Some companies feel that delivering half the nitrogen source in a slow-release form guarantees that some nutrients remain available for a longer period in the soil for plant uptake.
Regardless, turfgrass requires moisture in the fall, first, to release the nitrogen for plant uptake and, second, to keep the plant growing and healthy as it heads into winter.
The timing of these applications depends largely on geography and climate. The further north you are, the earlier in the season you need to apply fertilizers and herbicides before the ground freezes. It's not advisable to apply products on frozen ground, which increases the likelihood of chemical runoff. Besides, it's unlikely plants will be able to take up the products. Check with you local extension service. It will advise you on optimum dates to make applications in your part of the country.
The amount and timing of fertilizer applications depends on the region where the warm-season grass (St. Augustine, centipede, zoysia or bermudagrass) is growing. If it's in a region where it stays green through the winter, an early fall boost of fertilizer will cause the grass to continue growing and thicken. But, don't overdo it, especially on sandy soils where there's risk of leaching.
In areas were warm-season lawns are regularly subjected to freezing temperatures and go dormant during winter, be even stingier with the nitrogen, and opt for a fertilizer that contains lower ratios of nitrogen to potassium. Potassium is generally believed to promote winter hardiness and disease resistance in turf. You want the turfgrass to continue growing, but not excessively.
Some experts say that if you can only fertilize cool-season turfgrass once a year, fall is the time to do it. Warm-season turfgrasses, which grow best in the summer sunshine and heat, generally do best when fertilized soon after spring greening.
To that point, look at your turfgrass fertilization program in the context of your overall turfgrass management program.
Do you conduct or offer soil testing to determine the nutrient needs of lawns under your care? How intensively managed are the properties under your care? How many are irrigated? Almost certainly some require more maintenance than others. And some may require more remedial care, such as aerification or renovation, this fall than others.
Do you mow and maintain these properties? How about leaf removal? These services will have a bearing on how you approach these lawns in terms of chemical services and especially fertilization.
Are the clippings left on the properties that you service bagged and removed? In addition to avoiding the considerable expense of bagging and removing turfgrass clippings, leaving them where they lay after mowing returns nitrogen to the soil.
All of these factors, along with fall fertilization and weed control, enter into the larger challenge of providing your customers a beautiful, green carpet of soft turfgrass from season to season and, hopefully, year to year.


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Some of our mortgage services.
We offer much more than the common purchase and refinance loans.
An FHA loan may be an option if you don't have the down payment or credit needed for a conventional mortgage.
The VA home loan program helps servicemembers, veterans, and eligible surviving spouses become homeowners.
USDA home loans are only available in rural areas. An approved lender can help you locate an eligible home.
With a HomeStyle Renovation loan, funds get bundled into your mortgage so you only make one monthly payment.
Finding the best loan for a manufactured home can get confusing. If you need some help, give us a call.
If you're a homeowner age 62 or older, a reverse mortgage can help you access a portion of your home's equity.
Unlike a regular bank or credit union, we work with hundreds of lenders that offer mortgage interest rates and terms suitable for just about any circumstance. With Network Mortgage, you're not limited to one set of rates or fees. We work with you to find the best solution for your future.
Network Mortgage is located in beautiful Chico, California, 90 miles north of Sacramento on Highway 99. If you're ever passing through, be sure to stop by. Or, if you'd just like to chat, give us a call. We'd love to hear from you. It's never too soon. There's never a bad time. Ask us anything.


The Seattle Colleges offer many different types of eLearning courses, ranging from courses offered exclusively online to correspondence courses.
Coursework for online courses is generally completed over the Internet, within a quarterly timeframe. You will be given textbook reading and lesson assignments. Online study groups, student discussion forums, and contact with your instructor via email will enhance your learning experience. Some courses may require limited on-campus visits; please check the individual course description.
Washington Online is a cooperative effort of Washington State's community and technical colleges to deliver coordinated online instruction. A team of faculty members representing several community colleges develops Washington Online courses. You will register and earn credit through Seattle Colleges, though the instructor may be a faculty member at another Washington State college.
Self-Paced courses are conducted via fax or mail. The coursework is self-paced and you may begin at any time. These courses are ideal for students who want an accelerated learning pace or who have an irregular schedule.
Televised courses are offered through Seattle Colleges' cable channel, SCC-TV (Channel 28). You will view programs on TV at specified times, read textbook assignments and complete lessons as outlined in the study guide that you receive upon registration.
Online instruction is combined with weekly programs broadcast on cable television. Each course includes a professionally produced television series hosted by one of our faculty, who personalizes the course content for local students. Each course also has an online component to enhance student understanding and participation.
Video courses are identical to telecourses, except that you will rent the complete series of videotapes and view them at your convenience. Tapes are returned to the eLearning Office at the end of the quarter.
ITV courses are broadcast to and from Seattle colleges (or around the world) via two-way live interactive teleconferencing. Students from different campuses see and interact with one another and their instructor in specially designed classrooms. Instructors may visit each participating Seattle college.
Hybrid online courses provide students with the scheduling flexibility of fewer campus visits while covering the same materials as an equivalent class held entirely on campus. Hybrid online classes usually have at least one on-campus meeting per week combined with a "virtual classroom" website incorporating regular communications with the instructor and other students (through a bulletin board discussion), online content and lessons, and interactive Web-based activities. These courses often use on-campus exams as assessment tools.