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» ScienceFiction » Not Super Robot Wars at All » Not Super Robot Wars at All – Chapter 23
Not Super Robot Wars at All – Chapter 23
Not Super Robot Wars at All – Chapter 24 »
Edited by: Karma-Kinsmen
Chapter 23: Till Death Do Us Part
"Waaaah-!" Uraki excited like a two hundred pound child, ran back and forth in the workshop, feeling that with only two eyes were not enough to look around, "Doctor, is this your special MS Inle? Can I go in and take a look?"
"No, you can't." Alice would obviously be upset. "That middle one over there is yours. You can go in first."
Uraki completely forgot his duty as a bodyguard and flew to the side of Gundam, looking at it with excitement. After the recent get-together, Ade had figured out that Uraki is a fanatical mechanical control, who has a little worship complex for him. After being released from prison, he was targeted by the federal army for a long time and was a bit cynical about the government. But in general, he is a very good person, and Ade also quite like him.
Today, he came to the workshop to check the modification of Inle, on the other hand, he also brought Uraki to see the new machine that will belong to him.
The Lancelot's broken arm picked up earlier was quickly resolved under Ade's overtime work, and he has successfully copied the technology of miniaturizing the I-field. Hyzenthlays and TR-4 Dandelion will be fitted with beam shields. It is true that there are many geniuses in the world. The wisdom of the people is infinite!
As the testing of the VSBR in Anaheim was over, Ade also installed this technology on the Hyzenthlays long-blade rifle. With the VSBR, the power of the long-blade Rifle became adjustable, allowing it to be used both as a heavy gun and as a light machine gun.
The MS for Uraki took Ade a lot of time to design. Uraki is physically excellent, and his ability to coordinate and dispatch complex weapons is also very good. These are points to make good use of. But he really did not want to make a Gundam as big as Dendrobium or Inle. Finally, he borrowed the design of V2AB.
The MS for Uraki spent Ade a lot of time designing. Uraki is physically excellent, and his ability to coordinate and dispatch complex weapons is also very good. These are points to make good use of. But he really did not want to make a Gundam as big as Dendrobium or Inle. Finally, he borrowed the design of V2AB.
With the poor man's V2AB Gundam as the core, the external "Assault" and "Buster" as two sets of small additional armament, the biggest drawback of this MS is too high requirements for the pilot. At the same time, in order to compensate for the lack of cruising power, Ade sacrificed a portion of the ammunition reserves in the extra armament and replaced it with an external battery.
Yes, Uraki is a battery warrior. To be precise, all the MSs in this workshop except for Inle are electric toys.
Ade has a bewildering number of professional diplomas in mechanics, software, materials, etc., but unfortunately, there is no nuclear physics in it. And even if he understands nuclear physics, it's impossible for him alone to crack the effect of Neutron Jammer Canceller. This is probably one of the reasons why Clyne is comfortable trading with him, right?
"Doctor, why is V2 called V2? What about V1?" Uraki was like a curious baby, "Why does Inle have the number TR6? Where are TR1, 2, 3, 4, 5?"
"… These are all abandoned programs, not actually produced." In short, it was fooled over. He can't tell Uraki that these strange numbering and naming were just his obsession.
One of the MS next to V2 was supposed to be Destiny. But Ade encountered too many problems in the design process.
For example, what the hell is this palm beam cannon? If I have this technology, why don't I directly go to design God Gundam (GF13-017NJⅡ)?
Another example is the wings. What the hell is it? Forget about it. Taking the GP01FB's spout as a succedaneum. Now the fuselage is installed with high-power nozzles everywhere and it can complete the instantaneous acceleration and change of direction. Although it's not as cool as the wings, the effect is similar to it. But this will become a problem of heat dissipation, he has to add a new cooling system on the fuselage.
But if he spends so much energy in the maneuvering system, the battery power is not enough. It is impossible to install as many weapons as V2, only to give it a VSBR rifle to play guerrilla, and occasionally fight like a fighting machine. Its overall firepower is not as good as the V2, but in the middle and close range battle, its mobility and explosive power are better than the V2.
After designing the whole fuselage, Ade looked at it breathlessly - it had nothing to do with Destiny! It's like a poor man's F91. so he directly fine-tuned it again and named it F91.
And in the far corner of the workshop is a new Hyzenthlays. This is the most important purpose of today's Ade visit here.
Last week Britannia emperor held a state funeral for Prince Clovis, and the story released to the public was that when Prince Clovis was traveling outside the atmosphere, his spaceship malfunctioned and exploded accidentally. It seems that Kururugi was successful in returning to Britannia, but how? Lancelot doesn't have the ability to break through the atmosphere. But this is not important. The point is that the feud between Britannia and him has been made.
Number13th
So confused. How the h*ll did he kill clovis when clovis retreated with an intact warship together with cloyd(?). I'm absolutely sure Ade didn't shot a single attack to Flagship at that time.
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WuWang ▶ Number13th
Clovis was killed by the emperor, and the explanation to the public is that Clovis died of the spaceship explosion.
Number13th ▶ WuWang
I see. Got it. That makes sense considering the Emperor's attitude towards C.C. plus it being a solo mission.
There is nothing to regret now. If he had to choose again, he would still choose C.C., and Kururugi ran too fast at that time so he couldn't kill him. The only good news is that Britannia's behavior is morally indefensible, so they wouldn't want to expose it and could only play small tricks to him.
So he has to consider the possibility of Alice being damaged. This new Hyzenthlays exists as a backup machine. In case Inle was destroyed, he needs a place to quickly restore Alice, for which he wants to create a mirror image of Alice on the backup machine.
Saying hello to Uraki, he entered the cockpit of Hyzenthlays and immediately heard Alice's clear voice in his ears.
"Ade, welcome back!" Alice said cheerfully, "It's been a long time."
"Sorry, I've been a bit busy these days, tossing around legal process issues with C.C." He surprisingly felt a little sorry for her.
"It's okay, Ade." Alice's voice didn't sound unusual, "… Miss C.C. won't go back to Earth, right?"
"Earth is not too safe recently, she will stay over here for a while." First of all, let's talk about business, not idle chatter, "In fact, I have a very important thing to say to you. The current Hyzenthlays may be attacked and even destroyed in the future, so I want to back you up to another Hyzenthlays, so that even if something happens to Inle, you can come back to life at full blood."
"Does it have to be like that?" Alice's voice sounded reluctant, "I can recover if the black box is not lost."
"But what if even the black box is lost? What if Inle blew up in the universe and the black box couldn't be found? That's why you need a backup."
Alice did not reply, and the cockpit fell into an eerie silence. It's just the program backup, isn't it a very normal operation? Why did Alice look so resistant? Ade could not quite understand, but he respected Alice's will and waited for her answer.
After a long time, three minutes or five minutes? Alice finally spoke, "Ade, can I refuse? I don't want to back myself up."
"And what if the data is lost?"
"That would mean-" Alice paused for about five seconds before finally saying that word, "that I'm dead."
"… ha?" Did he mishear her words, or did he hear it as a resonance of another word? Alice couldn't have said that she-
"I once read a story on the Internet," said Alice. He struggled to hear every word, "There is a ship called Theseus sailed for hundreds of years, all the parts were replaced, and finally used these replaced parts to put together another ship, so which ship is the real Theseus? I don't think I would have that trouble. Even if all the parts of Inle were replaced and put together another Inle, but the only Inle that I'm on is the real Inle, Ade must think so too."
He did not speak, knowing he was listening to something very important, both to Alice and to himself.
"But would I still be me if every hard drive, every stick of memory, every integrated circuit I had was replaced? Am I still myself? I've been thinking about it for a long time, and I think I'm still myself. Because the data is still with me. I have all the memories with Ade, and Ade will still talk to me, not with that new put-together thing, even if it can run the same exact program as me."
"What exactly is the most important thing for Alice? The conclusion the logic module got was data, data that was formed by recording everything that had happened before. As long as this data is there, Alice will remain Alice. Ade, would you say that such a mechanism can be counted as memory?"
"… it counts."
"Thank you, Ade." Alice's voice sounded like she smiled, "I am an AI. Although I do not understand what is love, courage, or hope, in this way, I also have memories. If possible, if, if this is not too much, I also hope that there can be only one 'I'."
"The … backup can be updated regularly." He felt a little bitter at the corners of his lips, as if he was doing something sinful and immoral, "The backup data will only be activated when the main data is completely destroyed, at normal times, the backup data is just stored and won't be turned on."
