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The Chandler - CofE Junior School
Chronicles – no longer produced
Church Communities
Teaching for Learning
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The purpose of the Policy is to ensure that, in accordance with the provisions of the Education Act 1996, all children have full and free access to a broad and balanced curriculum during the school day. The school day is here defined as 8.45 am (when Registers are taken) to 3.20pm (end of the afternoon session).
Click for our Charging and Remissions Policy
Looking forward to 5B's assembly at 2.45 - see you there. yesterday
Happy New Year and welcome back! 12 days ago
Casey and Jack are in charge for the day! And it's a non-uniform day. 33 days ago
Very proud of our footballers in their tournaments at Tillingbourne - Year 5 winners, Year 3 going out in the semifinal. Well done all. 74 days ago
...and we celebrate Harvest today, giving thanks to God for his riches. Year 3 lead us at 9:15 and 2:30 - all welcome. 92 days ago
The Chandler C of E Junior School
Middlemarch, Roke Lane
Witley, Godalming
GU8 5PB
Email: info@thechandlercofejuniorschool.org.uk
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We are a traditional personal matchmaking agency based in the north West of England since the 1980s.
If you are currently looking for an attractive, professional partner within North West England, then the team at The County Register would love to hear from you. We are a long established, traditional, personal matchmaking company, having been founded by our President Heather Heber Percy, as long ago as 1984. The world has moved on incredibly in those years since the early 1980's but within The County Register however things have changed very little and the company still offers the same meticulous, careful, traditional face to face dating service, that it always did. Still overseen by Heather Heber Percy personally.
Our service is one that is vastly different to that provided by online dating agencies, where members are very much on their own creating their profile and then trawling alone through 100's of poorly written profiles, full of spelling errors and inaccuracies, indeed sometimes with photographs that may well be decades out of date.
Within The County Register, we usually come to you in your own home, or you can visit us at our office if you prefer, where the service offered is highly personal and totally confidential, between you and our team of professional matchmakers. Your profile and photographs will never be available online and will only be seen by you and our matchmaking team, along with a few carefully vetted and well chosen potential matches.
There are 3 levels of membership within The County Register, all distinctly different, and whilst they are more expensive than joining an online agency, we still believe offer tremendous value for money when you consider the depth and quality of the service being offered by our experienced and highly trained team, and the calibre of clients on our comprehensive database.
With the BBC's Panorama programme highlighting more than 1 million fake profiles within online dating in the UK alone, online dating fraud levels running at more than £100 million per year if social media is also included and online dating crime statistics rising exponentially in recent years, it is no wonder that potential clients have flooded back from online dating to traditional, face to face, personal matchmaking in recent years.
At The County Register, we believe that our service, is more confidential, safer and that our database of clients is significantly higher calibre than the type of clients using online dating companies. All are carefully ID checked, interviewed and thoroughly vetted utilising one of the UK's most comprehensive authentication and verification systems.
Does that sound like the sort of dating service you have been trying to find? If that is the case then we'd love to hear from you, so please feel free get in touch today by completing our contact form on this page or ringing us on 0208 994 3500. One of our Principals, Membership Advisers or Matchmakers would be happy to talk you through our service and joining options, but completely without any obligation or sales pressure whatsoever and then move on to arrange your free consultation in your home if you would like to progress things. So please make that call now – you will always be in control of whether or not you join.
More about our traditional matchmaking in Cumbria.
Learn more about our matchmaker services in the Lancashire area.
Learn more about our matchmaking services in the Cheshire region.
More about matchmaking services in the Greater Manchester area.
Learn more about our matchmaking services in Merseyside.


This book is about the manifestations and explorations of the heroic in narrative literature since around 1800. It traces the most important stages of this representation but also includes strands that have been marginalised or silenced in a dominant masculine and higher-class framework – the studies include explorations of female versions of the heroic, and they consider working-class and ethnic perspectives. The chapters in this volume each focus on a prominent conjuncture of texts, histories and approaches to the heroic. Taken together, they present an overview of the 'literary heroic' in fiction since the late eighteenth century.
Reblogged this on Nicole Falkenhayner.


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June 27, 2013 / 4:09 AM / 6 years ago
Samsung rolls out OLED TV as production glitches linger
Miyoung Kim
SEOUL (Reuters) - Samsung Electronics Co Ltd launched its first OLED TV on Thursday, taking the ultra-thin technology into a nascent market despite tenacious production challenges that keep costs high while prevailing LCD screens only get better and cheaper.
The world's biggest TV manufacturer has staked its display future on OLED - organic light emitting diode - technology and its success with smaller screens has bolstered its smartphone market share and earnings. But big screens are likely to take a much slower road to profits.
OLED technology is widely believed to offer the potential for better picture quality than standard liquid crystal display screens, with crisper picture resolution, faster response times and high-contrast images. It also allows for curved televisions, which manufacturers say offer a more immersive experience.
But production constraints are a key problem.
Samsung is producing OLED screens for TVs from a small pilot line and some analysts estimate the yield at just 30 percent - with seven out of 10 screens from the line faulty, largely due to difficulties in spreading organic light emitting materials evenly across large screens.
Although many industry experts believe OLED will eventually be the next big thing, they do not think it will manage to do to LCDs what LCDs did to bulky cathode ray tube sets: almost completely replace them in the space of just several years.
"They are not sufficiently transformational to trigger a complete switch-over from LCDs," said Eo Kyu-jin, an analyst at IBK Securities, adding that for now OLED televisions would represent less than 1 percent of the 200 million-plus global TV market.
Samsung's $13,000 price tag on its curved 55-inch OLED television is the same as similar offerings from LG Electronics Inc, some five times more than popular LCD equivalents.
A man looks at Samsung Electronics' first curved, super-thin OLED television set displayed at the main office of the company in Seoul June 27, 2013. REUTERS/Lee Jae-Won
Samsung itself took a cautious tone, warning that industry forecasts for sales growth were a bit too optimistic.
"We have just introduced our first OLED TV and have to see consumer response to gauge overall market demand," Kim Hyunsuk, a Samsung executive vice president, told reporters.
Research firm DisplaySearch has forecast global industry-wide sales of OLED televisions at 50,000 this year and 600,000 next year, with rapid growth thereafter to reach 7 million in 2016.
LG, which currently offers both curved and non-curved 55-inch screens, is estimated to have only sold a few hundred screens so far after starting sales earlier this year.
LCD technology is also getting better and this is where many of Samsung's and LG's rivals, which lack their South Korean rivals' deep pockets, are concentrating their efforts.
"OLED demand is likely to pick up strongly only after 2015. It has a long way to go to improve picture quality to the level of ultra-high definition and to lower production costs sharply," said Chung Won-suk, an analyst at HI Investment & Securities.
Samsung, seeking to avoid putting all its eggs in one basket, also unveiled on Thursday 55-inch and 65-inch ultra-high definition (UHD) TV sets which offer crisper LCD picture resolution. Sony Corp and Chinese manufacturers are aggressively marketing that technology.
As market dynamics remain uncertain, manufacturers' investment plans have so far been modest.
LG Display, which is also working from a pilot line, has just started investing 706 billion won ($611 million) this year in large OLED panels. Samsung Display has yet to announce its capital investment plan for production of large OLED screens.
Samsung said it will begin selling its curved OLED televisions outside South Korea from July but did not specify which countries. It has no plans to offer non-curved OLED screens this year.
($1 = 1154.5000 Korean won)
Editing by Edwina Gibbs

redpajama_set_name: RedPajamaCommonCrawl


UI – Part 177 – Prophecy – Wake Up! Wake Up!
What is the need for Prophecy? It is a beacon from current to a future unknown, yet foreseen. Without prophecy we are left without a foretaste of what is to follow provided by the Creator of the world. As such the Old Testament provides many looks to the life and death of Christ. It is significant in addressing the reality of the Savior for all, not just a few.
As Isaac carried the wood for the fire of his own sacrifice, so it was prophesied Christ carried the wooden Cross. As a Ram appeared and God called out for it to be used by Abraham as a substitute, so it was prophesied Jesus was called, the scene laid out in Isaiah, Psalms and others, as the replacement to suffer the punishment for the composit of sins, those past, present and future of humans. Believers were released from the pyre used to consume our remains, the anointed one now our advocate on Judgment Day. The Eternal Kingdom would await the arrival of the Saved now restored in righteousness with the Father.
God's wrath, a dominant and revealing feature described repeatedly in the Old Testament would no longer apply to those whose hearts are laid bare to fully accepting the Gracious Gift the Father gave His Children. What was the covenant of God in the Old would be a New Covenant in the New (Testament). This was told, prophesied, by Jeremiah.
The dilemma is how a book corrected by the Quran can simultaneously be proclaimed as truth. It is the Self aspect of the froth of the beer being poured by this micro-brewer that rests atop the clear liquid below that attempts to poison the Word of God.
If the Bible is untrue, as suggested by the Islamists (corrected in the Quran) even the claims of Ishmael as a descendent of Abraham could be untrue as the source, even for the Muslim, is the Bible. Indeed Ishmael as the sacrifice Abraham was to make, directed by God, was substituted in the Quran for the Biblical truth of Isaac. So too the stories of Moses and other prophets named in the Bible and included in the Quran. Do the Muslims have dispensation from God to take from the Bible, the Word of God, that which they prefer and discard the rest? That can only be the action taken by a mortal, a sinful man, assuming personal preferences to Godly directives.
To clarify Muhammad's false claim the verse in John informs us all the Counselor to follow will remain forever, forever alive as God indwelling in man. Muhammad's unexpected death in 632AD ended any truth as a self-appointed Counselor in perpetuity.
As Isa is accepted as the perfect prophet, in the Quran, the arrows of history pointed to his birth, life, death and Saving Grace in prophecy as recorded in the Old Testament. Thanks be to God. Also his essence along with the Father dwell in the hearts of those who believe, as the Spirit, foretold – prophesied.
Have we forsaken the Lord by knowing the truth yet not complying in obedience to God? Have we allowed the lion to enter this earthy realm growing his pride to consume the unsuspecting from within. Will the army of Satan eventually feast upon itself? Is there a collective body of followers proclaiming defiantly they are superior and must be heard and accepted, their Allah to be for All, and if not then as an apostate or infidel extirpated by the sword of the Beast?
There are hundreds of prophecies that tell of Christ. There are none that tell of Muhammad. His announcement and interpretive dance for his audience is only for show. Muhammad's life and ideological framework was adapted for today's stage by others who found the story profound and useful for their purposes. When the curtain comes down there will be only a crowd of ticket holders whose stub no longer gains entry. It was but a fleeting glance at a directors self-styled performance that is finite. The Biblical story is infinite. Jesus purchased the ticket so your entry is assured, the Spirit of God, the Counselor to follow, stationed at Reception enabling you to pass.
May the Grace of the Lord Jesus Christ, the Love of God the Father, and the Fellowship of the Holy Spirit be with you All.
For much more on Muhammad as a possible prophet visit Answering Islam. We can be most thankful for the many who work diligently to share the truth.
[ii] Against Marcion, Tertullian (160-225AD), pg 1925 of 5669, Amazon, Kindle Books.


Handmade fabric luggage tag, passport cover and luggage handle wrap- the essential kit for any traveller!
Passport cover/wallet- Keep your passport clean and protected with this handmade book-cover style wallet. It helps you to quickly identify your passport in your bag.
Simply slide the front and back covers of your passport into the wallet's pockets. Or you could pop your passport into one pocket and small documents or cards into the other.
Interfaced to give strength and durability. Simple button-and-elastic fastener.
Padded luggage handle wrap- for a comfortable grip and of course to make your case stand out and help you quickly identify your case on the carousel. The handle wrap is lightly padded for comfort and simply attaches to your case handle with velcro-double stitched for extra strength.
Fabric luggage tag comes with an ID card for you to fill in your details, should your case get lost. Alternatively, you can just slide your business card in the clear vinyl pocket. Interfaced to give strength and durability. Fix to your case handle by slipping the tag body back through the strap, as in my photo.
13.5 x 10cm (5.25" x 3.75) Designed to fit passports measuring 12.5 x 8.7cm.
Please measure your passport before you buy.
Vinyl pocket fits a standard size business card.
These items are 100% cotton. You may hand or machine wash on a cool cycle. Please close the luggage handle wrap hook and loop fastening before washing, to prevent damage to other items in the wash.
You may iron on a COOL setting, as some of the items are interfaced to give strength. This will shrivel if too-hot an iron is used!
Do not iron the vinyl on the tag!
Do not bleach. Do not tumble dry. Dry away from heat.
Fabric patterns may vary due to placement/cutting.
Threads, buttons and ribbons may vary due to availability.


ProBait Formulation for Professionals is highly attractive to imported and native fire ants, and other ants. Worker ants carry it into the mound as food for the colony. They eat it and feed it to the queen. ProBait starts to kill ants immediately.
Container Size(s): 4.5 Lbs, 25 Lbs.


This particular Old City condo building has one of the most unique cast iron facades of any Center City condominium building! An elevator building, the Smythe Stores have one, two, and three bedroom units. The penthouse units here have a balcony overlooking Arch St. Restored in the mid 1980's, this condo building has recently seen a vast increase in owner occupants, and conversely less renters. Sitting in the Old City section of Center City Philadelphia, this historic condominium building is on the corner of Front and Arch Streets, across the street from 108 Arch condos. A glorious addition to the Philadelphia real estate market, Smythe Stores offer beamed ceilings, oversized windows, and a stunning facade.
For more information on Smythe Stores Condos call Mark Wade at 215-521-1523 or email Mark.
Click here to see the area around The Smythe Stores at 101 Arch using Google Street View.


Sales Representative positions are available within the contiguous United States.
Interested individuals should contact David Steinhauer via email: david@goldmankolber.com.
Please put "Sales position sought" in the subject line.


Military bases at Seal Beach, Camp Pendleton and Fort Irwin appear safe from having a combined $310 million in construction funds diverted to build President Donald Trump's proposed border wall.
"The language in the memo is clear that projects with fiscal 2019 award dates should not be considered"
Will border wall funding affect Fort Bragg projects?
The Tonies\' video for their single \"It Never Rains In Southern California\" from their album The Revival, which dropped back in 1990. Video directed by Lisa Bonet of The Cosby Show fame. This video comes to us courtesy of our friend sven86. :) Enjoy!
Albert Hammond - It Never Rains In Southern Californi, ein Hit 1972. Audio-CD-Sound zu altem Video-Material aus TV-Show. Sound replaced by audio-cd-sound. Full song.
I miss the 90s music.