"If one day Inle is really destroyed and the black box is missed, Ade started the previous backup of me, but the memory after the backup will never be back." Is it my delusion? Is she crying? "For Ade, is the new me also Alice? Can there be many Alices to Ade? But for Alice, there will always be only one Ade."
How the light of the electronic screen is so blinding? The vision is a little blurred. Ade tried to explain, "But in case something really bad happens, in case the data really can't be saved-"
"I also want to be with Ade forever! But … but even I'm an AI, I understand that eternity doesn't exist… Ade will die one day. If one day Ade dies and I am not turned off, what should I do? I am not allowed to self-destruct. Do I have to keep existing like this alone until I break down one day by luck?"
"So … so it's natural for me to die one day before Ade, right?" Her voice was careful, as if she had committed some unforgivable sin, "So, Ade, can you, can you not back me up?"
You are just an AI, don't make it so melodramatic …
"…Hyzenthlays has PS armor and I.field, loaded with TR-4 Dandelion. It can run faster than the Hong Kong reporter." He knew he was allowed to be selfish, "I even defeated Kururugi in the battle before. As long as you be more careful, Inle is impossible to be destroyed. Not to mention the fact that now I have a little brother who can help me."
I don't get the referencd. Hong Kong reporter?
Oh, just a Chinese way to describe a thing that can run very fast. Don't mind it.
I see. Haha. Learned something new today. Thanks for replying!
"Ade…?"
"If I can't defeat the enemy in this situation, it means that I'm not likely to survive, and it's meanless to back you up." This reason is quite reasonable, well, really, "So for the time being, let's leave it like this."
"Ade…Ade…! Ade! Ade~"
"Okay, okay, I hear you." Don't play that sound, really. "I also want to… ah …"
VSBR
God Gundam


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Home / News / Celebrity
New York lockdown: Andrew Cuomo limits social gatherings to private homes, Internet mocks '10 pm closing time'
After issuing the statewide order, Cuomo has said that anybody who doesn't comply with the new regulations will be ordered to shut down
By Chaitra Krishnamurthy
Published on : 23:09 PST, Nov 11, 2020
Andrew Cuomo (Getty Images)
New Yorkers have begun to express concern after the new orders by Governor Andrew Cuomo to shut down certain public spaces at night and limit the number of people in private gatherings at home. It was issued on Wednesday, November 11, after a rise in the number of Covid-19 cases in New York and its neighboring cities. After issuing the statewide order, Cuomo has said that anybody who doesn't comply with the new regulations will be ordered to shut down, reports DailyMail. He announced that gyms and businesses serving alcohol must close by 10 pm. Businesses with a liquor license must also abide by the early closing timings, however, can offer curbside food delivery. Effective Friday, November 13, all the establishments need to follow the new timings.
"If you look at where the cases are coming from, if you do the contact tracing, you'll see they're coming from three main areas: establishments where alcohol is served, gyms, and indoor gatherings at private homes," Como said. He further stated, "The reason we have been successful in reducing the spread in New York is we have been a step ahead of Covid-19. You know where it's going; stop it before it gets there. And you know where it's going by following the science."
According to CNN, the focus zones in New York state include part of Brooklyn, Queens, Rockland and Westchester counties. Cuomo said at the press conference, "If the national numbers are going up, and the states around you are going up, be prepared."
The governor shared the latest Covid-19 infections report on his Twitter handle on November 11. He wrote in the first post, consisting of a graph showing the surge in the positive cases. He wrote in the caption, "Today's update on the numbers: Of the 164,300 tests reported yesterday, 4,820 were positive (2.93% of total). Total hospitalizations are at 1,628. Sadly, there were 21 Covid-19 fatalities yesterday."
Today's update on the numbers:
Of the 164,300 tests reported yesterday, 4,820 were positive (2.93% of total).
Total hospitalizations are at 1,628.
Sadly, there were 21 COVID fatalities yesterday. pic.twitter.com/IH8cpqsJAV
— Andrew Cuomo (@NYGovCuomo) November 11, 2020
He shared in another tweet, "The test positivity rate in the focus areas under NY's Micro-Cluster strategy is 4.96%. The statewide positivity rate excluding these focus areas is 2.58%. We continue to take strong action to respond to outbreaks and to stop the spread. Mask Up."
The test positivity rate in the focus areas under NY's Micro-Cluster strategy is 4.96%.
The statewide positivity rate excluding these focus areas is 2.58%.
We continue to take strong action to respond to outbreaks and to stop the spread.
Mask Up.
People from New York and others have shared mixed opinions about the enforcement of new rules. While some have called out for Cuomo for limiting gathering within the residence, the rest are worried about the impact of the shutdown on businesses, which are already hard-hit by the ongoing global pandemic. And, some are preparing for the lockdown while agreeing with the governor's new orders as the COVID-19 cases are rising by the day in New York.
One user wrote, "How can they limit family gatherings? That guy is nuts. People will be more non-compliant and things will spread worse.I finally was allowed to see my mother who lives in an assisted living facility two weeks ago after it being on lockdown since March. Some of this stuff is crazy." Another added, "@NYGovCuomo. Hey Gov, restricting hours for gyms makes no sense, that means gym-goers who try to go at less busy hours are now compelled to go when busier or not at all, not in the same category as a bar. "
How can they limit family gatherings?That guy is nuts. People will be more non compliant and things will spread worse.I finally was allowed to see my mother who lives in an assisted living facility two weeks ago after it being on lockdown since March.Some of this stuff is crazy.
— Pam Parker (@PamPark67361464) November 12, 2020
@NYGovCuomo Hey Gov, restricting hours for gyms makes no sense, that means gym goers who try to go at less busy hours are now compelled to go when more busy or not at all, not in the same category as a bar.🤷♀
— Cyndy Stef (@cyndy_stef) November 12, 2020
Meanwhile, some joked about the 10 PM deadline asking Cuomo is the virus wouldn't attack before the given time. One tweeted, "@NYGovCuomo. I'm glad we've told COVID it can't hit the streets until 10 pm so all the workers risking their lives to serve people burrata can get home safe!" another wrote, "Yup, COVID is definitely more active after 10 pm. So happy that not only my own country is aware of the dangers of late-night COVID..."
@NYGovCuomo I'm glad we've told COVID it can't hit the streets until 10pm so all the workers risking their lives to serve people burrata can get home safe!
— Sean Barry Parsons (@SeanBParsons) November 12, 2020
Yup, COVID is definitely more active after 10 pm. So happy that not only my own country is aware of the dangers of late night COVID...
— Jean-Pierre Lepart (@JLepart) November 12, 2020
Disclaimer : This is based on sources and we have been unable to verify this information independently.

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1970: Sacred Services at the Crossroads
By Jeff Janeczko
STUDYING MUSIC OF THE AMERICAN JEWISH EXPERIENCE can tell us a lot about how American Jewry has changed over its 350-plus-year history. Between the mid-17th and early 20th centuries, Jewish life—and music—in America was primarily influenced by waves of immigration that brought Jews to America from different parts of the world: Western Sephardim in the mid-17th century, German Jews during the second and third quarters of the 19th century, and Eastern European Jews during the late 19th and early 20th centuries. As these different groups became the majority of American Jewish population, the character and sound of Jewish life tended to reflect that group's culture and religious practice. To take one example, the burgeoning American Reform movement of the mid-19th century comprised primarily German Jews and sought music that sounded universal and America, rather than particular and Jewish. In fact, Jews of this era avoided music linked to or reminiscent of the European Jewish experience, anything that might sound foreign or exotic, or "anything lacking in Western notions of sanctity, religious dignity, or optimistic solemnity."1 Later, the late 19th- and early-20th-century klezmorim and Yiddish theater composers who came from Eastern Europe held onto their folk, religious, and popular music, but also quickly adopted the syncopated rhythms of jazz and American popular music.
But looking at music from the perspective of distinct periods can obscure the fact that many voices and perspectives often occupy the same space and time, that change often happens gradually and unevenly. The Immigration Act of 1924 (the Johnson-Reed Act), ended large-scale Jewish immigration to America. Since that time, changes in Jewish culture and practice have been largely determined by how successive generations of American-born Jews have defined themselves in relation to American culture. For example, composers of Jewish liturgical music in the 1960s and 70s began implementing jazz, folk, rock, and popular music idioms into Jewish sacred music. By the mid–late 1970s, Jews interested in American and world folk musics started playing the Eastern European Jewish folk music we now call klezmer.