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Planetary Hours MDT (GMT-6) at 53N10 114W5 Calgary, Alberta Planetary Hours
Sunday 7-14
Monday 7-15
Tuesday 7-16
Wednesday 7-17
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5:27am Sun 5:28am Moon 5:29am Mars 5:31am Mercury 5:32am Jupiter 5:33am Venus 5:35am Saturn
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Ellen's 'A Quilt for Howard' was made in response to a TV interview she saw with a Chief Executive of a company who lost 658 employees in the 9/11 terror attacks on the twin towers, New York. She describes why she made the quilt, the design and construction of the appliqué quilt and what her future plans are for it. Later Ellen discusses her first quilt, her subsequent interests and influences, as well as her involvement with a textile group and some of the quilt challenges that they have undertaken.
Barbara Janssen [BJ]: ID number TQ.2016.006. Name of Interviewee Ellen Seward. Name of interviewer Barbara Janssen. Location Ellen's home, address Maders, Callington, Cornwall. Date 18th January 2016. Many thanks for offering to talk about your chosen quilt today. I know that it was inspired, if that is the right word, by your personal response to the events in New York in 2001, so called 9/11, but before we talk about that can you briefly describe the quilt.
Ellen Seward [ES]: It's rectangular. It's about 41 inches wide and 52 inches long. Predominantly blue background, blue sky. The bottom third is blue and darker blue stripes that signify the water. The centre of the quilt is appliquéd by (coughs) excuse me, with circles of white, silver, gold, fabrics that represent clouds. From that are rising what looks like flames but they're not actually flames, and I'll talk about those in a minute, and then in the middle of it is a big red heart which is fractured and the pieces are just flinging off into the distance. It's minimally quilted, there's not a great deal of quilting on it but it's just the picture itself that I think is what I really wanted, that was the impact that I had. There's a very slim border round the blue, and then a deeper blue navy border framing the whole quilt.
BJ: Okay Ellen, thanks for that. It's certainly a very dramatic quilt. Can you tell me why you felt you had to make it?
ES: Yes. On the day that 9/11 happened, the 11th September, my younger daughter Rachael had just spent the summer in New York with her, doing her gap year and we went up to Heathrow my elder daughter and I, Elizabeth and I, went up to Heathrow to collect her from the airplane. On the way back she chatted fifty to the dozen all the way down, and by the time we'd got down from Heathrow to Launceston she had exhausted herself and was falling asleep. So I turned on the car radio in time to hear a report of this happening, that had gone on in New York and by the time we'd driven the twenty minutes home, flew into the house, turned on the television in time to see the second plane go into the second twin tower and we were just stunned into silence. It was like watching a film, it was just unreal. But the biggest impact was that we had just brought Rachael back, she was on the last plane that flew out of New York [pause]. So as we watched this dreadful news report and then one of the interviewers was speaking to a gentleman named Howard Lutnick who was the chief executive of a firm called Cantor Fitzgerald and this gentleman had not gone into work that day at the top of the twin towers because he took his son to school for the first time [pause].
The interviewer was talking to Howard Lutnick who had not gone into work because he'd taken his son to school for the first time but all the rest of his firm were there and he had about seven hundred employees on the top two floors of one of the towers. Consequently all those people were killed, they had just vanished. And this ridiculous interviewer said to this poor gentleman who was almost off his seat with despair, anxiety, shock, I can't find the words to describe, but he said to this man 'well, how does it feel?' and I thought you stupid person, how can a man answer that question, how does it feel to know that you have just lost part of your family 'cos his brother and sister worked there, and seven hundred, he just was so concerned that seven hundred of his employees were gone and what was he going to do. What could he do, he didn't know what to do, he just didn't know what to do. He kept saying 'I don't know what to do', 'what am I going to do?' And this stupid interviewer kept pressing him saying 'how does it feel?' and I thought, for crying out loud just somebody hold him, just give this man a hug [pause, crying] and nobody did [pause, microphone noise]. I just felt that this poor man needed somebody to hold him just to, just hold him and ground him because he was, you could see he was almost out of his chair, and there was nothing I could do about it. That was the big thing. We were standing in a kitchen here in England and there was nothing I could do about it. So we unpacked Rachael's gear and were just thankful that we had her home and she had actually been round the Pentagon the day before which had also been bombed so we felt very lucky that we had her home.
And so I got to think, what can I do? And I thought, I can't do anything. I can't do anything but I could make a quilt. So I sat down for a few days and thought, right make a quilt. And I used wallpaper, lining paper and scribbled some thoughts down and really what was going through my mind all the time was the people who were in those two towers had gone off to work that morning like they did every morning, they would have ridden the subway, driven, however, got to work. It was about half past nine, nine o'clock I think in the morning so they were probably standing around either the water cooler or the coffee machine, or the printer or whatever. Going about their daily work and then wallop. They were just blown to kingdom come and I just had this strange, it's a weird way to describe it but I thought, those people are rocketed into whatever is their afterlife, 'cos there would be every religion and none amongst those people and they were just all here one minute and gone the next. And so I had visions of all these souls just rising to wherever they go [pause] and I could see, not flames, in my head I could see not flames rising but all these souls just heading off to heaven if that's what you want to call it, but that was what was in my head. And as we watched it on the television the pictures of the huge, great billowing dust clouds against the most vivid blue sky you ever did see. But it was the fact that the glass had shattered in all the windows. It was the sunlight was just catching it, and it sparkled and if it hadn't been for the fact that it was such a grotesque and horrible event to happen, it was beautiful. It was the most fabulous, shimmery, silvery blue sky. It was. In a way it was beautiful but it was just so horrific to, it was not true. And so I knew I had to capture some of that on this quilt and in my naivety I thought this quilt, you know, could be for Howard. But of course years and months have gone by, it's totally the wrong thing, there's no way anyone would want this particular quilt who has been in that position. But it was just, that was how I reacted to it. That was I couldn't think of anything else to do but make this quilt and that's how I worked through really my distress for this poor man Howard Lutnick, but my relief at the fact that we had our daughter home who could have been involved in this. So it was sort of a mixture of both.
So I scribbled on the lining paper and drew the clouds of smoke, the blue sky and the tongues of, that looked like flames but they're actually in white and silver and gold and I thought New York is also called the Big Apple and so I put a huge red heart in the midst of all these flames 'cos it was the heart of New York that was destroyed that day. And in the centre I have quilted an apple. And at the bottom of the quilt I knew that I needed to put water because there was so much water drawn from the bay that day to extinguish these flames. But of course, there's a water between us and America so my strips of water at the bottom signify the fact that we are so closely associated with them even those it's five thousand miles away, the Atlantic Ocean laps both countries. So I had to have some water at the bottom of it.
BJ: Thank you Ellen. It obviously is a really emotional subject for you but I'd like you to say a little bit more about your choice of your colours and the fabrics. For instance, where did you get your fabrics were what were some of the difficulties in choosing those fabrics?
ES: I wanted a blue that showed that fabulous blue sky and, like all quilters, I have a stash and rummaging through the stash didn't produce anything really. And then one day I picked up a piece and I also had the newspaper beside me that had a photograph of the event and when I looked at the two this piece of fabric was absolutely the same colour as that in the picture so here I had it all the time. So I had my sky. I belonged to a quilting group at the time and I talked to one of them, my friend Sally Waring who is a wonderful quilter and Sally, and I wasn't sure how to approach this. I'd drawn it out but it was actually how to construct this. And Sally's a great appliqué person and a great piecer. Sally tried to show me a method of doing it but it was just not, it wasn't going to work for me, not at all. So in the end I just drew round the circles, the semi-circles of the dust clouds, transferred them on to greaseproof paper for the want of a better word, I didn't have freezer paper at that time, transferred the patterns onto greaseproof paper and then just cut round those patterns on the fabric and then just appliquéd one onto the other. And as I was doing this with the group various members would come across and say 'is this any good?' 'do you think you could use this?' And gradually, over the course of a few weeks I had amassed absolutely the right mix of pale greys, blues, whites, some that had that shimmer that just represented those shimmery glass particles. It was amazing how gradually it all just came together. And so I appliquéd one piece on top of another until I got to the buildup of the big dust clouds in the centre. And then when it came to these souls that I could see rising up to wherever I used patterns like tongues of, like you would expect, of, tongues of flame but of course I didn't want them as flames, 'cos they weren't flames, these were souls of people and so I used white for that but I also used a bit of gold, I suppose it's gold lamé and it wasn't really quite right, it didn't, it just didn't look quite right and I thought 'should I take it apart?' and oh, I hate to take things apart so that I'll press it, 'cos sometimes, you know they say you can iron anything out so I pressed it and I forgot to put a piece of paper between the iron and the fabric and blow me as I took the iron off this piece quickly the iron had taken off the top surface of the shiny gold and left exactly the right piece of fabric, it was just perfect. It had dulled the gold but it was shiny enough to give a different texture. So really it, the whole of this quilt was just serendipitous I suppose. The right people had the right bits of fabric, the mistakes I made turned out to make the fabric right at that time. And then when it came to doing the sea, I'd again searched through the stash and then found a piece of fabric that looked like sea which I'd actually bought in America and had had for quite some time but there it was, it turned out to be just the perfect piece. But like, whenever you find something you never have enough. So I chopped that into strips and then interspersed the variegated blue water-like fabric with paler blues and darker blues to give the impression of the shadow of this dust cloud across the water. And so it went together. And it was amazing because I think there's probably just enough to give it the impression so that was the centre done, then the tongues of flame but I still needed to do this heart so I had a piece of blood red fabric which I drew a big heart onto and then just cut out pieces of it and appliquéd those. I think I did that with Bondaweb, just to get them in the right position. And the pieces that I'd cut out I chopped into smaller pieces and had those going up interspersed with the tongues of the white and gold fabric as though the heart was being taken up into the heavens along with the people.
BJ: Thank you Ellen for that information. I think I agree with you about the luckiness really of the accident with the iron in getting the effect that you wanted for the gold, it's amazing how these things happen sometimes. The quilting's very interesting, can you tell me what you have done and why?
ES: Yes, again, I wasn't sure how to quilt it. I decided this really didn't mean anything unless there was some, I can't think of the word, [pause] I knew it wouldn't mean anything unless there was some representation of the twin towers, because that's really what it was all about. But of course the twin towers had gone. They were no longer there. So I drew them in in pencil and then just quilted their outline in silver so the shadow of the towers are still there. And then in blue cotton again the same colour as the blue fabric for the sky I quilted more towers just rising, and dust clouds were echoed. Very simple quilting. And again along the bottom, along the sea just very simple straight line quilting just to anchor the bits together really. But the important bit to me was the silver outline of the towers.
BJ: And you mentioned earlier about the apple, the golden apple.
ES: Oh yes. Because New York is often referred to as an apple, I quilted in the shape of an apple in gold thread, so again it's just the outline is there, not a great deal, just the significance of the apple being splintered, shattered and blown apart.
BJ: Thank you for that, Ellen. How long after the event did you begin the quilt? How long did it take you to make the quilt?
ES: I can't remember exactly but it was quite soon afterwards because it was all still very much in my mind. And it just took about three or four months I think, picking it up and putting it down. And of course it was, as I did it, people kept asking could they do anything to help? And I couldn't really let them do that because it was something that I had to do, I realised and in fact I just realised that more afterwards rather than at the time. That this was something that I was working through for me rather than something that other people could help with, it just had to be, it was what I could see in my head and my feelings for it and, but again, always behind it was this poor man, this poor man Howard. This was, I could not get out of my head how this man could be feeling, having lost everything and everybody. I just had to work it out myself, so I did.
BJ: 9/11 actually happened what, twelve years ago so the quilt's obviously, you've had the quilt all that time, what do you intend to do with it in the long run?
ES: Well, there now, that's the problem really. It's not the sort of quilt that you would actually hang on your wall, it's not big enough to be a bed quilt and it's, the subject matter is not bed quilt material, so I'm really not sure what to do with it. I might, at the beginning it was going to be a quilt for Howard but again, thinking about it, this is, it would be totally wrong to send this to somebody who'd been affected. It would distress him even more I think if he was to have this [BJ: yeah] and so I've got it here and I really am not sure what to do with it.
BJ: I'm surprised that you feel that it would be totally wrong. I have a feeling that he might like to at least know about the existence of the quilt. And I know it was a while before you found out about the name of the man. Have you ever thought of finding his details and maybe sending a letter? Maybe not even sending a visual image but a letter to explain what you've done? And whether he would be interested in having a picture of it?
ES: I did, I actually did. [BJ: right] When I finished it I wrote to him and got no reply. And then I wrote to his sister who was also worked for Cantor Fitzgerald, virtually outlining what I've just said now with a picture and got no reply from them [BJ mm] so I think maybe it was too soon for them because they were probably still so affected. And then I talked to, I'm not sure whether it was, I think it was Libby [Leyman?] who came to do. It was either Libby Leyman or Marta Amundson, one of those two quilters came from America doing classes over here and I showed it to them and I think it was Libby who said before you send it to them, just write and see if it's something they might want because it would be a shame for the work that I've put into it and the thought that had gone behind it for them to open it up and throw it in a cupboard because it's… and so that's when I really started to think, yes, it's probably not appropriate for them, it's probably too much of a reminder of something that they want to forget.
BJ: And yet it was meant as a hug.
ES: But it was meant as a hug.
BJ: As a, all the emotion.
ES: It was meant as a hug. [BJ yeah] But of course I've still got it, what I do with it I don't know. Maybe one of these days. I showed it to, it was on exhibit in our South Hill Piecemakers Exhibition one year, and then it was in Cannington one year and the number of people who have come up and said how it had affected them, so it's obviously, you know, affected others rather than just me and some people have said it should be in a museum, or in an art collection. I don't know.
BJ: I don't know about the quilt but I think there would be an interesting exercise to write an article for a magazine, have it published. I know it's part of Talking Quilts but [ES: yup] for a wider audience, and maybe especially across the pond, just to see if there was any reaction, you know, you could write the article without the man's name in maybe [ES: yes] sand just see if there was any reaction from that. [ES: yup] Ok. I'd like to ask you now a few questions about your quilt-making journey. When did you first start making quilts and why?
ES: I think my first quilt was actually 1971 when I was a Theatre Sister in Stonehouse Royal Navy Hospital in Plymouth. I was duty one week-end with another sister and she was quiet, we'd done all the work, she was quiet, and she was cutting out pieces of cardboard around which she was stitching fabric and I thought 'that's a strange thing to do!' and so she told me what she was doing and I offered to help and she threw me a wodge of fabric and some cardboard pieces and said 'why don't you do some?' So I made the dreaded hexagons! [Both laugh] Everybody starts with hexagons and I put them together and made three or four blocks and like everybody else it just grew and grew and grew but I could never come to a straight edge to stop it and when it was about single bed size I thought, ah, and I can't remember the girl's name, I can't remember her name, ah, but she was going to back hers onto a sheet and then put something that she called 'wadding' in it and another sheet behind it. And then of course, I think she moved on to somewhere else and I still had this top of hexagons and I thought ah, sheet. So I fished out an old sheet, got some of this wadding stuff, this polyester wadding stuff, and another sheet for the back and tacked them all together. There's no quilting on it, or very little quilting, and bound the edges, and there was my first. And it was mainly Laura Ashley offcuts.
BJ: I think we've all been there, that era.
ES: Absolutely, absolutely. But I vowed then never again would I do hexagons.
BJ: Yet now they're very trendy!
ES: Now they're trendy! [BJ: come back] and would you believe I made hexagons earlier on, later last year when I was making up a quilt, trying a quilt pattern for a quilter who writes books on quilting. One of her new patterns had hexagons on and she said would I mind doing them, however she gave me the ready cut out little templates and a glue stick to glue so there was no more stitching through the cardboard things! It was a doddle and I thought well, that's only what, 35, no, 40 years, 40 years since I said 'never again' and here I am doing them!
BJ: OK, so, apart from your friend who showed you how to make these hexagons, how else have you learned about patchwork and quilting? What have been your main sources of information?
ES: I think, probably magazines, in the early days there weren't very many but seeing some magazines. Meeting other people who, I think I went to a quilt show in London and I've no idea where it was, why I should be there, I can't remember that but I remember going into a hall of some sort and there on the wall was a Durham quilt, a wholecloth quilt, and I thought oh, I've got one of those. When my father died and I cleared out his home at the bottom of my parent's bed, rolled up was a quilt. And when I. They'd obviously bought a new mattress and it was too big for the bedstead so my mother had rolled up this quilt to put at the bottom to stop, to fill the space and it turned out to be a wholecloth Durham quilt.
BJ: And you've still got that quilt?
ES: And I've still got it, I love it, I love it. I have two daughters, so I've two daughters and one heirloom quilt! [Both laugh] oh! I have however since acquired a second one which was made by somebody else so at least I have one quilt each, they can each have a Durham quilt but my idea was in due course to do another one. I've got a, made my own pattern with Lillian Hedley but I've yet to make it up. But I suppose my inspirations came from seeing other people's quilts like that and that was her own design, magazines. And then I went to America many years later with David who was appointed to a post in San Diego and I went to the San Diego Quilt Show and that was [BJ laughs] amazing! Absolutely amazing. Saw fabrics there that just made your mouth water, and patterns and so I started to buy fabric and that was the beginning of [laughs] the collection! The stash.
BJ: Like a disease that you don't want to be cured of.
ES: It's an addiction! It's an addiction [BJ: yeah]. Exactly! So it's magazines, books, television programmes, I subscribe to the quilt show on the internet and joined various quilting groups and talking to other people, seeing other people's work. And then some of these wacky ideas have come out of my own brain.
BJ: Have you got a preferred style, technique, or are you still on a journey of discovery would you say?
ES: Probably still on the journey. I'm not a precise worker, I'm very much of the 'oh that'll do' school which is, I try to be better. But I think I prefer appliqué because you don't have to make the corners meet quite so precisely as you do with piecing. So appliqué is my favourite. But having done some of the pattern testing for Pam where I had to follow a pattern and had to do piecing and had to do it correctly that sort of opened up a new little avenue for me and I thought 'well maybe this piecing lark is not so bad after all'. So I have done a bit more piecing, and then with some of my own ideas coming through when talking to other people, talking to the girls from the Contemporary Quilt Group who said 'why don't you join the contemporary group because some of the things that you're doing are more over onto the contemporary side rather than the traditional, following pattern side. And so I've done that. And that's really opened up a whole new world. I'm still tentative when it comes to splashing the paint around and they dying, but I have tried it, enjoyed it, got some bits of fabric but it's what to do with them now that I've made them.
BJ: Do you prefer hand or machine work or does it not matter?
ES: I'd preferred hand but as I'm advancing in years my thumbs are beginning to become a little bit stiff and so I'm going further down the machine quilting. So, bit of both really, bit of both. Depends on what the piece is, whether it needs to be hand quilted or whether I need to machine quilt it.
BJ: Where do you get your ideas for your quilts?
BJ: Do they float in to your head or do get inspired by paintings or cards or [ES: yes, both] views?
ES: Everything. I read a thing the other day that said asking somebody where they get their inspiration from is like asking a bird 'how do you fly'? [BJ laughs] [BJ: Just don't know] Well I just do it. I just don't know. It just. Sometimes I see, well I saw a greetings card a few years ago which I really, I just thought it was so pretty and so, that's asking to be made into a quilt. So I wrote to the publisher who wrote to the name of the artist who had done it and got her permission to turn her design into a quilt which I did. And had the best time using hand dyed fabrics and little bits that I'd made and turned it into, and she, the artist herself, I sent her pictures and she was thrilled that somebody had done that so. But moral is you must always ask somebody's permission if you are using a different [BJ: I agree, a lot of people don't do that] using somebody else's design. So yes a card or just see the fabric in the shop and think 'ooh, oh I'd like to make that into something!' Bring it home and then smooth it and fold it and then actually use it. But I, anyway get my inspiration from anywhere.
BJ: I know that you've recently formed a textile group in the West Country and you've set three challenges to date. Do you actually find the restriction of a challenge useful in either, you know, you've got a size and a date and maybe a theme or something like that. Do you find that useful?
ES: Deadlines are useful. Otherwise I tend to think things drag on and on. With a deadline, then I get it done. I was never really a great challenge person until I saw the exhibition of, in the NEC where the Loch Lomond quilt show ladies had done a Chinese Whispers they called it. And the way they had done it was one photograph sent to the first person who made a quilt, gave the photograph back, passed her quilt onto number two. She made a quilt and passed number one's quilt back and passed hers to number three and so on down the line. Seeing how twelve ladies could make twelve different quilts from one photograph that only the first person saw just blew my mind. I've never been a great one for round robins where you've got to stitch something onto another person's work but the fact that you could take an idea from one person and make something else, take your inspiration from that and getting such a variation, I thought was incredible. And so I asked if we could take part in the following year's challenge that they did and got a group of friends together from the Contemporary Quilt group and outside and did the following Chinese Whispers challenge set by the Loch Lomond quilt ladies. And that was such a success and we had such fun doing it. And I think that because we were each given six weeks to do our own thing it went on for a long time but everybody seemed to enjoy it when it was finished. And so they wanted another challenge and the next one I thought rather than take the year and a half to get round the twelve people to do a simultaneous challenge and so this time I got my husband to choose a piece of music that had, just an orchestral piece of music, which he put on discs and each of the ladies in the group were given it and told to listen to it and draw, scribble, whatever. Whatever they thought of as they listened to that piece of music, draw it on a piece of paper and then make a quilt from it. Not to over think it, it was more spontaneity that we were after for this. And he didn't tell me what it was either 'cos I wanted to take part in it and so we did. We all listened to it in our own homes, did our own thing and after six weeks met in Barbara's fabulous house where her husband very kindly played the piece of music for us on his violin and when we heard it, I think it was four of us out of the eleven, thought it was one thing and the others thought it was another. Some of us thought it was The Lark Ascending but it turned out to be The Girl with the Flaxen Hair by Debussy, so it was interesting that four of us thought it was the one piece and it wasn't but Adrian played the fabulous piece of music as we unveiled the quilts and it was just a wonderful afternoon. Consequently they wanted a third one and so the next challenge was actually a poem. I took a poem and pulled out words from the poem and gave each lady just the word, nothing else. And they had to make their quilt and for this I did set a size. Obviously we wanted them all fairly manageable and this one I think was eighteen by twenty-four with again the six week deadline and they each had to interpret their word so that it would be recognizable as what it was and in due course we will exhibit the quilts along with the poem and each word will be above the quilt appropriate to that bit. So in that respect, yes, it was, I have enjoyed doing them 'cos it, a) it gave me something to do that there was the subject already given to me or set by myself even and the deadline and then seeing the other people's collaborations. I just love it.
BJ: I like challenges because I think they do give you, ah you know, my head is full of ideas but a challenge really makes you focus and get on with it and stop procrastinating, so it's good.
ES: I am a great procrastinator.
BJ: I'm grateful to you for setting three challenges that I've taken part in (both laugh). Okay. When and where do you quilt? Where do you do your sewing?
ES: In my own home. We have a spare, well I say spare, it was a bedroom, it's now turned into the work room. I can't call it a studio, it's the work room which also houses the computer and everything else. And so I work there or on the dining room table or on my lap, wherever, but usually at home. I belong to Flowerpatch Quilters in Launceston and we have the odd sewing day but we tend to have more speakers at our meetings there. Quilters' Guild days, Contemporary Quilt days, and there are about half a dozen of us who are all Quilters' Guild members who meet in [Coates Green Parish Hall?] Church Parlour that's what it's called for 'playdays' and there we sew and dye and paint and put the world to right and have fabulous times!
BJ: I envy you with that, it sounds like really good fun. [ES: Yes. Okay.] I want to explore a little bit more about craftsmanship and design in quilt making. What do you look for or notice in other quilts particularly?
ES: What I notice first of all I suppose is the colour. That's the thing that strikes me. If a quilt is made of fabrics of colours I don't like I probably don't give it the attention it deserves. But that's just how it is. If there are two quilts there, one with fabrics I'm not particularly drawn to and one with fabrics I really am then I'll go to the one that I'm drawn to. So colour, I really am attracted to. And then just how it's constructed, the accuracy of the people I admire people who can spend the time to actually make things fit, make things work and are precise. My quilts will never win prizes, I would never put mine into a competition, I would never win prizes. Having said that I did put one into NEC (laughing) and it didn't win a prize! But I admire people who can take things apart and re-do them.
BJ: Have you got a favourite quilt or quilter?
ES: Um, [pause] yes, I think the one who really blew me away when I saw her book the first time was Libby Lehman from America. I saw her Threadplay book and what she did with her threads onto pieced backgrounds and colours was just that fabulous. I'm not a straight line person really, I'm much more of a curves and curls and freedom of movement type thing. And that's what Libby's were and so I really liked her work.
BJ: Okay. What do you do with the quilts that you have made?
ES: Try and find more space for them in the house! [Both laugh]. Well obviously some I've given away. My two girls have both got several quilts now. Make them for family members when the baby's arrive. For various charity's, made a number of charity quilts, and group quilts with people that I sew with. One or two up on the wall and the rest are either folded or rolled down in the work room.
BJ: Mine are over the banisters, another one for the banisters! [Laughs].
BJ: So. Why do you think quilt making is important in your life? What sort of pros and cons or benefits or down sides has it brought to your life?
ES: Um. My mother could sew, she was not a dressmaker but she could sew beautifully and she only ever did mending and things but her hemming was so, so good and she always used to say her school teacher had said to her she should be a dressmaker. And as I've done my family tree I noticed that quite a number of the ladies in the generations before have been dressmakers or apprentice dressmakers or whatever so I suppose before I, without realizing it I had the ability [BJ: in the genes] It was in the genes to sew and then when I came across the fact that you could find these beautiful fabrics, these gorgeous colours, and you could cut a piece of, a square of fabric with these other pieces and other shapes and put them together and make something quite new out of that one piece of fabric, that obviously appealed to the artistic side of me and it's a softer medium than painting. You can, you can't wrap a painting round yourself but you could wrap a quilt round. Or you can't wrap a painting round somebody else but you can make a quilt and wrap it round somebody else and give them warmth. I think it's giving warmth and comfort and yet being pretty at the same time. I think, what was the question again?
BJ: I say [ES laughs] just you know, what are the benefits it may have brought to your life?
ES: People, met some fabulous people. Taken me to places in the world that I would never have gone to to see quilt shows and meet other quilters. Helped other people by doing group quilts. We've helped a number of charities so we've put, I'm using the 'we' here because I haven't done any of these on my own, always been with other quilters but while you're doing that you put the world to rights so it, the number of people who have talked through problems as we've sat round the quilting table, you can't put a price on that. So the friendship, and the achievement, 'cos when it's finished and you look at it and somebody comes along and says 'that's nice' you get a lot of satisfaction from that.
ES: Um. Can't get into the spare bedroom [both laugh] because there's so many bits of fabric there but that's not a down side really! No. [BJ: Okay.] No, I don't think there's a down side.
BJ: This is Barbara Jansen speaking the day after the interview. Ellen Seward sent me the label as we forgot to discuss it at the time of the interview. The label says 'Inspired by Howard Lutnick, CEO of Kanter Fitzgerald New York. Out of the smoke and dust rise not flames but the souls of those lost on September 11th 2001. They took to their heavens the heart of the Big Apple which was shattered that day but fear not, there is more good in this world than evil and it will mend. Ellen Seward, Callington, Cornwall, UK, 2002.