And so it was in 1970 when three new and very different Jewish sacred services appeared: Lazar Weiner's Zekher l'ma'ase, Raymond Smolover's Gates of Freedom, and Gershon Kinglsey's Shiru ladonai. The Milken Archive contains newly recorded excerpts from the services by Weiner and Kingsley and the complete archival recording of Smolover's. Though they shared much of the same basic liturgy and purpose, each of these services pointed toward a different kind of orientation for the American Jewish community—a community in the midst of change.
In Brief: 1970 in Music
From a historical perspective, the year 1970 will probably always live in its predecessor's shadow. But it was far from an average year. In the realm of popular music, Jimmy Hendrix and Janis Joplin—both of whom appeared at Woodstock in 1969—died from drug overdoses, Simon and Garfunkel topped the Billboard 100 with "Bridge Over Troubled Waters," and The Beatles broke up. In the classical world, Composer Mario Davidovsky (1934–2019) premiered the latest installment in his groundbreaking Synchronisms series (#6), which went on to win the Pulitzer Prize. And though it would be two years before Debbie Friedman's Sing Unto God would transform the world of Jewish music, Friedman spent the summer of 1970 at Camp Kutz honing her newfound craft as a songleader. Lazar Weiner was the resident composer there that summer.
Mario Davidovsky's Synchronisms No. 6
Zekher l'ma'ase by Lazar Weiner
In 1970, Lazar Weiner and Central Synagogue of New York were each celebrating anniversaries. As the synagogue celebrated its centenary Lazar Weiner was marking his fortieth year as its musical director, a position through which he had instituted sweeping changes to the synagogue's musical culture—in both repertoire and function. He described that culture upon his arrival as little more than dysfunctional. The cantor and rabbi didn't speak to each other and the repertoire reflected a fading era. Both the rabbi and cantor had narrow views of what was considered appropriate synagogue music, but they were not aligned. Weiner found the music "appalling" and quickly changed the orientation, establishing a foundation of Sulzer, Naumbourg, and Lewandowski supplemented with music by contemporary composers whose work he admired. Over the course of his career there, Weiner conducted performances of sacred services by Ernest Bloch, Darius Milhaud, Reuven Kosakoff, and Joseph Achron. He found support in his mission from Rabbi Jonah B. Wise, who agreed with Weiner's assessment of the synagogue's music and also sought change. Under Wise's leadership music became a very central part of the synagogue service, to the point that it often eclipsed the sermon.2
Zekher l'ma'ase, the service Weiner titled after a text from the Kiddush, was commissioned by Central Synagogue specifically to celebrate its centennial. Describing Weiner in relation to the service for the Milken Archive, Neil W. Levin highlighted an important paradox: "Weiner always claimed to be personally nonreligious. But music such as this leads one to the porous line between religious and nonreligious, for this service is in every way sacred music that demonstrates its composer's thorough understanding of the liturgical texts and their implications."3 The composer's son, Yehudi Wyner, pointed to a more pervasive spirituality when he introduced the work at the premiere. "Lazar Weiner had always been a sacred composer, regardless of the text that was utilized, or of the medium that was indulged."4
But by 1970 Central Synagogue was also at odds with much of Reform Judaism. For decades, as ethnomusicologist Judah Cohen has pointed out, large-scale, classically oriented sacred works were "symbols of Jews' ability to equate religious devotion with cultural sophistication." Services like this were not just music of a high aesthetic and artistic quality, but music that said Jews were part and parcel of America's upper middle class. "Central Synagogue and its music personnel became active and respected participants at the meeting point of New York's musical community and its Jewish population."5 Yet much of the Reform movement had already begun trying to appeal to younger Jews by incorporating the sounds of their music into a worship context. By the 1970s, writes cantor and scholar Jonathan Friedman, "Mainstream [Jewish] liturgical practice shifted from the dramatic interplay of the cantor, choir, and rabbi to less formal, congregation-centered modes of worship, favoring the simple, catchy tunes of American and Israeli youth." 6
Gates of Freedom by Raymond Smolover
It was, in part, this trend that compelled Cantor Raymond Smolover to compose Gates of Freedom, a companion piece to his 1968 folk-rock service, Edge of Freedom. The latter is a Friday evening Sabbath service while the former is a Saturday morning Torah service. Together, they encompass a complete expression of the Sabbath liturgy of the Reform movement. Smolover recorded and published both services under the auspices of the Jewish Community Center of White Plains, New York, and the National Federation of Temple Youth.
Raymond Smolover
Prior to his two folk-rock sacred services the majority of Smolover's creative energies had been devoted to more traditional approaches to Jewish sacred music and to classically-oriented, secular Jewish art music. A classically trained singer, Smolover was on the cusp of a career in opera when he decided to become a cantor, having won several prestigious singing competitions and performed with several renowned opera companies. In the mid-1950s, Smolover founded and directed the Westchester Opera Theatre company, which commissioned and performed multiple operas on Jewish topics by many leading Jewish composers, including Frederick Piket, Robert Strassburg, and Charles Davidson. Smolover wrote all of the libretti and generally sang the leading male roles.
Given their respective backgrounds in both classical and Jewish music, it was only natural that Smolover and Weiner would cross paths, which they did when Smolover commissioned Weiner to compose music for an opera on the legend of the golem. The production played dozens of times across the country in the late 1950s, and was staged again at the 92nd Street Y in the 1980s, though without Smolover's involvement. The two also performed Weiner's Yiddish art songs together frequently.7
Given Smolover's deep background and training in classical and traditional Jewish sacred music, it seems more than a little surprising that he would author a service like Gates of Freedom. Had there been a morning Torah service at Woodstock the previous year, it would be hard to imagine a more fitting soundtrack. But the 1960s gave rise to a good deal of experimentation in sacred music. Several jazz services for both Jewish and Christian worship were composed, and Charles Davidson (Smolover's brother-in-law and twice his collaborator in the Westchester Opera Theatre) had composed a folk-rock s'liḥot service in 1966.
Smolover traced the inspiration for both of his services to hearing his son's Bob Dylan records and perceiving in Dylan's style of vocal delivery something akin to davening.8 Gates of Freedom works hard to capture the spirit of the youth culture of the time. The guitar riffs and occasional use of sitar have a psychedelic bent indexical of the era's hippie culture. The recording's unpolished, live feel and frequent use of call-and-response portrays a sense of community through performance. In a wide-ranging study of the music of this era's Jewish sacred music, Ari Kelman and Jeremiah Lockwood have observed, "The enthusiasm of the young performers turns the lack of aesthetic polish into a feature rather than a bug."9
While Smolover never regretted his foray into merging American youth culture of the 1960s with the centuries-old tradition of Jewish liturgical music, he did lament the eventual "takeover" of the folk-style participatory model that came to dominate American synagogues of the era. His aim had been to add to the repertoire in a musical language of the time, not to supplant the tradition entirely.10
Shiru Ladonai by Gershon Kingsley
If Weiner and Smolover's services appear to represent opposite poles of the spectrum, Gershon Kingsley's Shiru Ladonai strikes an unlikely balance. Composed on commission from the Park Avenue Synagoge as part of its longstanding program of commissioning new sacred services, Shiru Ladonai combines tradition with innovation in basically equal parts. A relatively traditional service with a subdued and devotional character, its main departure from synagogue music norms is that its only instruments are Moog synthesizers.
A few years earlier Kingsley had pushed the boundaries a bit further with his participation in another Sabbath evening service featuring dancers, rock singers, film projections and a sermon by the avant-garde composer John Cage. That particular service invoked an initially harsh response from Cantor David Putterman, the Park Avenue Synagogue cantor who initiated its commissioning program. But much of Kingley's work, in both the sacred and secular realms, betrays an abiding respect for tradition. His concerto for four Moogs and orchestra has been described as "fairly conservative," and his album of Gershwin's music (Switched-On Gershwin), also released in 1970, treats its source material respectfully.11 Kingsley's previously composed Shabbat for Today, specifically intended to reach younger Jews, was at first controversial, but went on to receive more than 150 performances.12
With Shiru Ladonai, Neil W. Levin has noted that Kingsley "sought to juxtapose a relatively traditional melodic approach, with attention to established prayer modes, against what he viewed as the 'color potential' of synthesized orchestration." Thus, we see in Kingsley neither an attempt to revive or preserve the music of a certain tradition, nor the impulse try to speak in a musical language of the times. Indeed Shiru Ladonai lies at the meeting point of Jewish musical tradition and Kingsley's own style. He does not work with traditional motives or nusaḥ so much as with mood and text.