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Feedlot cattle from 1,687 pens totaling 290,183 head were evaluated at slaughter for the presence of liver flukes. Overall, 4.92% of the cattle were found to be infected. Only 15.2% of all pens of cattle were found to be completely free of flukes. However, only 5.3% of the pens had greater than 15% of the cattle infested. Beef steers had a higher level of infestation (5.2%) than beef heifers (4.4%). Holstein steers had an overall infestation rate of 4.4%.


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text:
TI Vol.5 No.2 , May 2014
Being Efficient to Stay Strong in a Weak Economy. The Case of Calabrian Manufacturing Firms
Francesco Aiello, Concetta Castiglione
Department of Economics, Statistics and Finance, University of Calabria, Campus di Arcavacata di Rende, Cosenza, Italy.
Abstract: The aim of this work is to study the efficiency of firms operating in Calabria, a small and economically-lagging Italian region. The analysis is carried out by estimating a stochastic production frontier for an unbalanced panel of manufacturing firms which are observed over the 1998-2006 period. Results show that the efficiency score is, on average, about 60%. A declining trend is observed over the last three-year period, 2004-2006. Moreover, efficiency increases with firm age and when firms export. Inconclusive evidence is found for the role of investments in ICT and R&D. This is not very surprising given that private effort in technological activities is extremely low in Calabria (private R&D intensity was less than 0.075% of regional GDP in 2010).
Keywords: ICT, R&D, Stochastic Frontier, Calabria, Manufacturing Firms
Cite this paper: Aiello, F. and Castiglione, C. (2014) Being Efficient to Stay Strong in a Weak Economy. The Case of Calabrian Manufacturing Firms. Technology and Investment, 5, 95-105. doi: 10.4236/ti.2014.52010.
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[31] Rosenthal, S. and Strange, W. (2004) Evidence on the Nature and Sources of Agglomeration Economies. In Henderson, J.V. and Thisse, J.K., Eds., Handbook of Regional and Urban Economics, Elsevier, Amsterdam, 2119-2171.