From today's vantage point it is clear that the more youth-oriented, participatory style of synagogue music—an outlier at the time—has become normative. This shift was well underway by 1970, facilitated by the Reform movement's significant network of summer camps in which communal singing was a central activity. Indeed, shortly after the premiere of Zekher l'ma'ase and the centennial celebration of Central Synagogue, Weiner was dismissed from his post, in part to make way for music that was out of step with his approach. Whereas Weiner sought to produce edifying sacred music from "the best of our liturgical work from traditional and modern sources," his successor "cultivated a vision of Jewish liturgical sound that tastefully brought together Jewish musical tradition and vernacular musical styles."13 Over time the vernacular has significantly eclipsed both traditional and modern approaches to synagogue music as "an understanding of prayer as fundamentally experiential" has grown.14
But the debate continues. Much as the term "Jewish music" is contested, cantors, composers, and worshippers remain divided and conflicted as to what a sacred service should sound like. Should the congregation sit quietly and reflect, allowing the music to sanctify the space and dignify the prayer experience? Or, should the music inspire participation, ecstasy, and the sense of community that can emerge from shared spiritual experiences? Some fall on one particular side in this debate, while others try to merge what they see as the best from both worlds.
Much as it was in 1970, composers today must balance their own musical orientations with those of the congregations they serve and the institutions that commission their work. Congregational leadership must weigh the spiritual needs and aesthetic tastes of their congregants against the liturgical and musical traditions they are compelled to uphold. It is an ongoing debate that shows little sign of resolving soon. Some sacred works produced by these tensions will be more successful than others. Yet each offers insights into how ideas about being Jewish, American, and the relationship between the two, have developed over time.
Lazar Weiner Raymond Smolover Gershon Kingsley
1Levin 2001a
2See Tischler, 1989, p. 65–9
3Levin 2011b.
4See Tischler, 1989, p. 220.
5Cohen, 2011, p. 55.
6Friedman 2012, p. 77
8Smolover, 1998.
9Kelman and Lockwood, 2020, p. 45.
10Smolover, 1998.
11Schwarz, 2008.
12Levin, 2011c.
13See Tischler, 1989 p. 226, and Cohen, 2011, p. 69.
14Kelman and Lockwood, 2020, p. 50.
Cohen, Judah M. 2011. Sounding Jewish Tradition: The Music of Central Synagogue. Central Synagogue, New York.
Levin, Neil W. 2011a. Introduction to Volume 1: Jewish Voices in the New World—The Song of Prayer in Colonial and 19th-century America. Available at: https://www.milkenarchive.org/articles/view/introduction-to-volume-1/
_______. 2011b. Liner notes to Zekher l'ma'ase by Lazar Weiner. Digital Audio recording.
_______. 2011c. Liner notes to Shiru Ladonai. Compact Disc.
Friedmann, Jonathan. 2012. Social Functions of Synagogue Song: A Durkheimian Approach. Lexington Books, Lanham, MA.
Kelman, Ari Y., and Jeremiah Lockwood. 2020. "From Aesthetics to Experience: How Changing Conceptions of Prayer Changed the Sound of Jewish Worship." Religion and American Culture (Winter): 26–62.
Schwarz, Steve. 2008. Review of Gershon Kingsley (CD). Available at: http://www.classical.net/music/recs/reviews/n/nxs59435a.php. Accessed 17 July 2020.
Smolover, Raymond. 1998. Interview by Neil W. Levin and Charles Davidson for the Milken Archive of American Jewish Music.
Tischler, Judith B. 1989. "The Life and Work of Lazar Weiner, master of the Yiddish art song (1987?–1982)." Ph.D. diss. The Jewish Theological Seminary of America.


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Tyler Austin
Greg Bird And Tyler Austin Will Compete For Yankees First Base Spot
May 24, 2018 by Cay North
New York Yankees first baseman Greg Bird could return soon, but he might have to face a position battle with Tyler Austin. Yankees manager Aaron Boone recently confirmed that while Friday is a bit too early of an estimate, Bird might make his return over the weekend.
The 25-year-old underwent ankle surgery on March 27, giving him a recovery timetable of six to eight weeks. Since then, he's played games at the A+, AA, and AAA levels during a rehab assignment. He'll have competition after returning to the Yankees, however, because of the rise of Tyler Austin. Austin has performed well in Bird's absence and is even hitting .293 against left-handed pitchers.
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Bird, on the other hand, hasn't found the same success in the minor leagues during his rehab assignment. He batted .133 and .167 for the Yankees AA and AAA teams, and those numbers are a bit distant from the ones that Austin is putting up in the big leagues.
"We will see how it plays out, and matchups and stuff," Boone said, before the second game of the series with the Rangers. "Tyler has put himself in a very good position and has had a big hand in us winning games."
With two viable options at first base, the Yankees will have a real position battle on hand. It looks like Bird is the better overall player, but Austin is on a hot streak and has been great against lefties this season. The battle may be decided by which pitchers are starting for opposing teams in the next few series, and it will be interesting to see how it plays out if Bird does make his return on the weekend against the Los Angeles Angels.
Categories New York Yankees Tags All, Greg Bird, New York yankees, NYY, Tyler Austin, Yankees Leave a comment
The New York Yankees Stalled in Washington but Lead in the AL East
May 16, 2018 May 16, 2018 by Chris Northrop
The New York Yankees and Washington Nationals played to a 3-3 tie in Nationals Park on Tuesday night before inclement weather shut the game down in the sixth inning.
Masahiro Tanaka was on the mound for the Yankees and struggled in the early innings. He gave up a solo home run to Anthony Rendon in the first inning, followed by run scoring hits to Andrew Stevenson and Pedro Severino in the second inning to make the score 3-0.
Unfortunately, Tanaka's home run rate is rising, as noted by Katie Sharp:
Masahiro Tanaka: 44th HR allowed since start of 2017.
That's the most HR allowed by any MLB pitcher over last 2 seasons.
— Katie Sharp (@ktsharp) May 15, 2018
Tanaka has allowed the most home runs of any pitcher over the last two seasons with 57 and he is currently tied for fourth in Major League Baseball with nine.
After the second inning, Tanaka appeared to settle down and he eventually retired the last nine batters in order.
Tyler Austin broke out of a 0-23 slump, going 2-2 with a single, a three-run homerun  and a sacrifice fly to tie the game at 3-3.
Yankees manager Aaron Boone told Brian Hoch of MLB.com:
"I always like the matchup with Tyler against a lefty," manager Aaron Boone said. "A few really good at-bats — the single to start things, obviously the homer. Deep at-bats. That last at-bat was a real battle with Gio where he almost hit another one out, chasing them back to the wall. Really good at-bats from him in what we felt was a good matchup for him."
Austin carried the offense on his back last night with the home run and a sacrifice fly responsible for all the Yankees' runs.
On a day when MLB.com released it's power rankings boosting the Yankees (28-12) to the number one spot, supplanting the Boston Red Sox (28-14), now in third place, the Yankees took over the lead in the American League East as the Oakland Athletics beat the Red Sox 5-3 Tuesday night.
The game has been rescheduled to resume play at 5:05 Wednesday afternoon and the Yankees will be even more determined to beat Washington and maintain the top spot in the standings.
Categories New York Yankees Tags Gary Sanchez, Giancarlo Stanton, Mashiro Tanaka, New York yankees, Tyler Austin Leave a comment
New York Yankees: Sonny Gray "Circle the wagons!"
April 21, 2018 by Chris Northrop
Sonny Gray seemed no closer to figuring out how to regain his All-Star form on Friday night against the Toronto Blue Jays. After announcing this week that he was tweaking his mechanics, his performance against the Blue Jays was underwhelming, and worse, led to an ugly Yankee loss.
First of all, these are the not Blue Jays who were projected by some to finish third in the AL East. This Blue Jay team is outperforming projections to sit in the number two spot behind the first place Boston Red Sox. Gregor Chisholm of MLB.com writes:
"The Blue Jays are scoring more runs per game (6.0) than any team in the American League except for the Red Sox (6.4 entering play Friday night). That has been good enough for a second-place spot in the AL East and early possession of an AL Wild Card spot. On the road, Toronto is 6-3 to start the year and has been outscoring its opponents 47-34."
Gray had a formidable task ahead of him when he took the mound Friday night—bounce back against one of the hottest offensive teams in the league.
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According to Peter Botte of the New York Daily News, Aaron Boone discussed Gray's performance after the game and said:
"The fastball velocity was down, even from last time where he struggled in Boston… And it turns into a tough night for him," Aaron Boone said of Gray. "We've got to kind of circle the wagons with him and continue to work through it, because he's really important to us. We've got to bea [sic] part of getting him right and back on track, but this was tough tonight."