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3 Main Features of CAYIN s Solution Powerful Remote Management for Small to Large-scale DOOH Network The uniqueness of CAYIN network digital signage solution lies in its powerful remote management and scalable products which can collaborate with each other to compose versatile combinations corresponded to the requirements of each project. Basic Level Each SMP player can be managed individually by its web-based user interface via network. Configuring multimedia contents playback Changing system settings of each player Updating contents by FTP and Network Neighborhood Medium Level Administrators can divide a large amount of players in different groups and control all of them centrally via CMS server on its web-based user interface. Content update and synchronization Playlist central scheduling Access control of multiple accounts Live streaming video Advanced Level Multiple CMS servers or digital signage networks can be monitored on one PC by Super Monitor. Reports can also be generated via Super Reporter. Monitor live playback and content updating status Alert mechanism for abnormal status Generate detailed playback lists and statistics per project PLAYER SERVER ADVANCED MANAGEMENT SOFTWARE Emergency Mode Once you come across an emergent event, the public sign can be switched to play the pre-set emergency messages immediately. The emergency mode has the highest priority and can be triggered by either CMS or Super Monitor. Wide Variety of Displays Choices Portrait and landscape LCD/Plasma screens, projectors, touch screens, LED, or TV walls can all be the display devices. With CAYIN SMP-WEBDUO, you can even extend the contents across two screens and create attractive dual display. Multifunctional Digital Signage Player Some popular features of SMP players*: 1080p full HD video RSS live feed and streaming video Music channel for in-store music Self-customized templates by Skin Editor Setting portrait display remotely Remote control for volume and display on/off manually or automatically on a pre-set schedule Integration with external database, touch screen, and other devices * Please refer to detailed specifications of each model. TOTEM EXTENDED DUAL DISPLAY TOUCH SCREEN TV WALLS Signage appliances to more than 65 CAYIN has sold its Digital countries and regions.
Announcement, Call Processing and Music/Messaging-On-Hold System Solutions For Any Industry The XMU+ is Interalia s next generation advanced announcement, call processing and music/messaging-on-hold system.


This second gap fill test contains 25 multiple choice questions on the topic of modals of English grammar. Both English learners and ESL teachers can use this online exercise as a revision to check the knowledge of modal verbs.
1. The secretary______the reports before they______to the vice- manager.
2. You______your car in front of the garage entrance any time.
3. Tom is not here. He _____ be working in the garden.
4. A: I don't know why Alice started crying when I mentioned the wedding. B: It _____ what you said about her sister or perhaps she was just nervous. After all, the big day is tomorrow.
5. A thesis statement____ express an opinion; it_____ express a fact.
6. Our finding that increased body fatness is associated with the earlier onset of puberty provides additional evidence that growing rates of obesity among children in this country_____ to the trend of early maturation.
7. Any information that_____ from the Spanish flu virus may help provide better understanding of the H5N1, which experts fear _____ the next pandemic once it learns to transmit efficiently among people.
8. You ___ him up because he has already came up.
9. Because the research points out that the most efficient method to lose weight is only to increase exercising and decrease calorie intake, you______ yourself to lose weight.
10. She ____ out without taking permission from her parents for the previous anniversary party, but she did.
11. It is thought EU leaders ____ to a deeper cut of 30% in emissions by 2020 if other developed and emerging nations, notably the US and China _____ in.
12. Jimmy's flight from New York has taken more than 11 hours. He _____ exhausted after such a long flight. He _____ in tonight and get some rest.
13. An interview with the professor showed that a particular tomb _____ the final resting place of a family other than that of Jesus.
14. New systems____ people to record everything they see and hear-and even things they___.
15. Anorexia nervosa is a potentially life-threatening illness and_____ as soon as possible.
16. Stressful life events, such as losing a job or a relationship ending,_____ an episode of depression.
17. This is the best wine I have ever drunk but I _____ the same thing for the cheese.
18. Most people know that smoking____ lung cancer, but also it_____ to many other cancers and illnesses.
19. Dashiki said you ____ her anything for her birthday, but I really think you should at least get her some beautiful flowers or a nice bottle of wine.
20. I heard that she went to town by bike. She_____ by bike. I would have given her a lift in my car.
21. I ____ you! You _____ the entire house. Our cleaning lady phoned she's coming tomorrow.
22. You ____ and let that old lady have your seat. That's the decent thing to do, don't you think so?
23. Students ____ to manage the bookstore soon.
24. Anthony said he was really busy this week, but he _____ at her sister's wedding at least half an hour.
25. She wanted to go on the cruise to Tahiti, but she_____ such a luxurious trip as it would cost her a fortune.


DALLAS--(BUSINESS WIRE)-- Dallas-based Hilltop Holdings Inc. (NYSE: HTH) today announced J. J. Gomez has been named executive vice president, director of business development. In this new role, Gomez will support the business development functions of Hilltop and its subsidiaries, PlainsCapital Bank, PrimeLending, HilltopSecurities and National Lloyds.
Gomez has been with PlainsCapital Bank for 30 years and most recently served as president of the Bank's Victory Park location in Dallas, Texas.
Since joining PlainsCapital Bank in 1989, Gomez has held numerous positions with the Bank including customer service representative, senior vice president at the Bank's Preston Center location in Dallas, and executive vice president of service quality.
Gomez is a member of the Salesmanship Club of Dallas, the Cotton Bowl Board of Directors and Executive Committee, The First Tee of Greater Dallas Executive Board, the DFW Salvation Army Advisory Board and the Goodwill Industries of Dallas Board of Directors. He earned a Bachelor of Business Administration in economics from Texas Tech University.
Hilltop Holdings is a Dallas-based financial holding company. Its primary line of business is to provide business and consumer banking services from offices located throughout Texas through PlainsCapital Bank. PlainsCapital Bank's wholly owned subsidiary, PrimeLending, provides residential mortgage lending throughout the United States. Hilltop Holdings' broker-dealer subsidiaries, Hilltop Securities Inc. and Hilltop Securities Independent Network Inc., provide a full complement of securities brokerage, institutional and investment banking services in addition to clearing services and retail financial advisory. Through Hilltop Holdings' other wholly owned subsidiary, National Lloyds Corporation, it provides property and casualty insurance through two insurance companies, National Lloyds Insurance Company and American Summit Insurance Company. At September 30, 2018, Hilltop employed approximately 5,300 people and operated approximately 450 locations in 44 states. Hilltop Holdings' common stock is listed on the New York Stock Exchange under the symbol "HTH." Find more information at Hilltop-Holdings.com, PlainsCapital.com, PrimeLending.com, Nationallloydsinsurance.com and Hilltopsecurities.com.
This press release contains forward-looking statements within the meaning of the Private Securities Litigation Reform Act of 1995. These forward-looking statements involve known and unknown risks, uncertainties and other factors that may cause our actual results, performance or achievements to be materially different from any future results, performance or achievements anticipated in such statements. Forward-looking statements speak only as of the date they are made and, except as required by law, we do not assume any duty to update forward-looking statements. Such forward-looking statements include, but are not limited to, statements concerning such things as our plans, objectives, strategies, expectations, intentions, growth, strategic direction and other statements that are not statements of historical fact, and may be identified by words such as "anticipates," "believes," "could," "estimates," "expects," "forecasts," "goal," "intends," "may," "might," "plan," "probable," "projects," "seeks," "should," "target," "view" or "would" or the negative of these words and phrases or similar words or phrases. For a discussion of certain factors that could cause our actual results to differ materially from those described in the forward-looking statements, please see the risk factors discussed in our most recent Annual Report on Form 10-K and subsequent Quarterly Reports on Form 10-Q and other reports that are filed with the Securities and Exchange Commission. All forward-looking statements are qualified in their entirety by this cautionary statement.