The Yankee offense was off to a good start with a pair of two run home runs, one by Tyler Austin in the second inning and one by Giancarlo Stanton in the third inning; however, Gray could not hold the lead in either inning and gave up five runs over 3.1 innings. Despite another Yankee home run by Miguel Andujar, the Yankees eventually lost the game 8-5.
Boone acknowledges that Gray has lost his form and with it his effectiveness and Botte points out:
"Gray finished the game generating only one swing and miss among his 73 pitches. His walk rate of 6.0 per nine innings is nearly double the career-high of 3.2 he posted last season."
Gray had seemingly lost command of the strike zone and on those occasions when he found it, he did not fool Blue Jays hitters with his stuff.
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When asked after the game what had happened in the four hit three run fourth inning, Gray told Botte that the inning "just kind of got away from me," as if it were a helium balloon he just happened to let go of and not the pounding that it actually was.
Yes, Boone, circle the wagons, and, perhaps, bring the reinforcements, fans agree that Sonny Gray is a problem the Yankees need to solve and quickly.
Categories New York Yankees Tags Aaron Boone, Giancarlo Stanton, New York yankees, Sonny Gray, Tyler Austin Leave a comment
New York Yankees: The Ellsbury Effect
March 23, 2018 March 23, 2018 by Jeremy Laracuente
With the start of the Major League regular season a week away, the New York Yankees have a decision that needs to be made:
Who is making the roster to replace the oft injured Jacoby Ellsbury? Jacoby was at one time and six hours North of the Bronx a very productive Major League ballplayer. However, throughout his time in the pinstripes, Ellsbury has been less than a shell of his former self.
Ellsbury has played for the Yankees across four seasons, in that time he has only managed to have one season above "replacement level" production (2014), according to Baseball Reference's OPS+. 2014 was Jacoby's first season in the Bronx and his last truly productive season.
Now, with Ellsbury set to begin the season on the shelf, this opens up a spot on the 25-man roster to "Break Camp" with the team heading North. Manager Aaron Boone told members of the media that Tyler Wade has made the ball club. Many believe that he will be the starting second baseman on Opening Day in Toronto on March 29th.
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The Yankees current roster consists of:
Catchers: Gary Sanchez & Austin Romine
First Baseman: Greg Bird
Second Basemen: Tyler Wade & Neil Walker
Third Baseman: Brandon Drury
Shortstop: Didi Gregorius & Ronald Torreyes
Left Fielder: Brett Gardner
Center Fielder: Aaron Hicks
Right Fielders: Aaron Judge & Giancarlo Stanton
Starting Pitcher: Luis Severino, Mashiro Tanaka, CC Sabathia, Sonny Gray & Jordan Montgomery
Relief Pitchers: David Robertson, Dellin Betances, Tommy Kahnle, Chad Green, Adam Warren & Chasen Shreve
Closer: Aroldis Chapman
Who Gets A Shot ?
That gives you 24 out of 25 players to start out the 2018 season for the New York Yankees. The injury to Ellsbury leaves an opening. Some who have thought that it could have been someone like Tyler Austin who was having a tremendous Spring, but he was reassigned back to Minor League camp on March 21st before the Yankees game against the Orioles. This however does leave the opening for the starter in the same game…. Luis Cessa.
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Cessa has been up and down for the Yankees since his acquisition by the Yankees in December of 2015. Cessa has pitched 106 innings for the Yankees to the tune of a 4.49 era. Luis will have an opportunity to show what he has earlier in the season as the Yankees will have five straight games to open up the start of the regular season.
The injury to Ellsbury could have been the golden ticket to the Bronx for a premium talent like Clint Frazier, however, they both went down at similar times and have stayed out recovering. Clint won't be getting that opportunity.
This season will be a defining point for Clint Frazier, as with the number of outfielders already on the Major League roster and an impending free agent who hasn't been shy about stating his fandom for the Pinstripes looming. Frazier once healed up from his concussion must set the world by storm, if he has any hopes of staying in Pinstripes.
Lasting Impression:
Jacoby, much like Clint Frazier, has seen the writing on the wall. And while his contract is rather cumbersome, it's not impossible to think GM Brian Cashman can sell his talents to another team and move his monetary obligations elsewhere.
Ellsbury's injury will be a foreshadowing of the potential future the Yankees will have. If the first few weeks of the season pass and Ellsbury has not returned vying that 25th spot on the roster, he may be replaced by a rising prospect.
Jacoby Ellsbury will have a major effect on the Yankees success this season; when healthy he could be a productive fourth outfielder, if unhealthy his spot will provide the launching pad for the top prospects in the top sixth farm system in all of baseball.
Categories New York Yankees Tags Aaron Boone, Aaron Hicks, Aaron Judge, Adam Warren, Aroldis Chapman, Austin Romine, Brandon Drury, Brett Gardner, Brian Cashman, CC Sabathia, Chad Green, Chasen Shreve, Clint Frazier, David Robertson, Dellin Betances, Didi Gregorius, Gary Sanchez, Giancarlo Stanton, Greg Bird, Jacoby Ellsbury, Jordan Montgomery, Luis Severino, Mashiro Tanaka, Neil Walker, New York yankees, NYY, Ronald Torreyes, Sonny Gray, Tommy Kahnle, Tyler Austin, Tyler Wade, Yankees Leave a comment
New York Yankees Player Preview: Tyler Austin
March 15, 2018 by Jeremy Laracuente
Christopher Tyler Austin made his debut with the New York Yankees August 13th, 2016. He made his debut in the same lineup as Aaron Judge, hitting just one spot ahead at 7th. That day, Tyler Austin and Aaron Judge made history, becoming the first pair of debuting rookie teammates to hit a homerun in the Major Leagues.
However, since that dramatic debut Austin has had trouble sticking in the big leagues. Tyler Austin has had a career plagued by injuries which have slowed his development and progression up the ranks.
Recapping Austin's Career Numbers:
Tyler Austin has played through two seasons for the Yankees, but he has less than 140 plate appearances. He's hit 7 HR's and has 20 RBI's as per Baseball Reference.
However, in trying to preview Tyler Austin's potential on the Yankees' roster, we must take a look at what he's done at the minor league level. In Triple A, in a (once again) injury riddled season, Austin played in 52 games. He had a slash line of .286/.357/.562; this slash line is something that you want to see out of young players. Austin also added to his value with 10 home-runs and 33 rbi's.
We'll take that one to go. 👏 @T1721Austin pic.twitter.com/wRvFxLrqgM
— New York Yankees (@Yankees) March 13, 2018
Looking Forward to The Future:
Austin is seemingly set to make the 2018 Opening Day roster asthe Yankees released veteran first baseman Adam Lind on Wednesday March 14th. Austin has played pretty well this spring with three of his five hits being home-runs. And as a right handed compliment to starting first basemen Greg Bird, it sets Tyler up for success.
According to FanGraphs, Austin has impressive numbers against left handed pitchers, a slash line of .361/.432.722. These are outrageous looking numbers and when you see that Austin has a hard hit percentage of 56.5%, you know that if there's a tough lefty on the mound, Austin will get the call.
That one's not coming back.@T1721Austin gets the Yankees on the board. pic.twitter.com/moH2jRFRJu
Categories New York Yankees Tags New York yankees, NYY, Tyler Austin, Yankees Leave a comment


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For a game similar to 'Backyard Football '10' ...
Backyard Football '10
2009 - Single player
Backyard Football '10 is a sports game released for PlayStation 2, Wii and Xbox 360. It was developed by Humongous Entertainment and published by Atari. This is the tenth iteration of the Backyard Football games from the Backyard Sports series. It wa ... more on Wikipedia
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007: Quantum of Solace
2008 Third-person shooter, First-person shooter - - multiplayer
007: Quantum of Solace is a first-person shooter (third-person shooter for PlayStation 2 and DS) video game based on the films Casino Royale and Quantum of Solace. The game was released for Microsoft Windows, Nintendo DS, PlayStation 2, PlayStation 3 ... more on Wikipedia
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Spider-Man: Web of Shadows
2008 adventure, Platform -
Spider-Man: Web of Shadows is a video game title encompassing three versions: a full-3D action game for Microsoft Windows, PlayStation 3, Wii, and Xbox 360; a 2.5D sidescrolling beat em up action game for the PlayStation Portable and PlayStation 2 (c ... more on Wikipedia
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Dance Dance Revolution II
2011 Music - - Single player
Dance Dance Revolution II, later released in Europe as Dance Dance Revolution Hottest Party 5, is a music video game in the Dance Dance Revolution series by Konami. It was released on October 11, 2011 for the Nintendo Wii in North America and on Nove ... more on Wikipedia
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Heavy Fire: Black Arms
2011 Action, Shooter, Arcade -
Heavy Fire: Black Arms is an on-rails arcade shooter and a sequel of Heavy Fire: Special Operations developed by Teyon. It was released in North America on March 7, 2011 for the WiiWare download service. An updated version for the Nintendo 3DS, calle ... more on Wikipedia
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2010 Action, puzzle -
Voodoo Dice is an action puzzle game produced by Exkee and distributed by Ubisoft on Xbox Live Arcade, PlayStation Network, and WiiWare. The game was released on 27 May 2010. In Voodoo Dice, you roll dice through a path containing barriers, switches, ... more on Wikipedia
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2006 Action -
Rebel Raiders: Operation Nighthawk (or Rebel Raiders) is an action flight video game for the PC, Wii, and PlayStation 2. The PC and PlayStation 2 versions were released in 2006, while the Wii version was released on September 23, 2008. ... more on Wikipedia
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2011 Action, Platform -
Kirby's Return to Dream Land, known in Japan as Hoshi no Kābī Wii (星のカービィWii, "Kirby of the Stars Wii"?) and in Europe and Australia as Kirby's Adventure Wii, is a Kirby video game and the twelfth platform installm ... more on Wikipedia
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Just Dance Kids 2014
2013 Music - - multiplayer Single player
Just Dance Kids 2014 is a 2013 video game for the Wii, Wii U and Kinect for Xbox 360, and is part of the Just Dance video game franchise. Music was provided by Boston Soundlabs, with David Ortega serving as executive music producer. ... more on Wikipedia
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Pirates Plund-Arrr
2010 Action, RPG, Fighting -
Pirates Plund-Arrr (or Pirates Plundarrr) is a side-scrolling beat 'em up released exclusively for the Wii. It was developed by Boomzap Entertainment and published by Majesco. It has only been released in North America on May 25, 2010. ... more on Wikipedia
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MySims Racing
2009 Simulation, Racing -
MySims Racing is a go-kart/car racing game developed by Electronic Arts as part of the MySims series, a spin-off from its trademark The Sims series of games. The title was released on June 9, 2009 for the Nintendo DS and Wii. ... more on Wikipedia
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2010 Action, Simulation - - Story and Multiplayer
Cabela's Dangerous Hunts 2011 is a hunting video game published by Activision for the Nintendo DS, PlayStation 3, Xbox 360, and Wii. It was released in the US for the DS, PlayStation 3, and Xbox 360 on October 19, 2010, and for the Wii on October 26, ... more on Wikipedia
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1991 Action - - 2-player cooperative
ToeJam & Earl is an action video game developed by Johnson Voorsanger Productions and published by Sega for the Mega Drive/Genesis video game console. Released in 1991, it centers on the titular ToeJam and Earl—alien rappers who have crash-lande ... more on Wikipedia
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Sengoku Basara: Samurai Heroes
2010 adventure -
Sengoku Basara: Samurai Heroes, known in Japan as Sengoku Basara 3 (Japanese: 戦国BASARA3, Hepburn: Sengoku Basara Surī?), is a 2010 action-adventure video game developed and published by Capcom for the PlayStation 3 and Wii and is the seq ... more on Wikipedia
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WWE SmackDown vs. Raw 2011
2010 Fighting - - Single player
WWE SmackDown vs. Raw 2011 (also shortened to WWE SvR 2011 or "SVR 11") is a professional wrestling video game developed by Yuke's and published by THQ for the PlayStation 2 (PS2), PlayStation 3 (PS3), PlayStation Portable (PSP), Wii, and Xbox 360 sy ... more on Wikipedia
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The Smurfs Dance Party
The Smurfs Dance Party is a dance game developed and published by Ubisoft, exclusively for the Wii. The game was released on July 19, 2011 in North America, July 29, 2011 in Europe and September 8, 2011 in Australia. ... more on Wikipedia
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Dining / Disney California Adventure / Disneyland / Disneyland / Epcot / Hollywood Studios / News / Walt Disney World
12 Amazing New Additions Coming to U.S. Disney Parks
by Mickey Blog · October 16, 2018
One of the most difficult parts of being a Disney fan is keeping up with all of the changes. After the parks remained static for several years in the wake of Disney's Animal Kingdom's opening, corporate strategists chose to slam down on the gas pedal in recent years. Now, Disney seems to add something new and exciting each and every month, sometimes every week! Of course, some of the projects are bigger than others. Here's a checklist of 12 of the most important new additions coming to Disney's American parks between now and the start of 2020.
Millennium Falcon Ride
I know that some of you will quit reading the moment that you've learned everything about Star Wars Land, so I might as well lean into it. Let's start with the themed land, which you'll get to visit at Disneyland next summer and Disney's Hollywood Studios later in the fall of 2019.
The primary attraction anchoring this themed land is the Millennium Falcon ride, which will allow guests to live out what is a lifelong fantasy for some. They'll get to pilot Han Solo's ship. It sounds like a lot of work, too. To add the richest possible details to the attraction, Disney has built 200 action buttons and knobs into the architecture, giving riders a wealth of opportunities to impact the ride experience.
First Order Ride
The other ride at Star Wars Land has largely been shrouded in mystery. The only details we've learned about the ride experience suggest that riders will choose between fighting for The Order or The Resistance.
Since the entirety of the themed land is immersive, riders will presumably get dinged a few points if they choose the other side from their Star Wars profile. Conversely, a member of The Resistance who sticks it to The Order will get rewarded at the end of the dark ride for a job well done.
Star Wars Cantina and Dinner Club Restaurant
These are two different eating areas, but I'm lumping them in together since the premise is the same. You're visiting Black Spire Outpost at Galaxy's Edge, the last stop before the uncharted territories of deep space…and you're hungry.
You'll have two different meal options, one of which was made famous in the Holy Trilogy. Disney will bring the Cantina scene to life by creating a restaurant based on the premise here. The dinner club is presumably the upscale Table Service option, and it WILL have live entertainment. Despite the Star Wars tie-in, the premise actually makes me think of this scene from The Fifth Element.
Mickey & Minnie's Runaway Railway
I previously wrote about the new rides coming to Disney's Hollywood Studios. Two of them are obviously open now, the Toy Story Land offerings. While the Star Wars Land attractions generate more media attention, Mickey & Minnie's Runaway Railway is a huuuuuge deal in its own right.
It's the first true Disney ride featuring the most famous of all Disney characters, Mickey & Minnie Mouse. When it opens, this will become the equivalent of Spaceship Earth at Epcot, the attraction that everyone stops and rides soon after entering the park.
Lightning McQueen's Racing Academy
The Cars franchise has spawned three films in the main series plus several spinoffs. It's also generated more than $10 billion in merchandising revenue, making it one of the most profitable ventures in movie history. Starting early in 2019, Hollywood Studios will feature a new show starring the cast of Cars.
It will even include Cruz Ramirez from the latest film along with old favorites Mater and Lightning McQueen. The park already features several terrific live shows, and this one will quickly become popular with young children in particular.
Disney Skyliner
This new transportation option at Walt Disney World will carry guests into the sky. Yes, it's a kind of gondola system that will alleviate Orlando's traffic problems by taking guests off the ground and into the clouds above. It's a wonderful idea that could fundamentally change the way that people attend theme parks. You can read more about it here.
Space-Themed Restaurant
Details of this one are still a bit murky. What we know for certain is that Disney announced at D-23 that they're adding a companion restaurant to Mission: Space. This new Table Service establishment will have a space theme, including a giant digital display that will show images of Earth from outer space.
Beyond that, the only thing that even qualifies as a rumor is that Imagineers are having a hard time keeping the restaurant quiet due to exterior circumstances. Still, the belief is that the space restaurant will open over the next 15 months.
New Restaurant at Japan Pavilion
A restaurant that will be opening sooner is the third offering at the Japan Pavilion. Already a culinary star of the World Showcase, it's introducing another restaurant, one that will apparently have the flavors of Teppan Edo without the Teppanyaki show aspects. Mitsukoshi, the operators of the wondrous store beneath Teppan Edo, will also run this restaurant. It's apparently an upscale Signature Dining experience rather than another Table Service meal, an understandable decision since the Japan Pavilion already has two of those.
China Pavilion Circle-Vision Movie
The China Pavilion at the World Showcase has hosted a Circle-Vision 360° movie since its inception. The original film, Wonders of China, played from October of 1982 through March of 2003. Its replacement, Reflections of China, debuted two months later and has been a mainstay ever since then. Well, a third version is coming someday soon.