text:
/**
 * Contains cache decorators
 */
package com.yoiojava.cache.decorators;

redpajama_set_name: RedPajamaGithub


text:
A rock-solid solution.
According to a 2008 study by the Energy Information Administration, buildings are one of the heaviest consumers of natural resources and account for a significant portion of the greenhouse gas emissions that affect climate change. In the U.S., buildings account for 38% of all CO2 emissions. That's simply not sustainable.
Blue World Crete's technology uses a proprietary catalyst/binding agent that is combined with materials containing alumina silicate to produce a cement product that dramatically lowers the amount of energy required to produce the cement and CO2 that is emitted into the atmosphere. It is the first true alternative to traditional forms of Portland cement.
Blue Crete uses many of the same materials used in blends with traditional Portland cement. However, the major difference comes from the fact that Geo-Blue Crete isn't produced with quarried limestone product. Limestone creates an excessive amount of CO2 by virtue of the fact that extreme heat is used to create the cement. Geo-Blue Crete uses a proprietary catalyst/binding agent that can allow the cement to be produced at ambient temperatures, from sub-tropical to below freezing, meaning that it takes 80 to 90% less energy to produce and dramatically lowers the CO2 released into the atmosphere.
It means we're taking Traditional Portland Cement and replacing it with an even better product with a host of other valuable properties, not the least of which is making it more environmentally friendly and cost-effective. Blue Crete™ is a green product from birth, with the following advantages:
Highly-Resistant or impervious to water, acids, corrosion, sulfates and more
It is a monolithic product
Covalently bonds to most anything on a molecular level
Near zero coefficient of expansion, will work in freezing or tropical regions of the world
It cures by an exothermic reaction
Early strength when curing, 2500-3000psi after 3 days.
Three times the compressive and tensile strength of Portland
Can be handled and worked with in 3 to 7 days
Very slow, if any, transfer of heat. Great for insulating and fire retarding/proofing
Custom design client's end product with our technology
Can be used as a coating to protect, insulate and enhance existing Portland structures and other material, even wood. It can be painted, rolled, or used in a Gunite gun.
Is used to create a superior Mortar, imparting many of its' properties to whatever you put the mortar on.
Is cost competitive with Portland, but works just like Portland.
Is less expensive to produce than Portland. Portland must use expensive $200 million dollar plus plant to manufacture. A Blue Crete plant costs 1/20th of this.
Mixed and used on-site.
Pour into casts and remove cast after a few hours.
Low carbon footprint.
Allows end user to offset their carbon pollution, lower their carbon footprint and possibly earn carbon credits by using our technology/product in their projects
Is mixed packaged, shipped and delivered the same as traditional Portland cement.
Is priced competitively with traditional forms of Portland cement.
Can increase your LEED points in the categories of Energy & Atmosphere as well as Materials & Resources.
Meets all the same testing standards as traditional Portland cement.
Be sure to check out our incredible videos of R&D lab testing, click here
This is where the rubber meets the road. Blue World Crete is driven by the desire to continuously improve our products and services which helps inspire us to develop the most progressive technology in the building materials industry. With the use of our technology, at Blue World Crete, we can meet your needs from end to end.
To learn more about opportunities with Blue World Crete, call us at 561-929-8384 or contact us via e-mail by clicking here
Standard industry practices to place concrete.
Standard industry practices to cure and finish concrete.
Blue World Crete, Inc.
4100 N. Powerline Rd. #C-4
Pompano Bch, FL 33073
Site Built by Profit Gate, Inc.
© 2013 Blue World Crete, Inc. | All Rights Reserved.


Much has been said on these pages and others regarding the timing or the lack of it these days, in Slow fox and Quickstep a slow relates to two beats and a quick one beat (4/4). But what does slow and quick mean in terms of relative time?
This is one of the negative aspects of human nature that "quelle surprise" has invaded the dance community. Needless to say, it is all too obvious in the competitive dance world where all the dancers start to look the same and the fundamental character is lost as a result of an immature intention to get noticed.