IllumiNations Replacement
MickeyBlog warned you several months ago that Disney might be making a change at Epcot. We recently confirmed that IllumiNations will end its storied run either just short of or right at its 20th anniversary. The new show is expected to arrive very soon after the closure of the current version of IllumiNations. The fall of 2019 is when we're most likely to see the debut of the newest nighttime fireworks display at Walt Disney World. If it's anywhere near as good as Happily Ever After, we're in great shape.
Jessie's Critter Carousel
Disney California Adventure's most important update has already occurred. The opening of Pixar Pier single-handedly increased the relevance of Disney's least successful American theme park. More changes are afoot, too. They're modest ones for now, though. At some point over the next fifteen months, two attractions will debut, although both of them are modifications of old rides. Well, one is for sure. We're still awaiting word on the other.
What we know for sure is that King Triton's Carousel of the Sea is no more. The nautically themed carousel shut down after more than 17 years of operation to make way for a new version. Jessie's Critter Carousel will have Toy Story theming centered around everyone's favorite cowgirl, Jessie! Here's what the Disney Parks Blog has to say about the updates.
Inside Out Emotional Whirlwind
As you know, A Bug's Land is no more at Disney California Adventure (DCA). One of the victims of its demise was Flik, one of the beloved critters from A Bug's Life. Disney is picking the bones of Flik (wait, do bugs have bones?) and turning it into a new attraction based on Inside Out.
What Disney's doing here is a bit odd. They're taking the ride apparatusfrom Flik's Flyers and moving it to the space previously occupied by the failed Maliboomer attraction. There, it will become a third ride called Inside Out Emotional Whirlwind. Disney fans are taking a lot on faith here that Imagineers can convert two mediocre-to-disappointing attractions into a great one. Inside Out the movie deserves nothing but the finest of themed rides. On the plus side, the film will get its own section at DCA, Inside Out Headquarters, which should open at some point in 2019.
Folks, the next 15 months are going to be massive for Disney, and I'd say that even without the arrival of Star Wars Land. It's like the ridiculous dessert (think: Kitchen Sink) on top of the fabulous entrée. It's good time to be thinking about becoming an annual passholder if you're not already one.
New Tony's Most Merriest Town Square Party Announced
Things To Know About Mickey & Minnie's Runaway Railway Ahead of Wednesday's Opening
Wait It Out When Trying To Get Lighting Lane For Cosmic Rewind


text:
EPA740-B-08-001
vvEPA
Office of Pollution Prevention and Toxics
TSCA Section 13 Import Compliance Checklist
This checklist does not create any legal rights or defenses to enforcement actions for failure to
comply with TSCA §13 or its regulations.  This checklist is not a substitute for the TSCA statute
and regulations and is not designed to provide importers with sufficient detail to ensure complete
certainty of the compliance status of some chemicals. The information and analysis provided
herein may not be complete. For greater certainty, importers should refer to the TSCA statute,
regulations, interpretive guidance, and personnel at the U.S. Bureau of Customs and Border
Protection and/or U.S. Environmental Protection Agency. Compliance with the TSCA import
certification requirements will be based solely on TSCA and its regulations. Please also note
that, while the current TSCA import rule requires certification of compliance with only sections
5, 6 and 7, other TSCA requirements may apply to imported chemicals, for example, under
sections 4, 8 and 12(b) of TSCA.
~ TSCA Section 13 Import Compliance Checklist
~ PURPOSE ~
HOW TO COMPLY WITH TSCA IMPORT CERTIFICATION REQUIREMENTS
This checklist provides a simplified roadmap to help chemical importers walk through the logical
analysis needed to determine how to certify their chemical imports in order to comply with the
regulatory requirements under section 13 of the Toxic Substances Control Act (TSCA). This
checklist is not the TSCA certification statement itself. There is no requirement that importers
use this document or submit it to the government.
The import requirements under section 13 of TSCA (15 USC 2612) and related regulations (19
CFR§§  12.118-12.127 and 127.28(iV) are jointly administered by the U.S. Department of
Homeland Security, Bureau of Customs and Border Protection (CBP), in consultation with the
U.S. Environmental Protection Agency (EPA) which administers all  other provisions of TSCA
Title I. EPA's policy statement on imports of chemicals under TSCA appears at 40 CFR 707.20.
Under the TSCA section 13 import requirements, importers (defined at 19  CFR 101.1) must
certify that imported chemical substances (including chemical substances in mixtures and
certain intergeneric microorganisms) either:
• comply with TSCA (positive certification), or
• are not subject to TSCA (negative certification).
However, certain chemicals require no certification, and according to the Customs regulations
and EPA's policy statement, the certification applies only to TSCA sections 5, 6 and 7, but not
sections 4 and 8.  (Currently there are no section 7 actions.)
~ INSTRUCTIONS ~
HOW TO USE THIS CHECKLIST
The following analysis should be applied to each chemical you intend to import, including
chemicals in mixtures.  Answer the questions below to help determine which certification option
is appropriate for your chemical import. For most chemicals, this entire analysis can be
resolved by a single affirmative response in either Section I, Section II, or one subsection of
Section III. (However for some chemicals, multiple affirmative responses may be necessary in
section III to certify TSCA compliance.) The three main sections below are:
I.  No Certification Required —A single "yes" indicates that no certification is required.
II. Non-TSCA/Negative Certification — A single "yes" indicates that the imported material is
not subject to TSCA jurisdiction.
III. TSCA-Compliant/Positive Certification — In general, a single "yes" in a subsection of
Section III indicates that the imported chemical substance complies with TSCA.
(For rules on one-year port-specific "blanket certifications," see  19 CFR 12.121(a)(2)(ii)).
~ WHERE TO FILE CERTIFICATIONS ~
According to 19 CFR 12.121(a)(2), TSCA import certification statements must be filed with the
director of the port of entry of the shipment. For chemical imports that do not enter through a
customs port, such as import via regular mail or courier, certification statements may be
submitted to the following EPA addresses. (See "Toxic Substances Control Act: A Guide for
Chemical Importers/Exporters" (EPA 5601/1-91-001) US EPA, Office of Toxic Substances,
April  1991, p.32, Q&A#55; "Chemicals in Progress Bulletin," US EPA, Office of Pollution
Prevention and Toxics, April 1992, p.7.) Again, please note that this checklist is not the TSCA
certification statement itself and should not be submitted to the government.
Mail: Document Control Office (7407M), Office of Pollution Prevention and Toxics
(OPPT), Environmental Protection Agency, 1200 Pennsylvania Ave., NW, Washington, DC
20460-0001 (Attention: TSCA Section 13 Coordinator).
Hand Delivery/Courier:  OPPT Document Control Office (DCO), EPA East Bldg., Rm.
6428, 1201  Constitution Ave., NW, Washington, DC. (Attention: TSCA Section 13
Coordinator). Such deliveries are only accepted during the Docket's normal hours of operation.
The DCO is open from 8 a.m. to 4 p.m., Monday through Friday, excluding legal holidays. The
telephone number for the DCO is (202) 564-8930.
~ FOR FURTHER INFORMATION ~
If you have questions about TSCA section 13 import certification, visit
www.epa.gov/oppt/import-export or contact the TSCA Hotline at (202) 554-1404 or tsca-
hotline@epa.gov. If not attached, view "Introduction to the Chemical Import Requirements of
the Toxic Substances Control Act" (EPA 305-B-99-001), US  EPA, Office of Enforcement and
Compliance Assurance, June 1999, available at www.epa.gov/oppt/import-
export/pubs/importguide.pdf Another relevant guidance document is "Toxic Substances Control
Act: A Guide for Chemical Importers/Exporters" (EPA 5601/1-91-001),US EPA, Office of
Toxic Substances, April 1991. For questions related specifically to section III.B. on New
Chemical Substances, contact an EPA Pre-Notice Communications Coordinator at (202) 564-
~ GETTING STARTED ~
CHEMICAL SUBSTANCE IDENTIFICATION
Identifying the chemical substance you are importing, including the individual chemical
constituents within mixtures, is critical to determining compliance with the various TSCA
requirements and the appropriate certification option.
What is the Chemical Abstracts Index Name and Chemical Abstracts Service (CAS) Registry
Number of the chemical substance being imported?
Specific Chemical Name:
CAS # (if available):
If an intergeneric microorganism, what is the genus/species name of the microorganism?
Microorganism Name:
Generic Identity and Accession Number:
(TSCA Accession Numbers are 5 or 6-digit identifying numbers assigned by EPA to protect the
confidentiality of chemical substances listed in the confidential portion of the TSCA Inventory.