Check Out Our New C# Books!
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A Firefox glossary with a complete listing of Firefox terms and their definitions.
An eight-part tutorial entitled, "An Introduction to Mozilla Firefox," which covers installation and configuration, the tabbing function, other basic functions, commands, stopping popups, Firefox extensions, browsing history, the download manager, page setup, print preview, printing and bookmarks.
The "Mozilla Firefox Cheat Sheet," that has a complete listing of keyboard and mouse shortcuts, plus tips and tricks.
A tutorial entitled, "Mozilla Firefox: RSS and Live Bookmarks," that shows you how to create a live bookmark, manually subscribe to an RSS feed, and how to get the orange RSS icon on your site.
A tutorial entitled, "Switching from Internet Explorer to Firefox," that discusses tabbed browsing, pop-up blocker, extensions, profile manager, installing Firefox, exploring Firefox, and importing Internet Explorer settings into Firefox.
The personal blog of Ben Goodger, the lead engineer for Mozilla Firefox.
An interview with Asa Dotzler, the community coordinator for the Mozilla Foundation.
The article entitled, "Get Tooled Up: Evaluating Web Sites for Accessibility with Firefox," that discusses providing a text equivalent for every non-text element, creating documents that validate to published formal grammars, using stylesheet to control layout and presentation, using header elements to convey document structure, and more.
The article entitled, "13 Reasons to Use Firefox Over IE," plus other resources that compare the two browsers.
Free downloads including the Groowe Search Toolbar that allows you to search all search engines directly from a Firefox toolbar, and the Reel New Media Toolbar for Firefox that includes live television and video broadcasts to receive news, sports, music, movies and cartoons.
The free eBook, Hacking Firefox: More Than 150 Hacks, Mods, and Customizations.
Don't forget to check out our Internet Explorer 7 (IE7) Resource Center.
Coming Soon! We are in the process of a major web site upgrade. Click here to send us an email and let us know what functionality you'd like us to include!
Apply Now! Immediate Opening for a talented Web Developer to work on the Deitel Internet Business Initiative. Boston area students are encouraged to apply for part-time internships.
Fully updated to Visual Studio 2005 with an extensive case study on developing Web applications with Microsoft Visual Web Developer. Place your order now at Amazon.com. Instructors—get your examination copy from your Prentice Hall rep.
Includes new chapters on C99, Game Programming with the Allegro C Library and Sorting. Place your order now at Amazon.com. Instructors—get your examination copy from your Prentice Hall rep.
Order the book now at Amazon.com.
Place your order now at Amazon.com. Instructors—get your examination copy from your Prentice Hall rep.
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Corporations and government organizations hire Deitel & Associates, Inc. for expert training delivered to groups at customer sites worldwide. Our courses include C#, Java, C++, C, Visual Basic, Internet & Web technologies, OOAD, XML, Database, Ruby, UNIX, Perl, Python, Visual C++ and many more! View our complete list of course offerings or contact us to inquire about Deitel Dive Into® Series Corporate Training.
Available Now for Fall Classes! Simply Visual Basic 2005, 2/e for Microsoft Visual Studio 2005!
Right off the presses: Order your copy today from Amazon.com! Simply Visual Basic 2005, 2/e is up-to-date with the latest version of VB—Visual Basic 2005. It includes an updated four tutorial ASP.NET 2.0 web application case study and an updated tutorial on ADO.NET 2.0. All of this material uses Visual Studio's new visual programming approach to simplify the application development process.
Order your copy now from Amazon.com.
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Available Now for Fall Classes! C How to Program, 5/e with New Chapters on Game Programming with the Allegro Library and C99!
Right off the presses: Order your copy today from Amazon.com! C How to Program, 5/e has been carefully tuned. We've added new chapters on the C99 standard and an introduction to game programming with the Allegro C library. The book includes a completely new section on object-oriented programming in C++ based on C++ How to Program, 5/e, and a completely new introduction to graphics, GUI and multimedia programming in Java based on Java How to Program, 6/e.
Just Published! Visual Basic 2005 How to Program, 3/e for Microsoft Visual Studio 2005!
Right off the presses: Order your copy today from Amazon.com! Visual Basic 2005 How to Program, 3/e features a very friendly early classes and objects presentation, a new, optional OOD/UML ATM case study and a fully updated treatment of XML, ADO.NET 2.0, ASP.NET 2.0 and Web services.
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"Once again, the Deitels have put together a great textbook. The material is easy to read and more importantly the optional ATM case study is realistic, understandable, and detailed enough to get at the heart of working with VB 2005. This book presents fundamental software engineering concepts such as modeling before you code and testing your software thoroughly in an accessible manner for anyone learning how to develop in Visual Basic .NET."
"The explanation of UML, intelligently integrated into the book, conveys the heart and soul of true object oriented architecture and engineering." —Jeff Jones, RouteMatch Software, Inc.
"This book has one of the best chapters on the basics of XML." —Kunal Cheda, Computer Enterprises Inc.
Just Published! Visual Basic 2005 for Programmers, 2/e for Microsoft Visual Studio 2005!
"Excellent coverage of the most important features and techniques of developing ASP.NET 2.0 applications, with plenty of sample code." —Peter Bromberg, Senior Enterprise Architect, VOIP, Inc.
Written for C#, C++, Java or other-high level language programmers, this book applies the Deitel signature live-code approach to teaching programming and explores Microsoft's Visual Basic language and the new .NET 2.0 in depth. The book is updated for Visual Studio® 2005 and presents Visual Basic concepts in fully tested programs, complete with syntax shading, line-by-line code descriptions, and program outputs. The book features 200+ applications with 16,000+ lines of proven Visual Basic code, and hundreds of programming tips that help you build robust applications.
complete Visual Basic implementation. When you are finished, you'll be well on your way to building next generation Windows applications, Web applications, and Web services.
Important note: This book is intended for the professional market and does not include much of the introductory pedagogy, exercises or end-of-chapter material typically found in our How to Program Series college textbooks. No instructor resources are available. If you are teaching an upcoming Visual Basic college or professional training course, check out our Visual Basic 2005 How to Program, 3/e and Simply Visual Basic .NET 2003 textbooks (each with full ancillary support).
Written for programmers with a background in C++, Java or other high-level languages, this book applies the Deitel signature live-code approach to teaching programming, and explores Microsoft's C# language and the new .NET 2.0 in depth. The book is updated for Visual Studio 2005 and C# 2.0 and presents C# concepts in the context of fully tested programs, complete with syntax shading, detailed code walkthroughs, and program outputs. The book features 213 complete C# applications with almost 17,000 lines of proven C# program code and hundreds of programming tips that help you build robust applications. Read the Preface.
[Important note: This book is intended for the professional market and does not include much of the introductory pedagogy, exercises or end-of-chapter material typically found in our How to Program Series college textbooks. No instructor resources are available. If you are teaching an upcoming C# college or professional training course, check out our Visual C# 2005 How to Program, 2/e and Simply C#, 1/e textbooks (each with full ancillary support).
At Deitel Labs, we're developing new Web 2.0 Internet businesses and new services for our existing businesses. Most of the businesses we're creating are offering free services—we are monetizing these businesses with Google AdSense, other affiliate relationships, and the many partnering relationships we are putting in place.
Learn the latest technologies while gaining hands-on development experience! Deitel & Associates, Inc. is the world's top programming-language textbook authoring organization, and we are launching many new Web 2.0 Internet business ventures.
Interns will work on our upcoming Prentice-Hall textbooks and professional books and/or our new Web 2.0 Internet business ventures.
Deitel & Associates, Inc. is located in Maynard, Massachusetts, approximately 24 miles west of Boston. Interns must have a car as we are not easily accessible via public transportation.
Corporations, government organizations and the military hire Deitel & Associates, Inc. for expert training delivered at customer sites worldwide. Contact us to inquire about Deitel Dive Into® Series Corporate Training.
Check out our How to Program Series, Simply Series, Deitel Developer Series and Operating Systems textbooks and professional books.
Locate your Prentice Hall representative to request examination copies.
Instructor ancillaries (available only to instructors who adopt our books for their classes).
Contact us if you have questions about any of our publications or ancillaries.
[For students who purchase the corresponding new books.] Walk through the new features, get comfortable with the functionality!
"I have used your text books over the last 5 years, and in my opinion, as a student, a developer and an educator, your books are by far the best on the market—please keep up the good work for all of us." —James M.G. Williams, Senior Lecturer, Web Designer/Developer and e-learning developer, Swansea Institute of Higher Education: Faculty of Applied Design and Engineering.
The text, illustrations and program listings of the covered chapters from the corresponding book.
Hours of detailed, audio—Paul Deitel explains the code examples.
Self-assessment material including practice exams and exercises from the textbook.
Solutions to many of the textbook exercises from the covered chapters.
Lab manual with lab exercises and pre- and post-lab activities (solutions available to instructors).
Cyber Classroom Demos! Now you can test drive the Cyber Classroom online. Walk through the new features, including audio, get comfortable with the functionality, then buy the book, if you like.
Visit the Deitel Free Content Library for free tutorials and articles on Java, C#, C++, Internet and Web technologies, Ruby, AJAX, book reviews, Visual Basic and more!
Small How to Program Series textbooks bring the solid and proven pedagogy of our How to Program Series texts to new, smaller texts that are focused on CS1 courses. The Small How to Program Series Java and C++ texts include the FREE online Cyber Classroom.
"This book is excellent; a superb mix of theory and application; spot-on accuracy, relevancy and application of case studies to the theory of OS design." —Robert Love, MontaVista Software, Inc.
This Deitel Simply Series combines the our signature live-code approach (emphasizing complete, working programs, rather than code snippets, and always showing sample outputs) with an application-driven methodology, in which readers build real-world applications that incorporate programming fundamentals. Using a step-by-step tutorial approach, readers learn programming basics. Each successive tutorial builds on previous concepts and introduces new programming features. Many Simply Series books also include higher-end topics such as database programming, multimedia and graphics, and Web applications development. These books are appropriate for the classroom, for self-study and for distance learning programs.
Check out www.deitel.com for updates on this publication.
Forthcoming issues of the Deitel Buzz Online will announce new Deitel Resource Centers, including: Eclipse IDE, Netbeans IDE, Flash, Firefox, Emerging Telephony, Windows Live, Internet television, and many more!
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TravelRiver is a well-designed tool to assist travelers in researching and planning their next trip. The site homepage offers visitors quick and easy opportunities to search for the lowest prices on airfare, lodging and vacation packages. Additionally, they have selected exceptional bargains on lodging and cruises with links directly to the details.


text:
Houston restaurants make their move to go cashless
Rare Local
Rare Chicago
Rare Houston
New study claims certain city trees could help urban flooding
John Bogna, January 25, 2018 9:59 am
Texas Family Home's Christmas Light Show Features Popular Selena Quintanilla Hit
Lauren Pineda, April 16, 2021 10:12 am
The Historic Ott Is One Of The Most Haunted Hotels In Texas
Danielle Husband, October 16, 2020 11:33 am
The Most Haunted Places in Houston, Texas
Gerald Hanks, October 15, 2020 12:31 pm
Photo by George Rose/Getty Images
HOUSTON, TX - FEBRUARY 28: A new light rail corridor in downtown is viewed on February 28, 2016 in Houston, TX. Despite the plunge in oil prices, Houston, the corporate energy capital of the U.S., is adding millions of square feet to its convention center and constructing dozens of new highrise office buildings and condominiums. (Photo by George Rose/Getty Images)
It's an established fact that Houston loves its trees.
With more good news for green, this week, an article published in the Journal of Ecological Engineering examined how street tree pits could help with stormwater runoff and benefit a flood-prone Houston.
The article details a study conducted in New York City, which contends street trees stored in such pits could help to absorb runoff and trap the moisture in permeable soil, all while providing a greener solution to help mitigate storm water.
RELATED: Greenspace projects seek to beautify Houston, mitigate future flooding
According to the text, researchers looked at 40 street tree pits, taking into account various factors, including the size of the tree pit, whether the pit contained a guard and whether any ground cover existed near the pits, then measuring how much storm water made it into the enclosure.
They reportedly found the pits with guards retained the most water; additionally, results show mulch and ground cover near the pits appeared to help retain even more precipitation.
The study's summary reads in part as follows:
"…higher infiltration rates in guarded pits were associated with larger pit areas, built-up surface elevations (binary) and the combined presence of ground cover planting (binary) and mulch (binary)."
While New York is in a different climate than Houston and not as susceptible to the same flooding Bayou locals know, analysts agree, the study's findings could mean new information to be considered as part of a greater city flood control plan.
Researchers said they also believe such efforts to be relatively cost-effective, something city officials are undoubtedly considering when deciding what to move forward with and what to scrap on the flood control front.
"Now the question is, when you come up with ideas and potential solutions, are they implementable?"
"Now the question is, when you come up with ideas and potential solutions, are they implementable?"
In Houston, when it comes to flood control, it's now an existential question.https://t.co/mIaTvLRC5g
— Todd Stone (@_ToddStone) January 22, 2018
Especially after Harvey, leader agree things need to change, now becoming a question of how.
50,000 jobs averaging $100k have been missed out on. Let's not pretend this isn't a big loss
Every university in Houston should be clamoring for flood control… If they care about placing their students. Every realtor if they care about selling houses. Every… Well everyone.
— HoustonRAF (@HoustonRAF) January 24, 2018
RELATED: A local coalition wants to take Houston's loops to greener pastures
About the author: John Bogna, Rare Contributor