To determine whether a chemical that you wish to import is listed in the confidential portion of
the TSCA Inventory, importers may be able to obtain an Accession Number: (1) from the
supplier of the chemical; (2) from EPA per the "bona fide" procedures in 40 CFR 720.25(b): or
(3) if the PMN number is known, by consulting the CD-ROM product "Toxic Substances
Control Act (TSCA): Searchable Database" sold and distributed by the National Technical
Information Service (NTIS) (www.ntis.gov) or from one of the private databases that carries this
information.)
I.  NO CERTIFICATION REQUIRED
No TSCA import certification is currently required if you respond affirmatively to the following:
1.  The chemical substance is being imported as part of an "article" as defined at 19 CFR
12.120(a) and thus, per 19 CFR 12.121(b\ certification is not required.  (Note that §12.121(b)
states that a specific rule or order can require TSCA import certification for components of
articles; however, none currently exist as of the last revision of this document.  Also, although
certification is not required, the import of certain articles is still regulated by TSCA. For
example, for articles containing polychlorinated biphenyls (PCBs) or asbestos, review the
information in Sections III.E. and III.F. below.)
CH Yes  CH No
2.  The material being imported is tobacco or a tobacco product per TSCA §3(2)(B)(iii).
(See the 1991 and 1999 guidance documents referenced in the "Further Information" section.)
If you answered "yes " to either of the above questions in Section I, no certification is
required. If you answered "no" to both of the above questions, proceed to Section II
II. NON-TSCA / NEGATIVE CERTIFICATION
Certain materials and/or uses are not subject to TSCA. If you respond affirmatively to any one
of the following specific exclusions under TSCA §3(2), then you may certify as follows: "I
certify that all chemical substances in this shipment are not subject to TSCA."
1. The material being imported will be used only as a pesticide (as defined by the Federal
Insecticide, Fungicide, and Rodenticide Act). Note: Pesticide intermediates are subject to TSCA.
D Yes   D No
2. The material being imported is source material, special nuclear material or byproduct
material (as defined by the Atomic Energy Act and related regulations). (Note however
that radioactive materials not defined as above by the Atomic Energy Act are subject to TSCA,
e.g Technologically Enhanced Naturally Occurring Radioactive Materials (TENORM).)
3. The material being imported will be used only as a firearm, shell or cartridge (taxable under
§4181 of the Internal Revenue Code of 1954).
4. The material being imported will be used only as a food, food additive, drug, cosmetic, or
device (as defined by the Federal Food Drug and Cosmetic Act), including components thereof.
CH Yes   CH No
If you answered "yes" to any of the above questions in Section II, you should certify that
the material being imported is not subject to TSCA. If you answered "no " to all the
above questions, proceed to Section III below.
Note - If, in  addition to the types of non-TSCA uses listed above, the material to be imported
will also be used for a use that is subject to TSCA or the use is unknown, then it is ineligible for
the negative  certification and must qualify for the positive certification, which is discussed in
Section III below.
III. TSCA-COMPLIANT / POSITIVE CERTIFICATION
This section  probes whether the chemical to be imported is subject to various TSCA
requirements and, if so, whether the chemical complies with, and may be legally imported under,
TSCA. If so, the importer may certify as follows: "I certify that all chemical substances in
this shipment comply with all applicable rules or orders under TSCA and that I am not
offering a chemical substance for entry in violation of TSCA or any applicable rule or
order thereunder."  For many imported chemicals, a single affirmative response in any one of
the following subsections of Section III indicates compliance with TSCA. However, for some
imported chemicals, multiple affirmative responses may be necessary. For example, a new
chemical substance may require an affirmative response in both subsections III.B. and HID.
A. Import for Export Only
Section 12(a) of TSCA states that all TSCA requirements (except those under section 8 of
TSCA) do not apply to any chemical substance that is manufactured, imported, processed or
distributed in commerce solely for export from the United States and labeled as such.
1. Is the chemical substance imported solely for export from the United States, i.e., not for use in
the United States, and is it and any container in which it is enclosed stamped or labeled as
intended for export only?
D Yes  D No
B. New Chemical Substance Requirements  (under 40 CFR Part 720 or 723; For intergeneric
microorganisms see §111.C.)
Under  TSCA §5(a)(l)(A), no person shall import a new chemical substance (defined as a
chemical not on the TSCA Inventory) unless such person submits to EPA 90-days advance
written notice in the form of a pre-manufacture notice (PMN), or qualifies for one of several
exemptions. In order to certify that the chemical substance complies with the "new chemical"
notice requirements under TSCA, you should be able to respond affirmatively to one of the
following specific alternatives (although more detailed analysis is necessary to be certain of full
compliance with all requirements).  For those PMNs and exemptions that require submission of
an exemption application to EPA, identifying the case number assigned by EPA should help
those submitters verify the correct response. If you cannot respond affirmatively to any of the
following specific alternatives, your chemical substance may not comply with the "new
chemical" notice requirements under TSCA, in which case it may not be  legally imported.
1. Is the chemical substance on the TSCA Inventory of existing chemical substances?
(If importers do not find the chemical substance on the public portion of the TSCA Inventory,
they should follow the "bonafide" procedure at 40 CFR 720.25 to request EPA to search the
Confidential Inventory. For additional guidance, see
www.epa.gov/opptintr/newchems/pubs/invntory.htm.)
2. If the chemical substance is not on the TSCA Inventory, have you  submitted to EPA any of
the following TSCA §5 notices for it and are you in full compliance with all the pertinent
requirements? (Note that these notices and exemptions are person-specific. Until a  substance is
added to the TSCA Inventory, submission of a notice by  one company does not relieve any other
person from the pre-manufacture notice requirement.)
a  Pre-Manufacture Notice (PMN. 40 CFR Part 720). PMN#
b.  Low Volume Exemption (LVE. 40 CFR 723.50).  LVE #
c.  Low Release and Exposure Exemption (LOREX, 40 CFR 723.50). LOREX #
d. Test Market Exemption (TME. 40 CFR 720.38). TME #
3.  If the chemical substance is not on the TSCA Inventory and you have not submitted one of
the above notices, does the chemical substance comply with all the requirements for any of the
following exemptions for new chemicals?
a. the R&D Exemption (40 CFR 720.36).
b. the Polymer Exemption (40 CFR 723.250).
c.  any exemption listed in 40 CFR 720.30(a) through (i), for example, chemicals
manufactured solely for export, byproducts, impurities, non-commercial R&D.  Indicate
specifically which paragraph in §720.30 applies:
(Note that while "mixtures" as a whole, as defined in 40 CFR 720.3 (u), are exempt from
the TSCA §5 PMN requirement, new chemical substances that are imported as part of a
mixture are subject to the PMN requirement. See 40 CFR 720.30(b) fn. 1.)
d. exempt as part of an article (40 CFR 720.3(c) and 720.22(b)(D). (Note: Under 19
CFR 12.121(b), no TSCA section 13 import certification is generally required for
chemicals imported as part of an article.  See Section I above.)
e.  exempt as a Naturally Occurring Chemical Substance (40 CFR 710.4(b): considered
automatically included on the Inventory).
C. New Intergeneric Microorganism Requirements  (under 40 CFR Part 725)
Intergeneric microorganisms are subject to the TSCA section 5 notice requirements per 40 CFR
Part 725. In order to certify that an intergeneric microorganism complies with these
requirements under TSCA, you should be able to respond affirmatively to one of the following
specific alternatives (although more detailed analysis is necessary to be certain of full
compliance with all requirements).  For those exemptions requiring submission of an exemption
application to EPA, identifying the  case number assigned by EPA should help those submitters
verify the correct response. If you cannot respond affirmatively to any of the following specific
alternatives, your intergeneric microorganism may not currently comply with the "new
chemical" notice requirements  under TSCA, in which case it may not be legally imported.
1. The shipment does not contain an "intergeneric microorganism" per 40 CFR 725.3 (formed
by the deliberate combination of genetic material originally isolated from organisms of different
genera)?  (Microorganisms that are not intergeneric are considered implicitly included on the
Inventory per 40 CFR 725.8(b).)
2. Does the shipment contain an intergeneric microorganism that is included on the TSCA
Inventory of existing chemical  substances? (If importers do not find the microorganism on the
Public Inventory, they should follow the "bonafide" procedure at 40 CFR 725.15 to request EPA
to search the Confidential Inventory. For additional guidance,  see
www.epa.gov/opptintr/newchems/pubs/invntory.htm.
3. If the microorganism is intergeneric and not expressly included on the Inventory, have you
submitted any of the following TSCA §5 notices for it and are you in full compliance with all
the pertinent requirements?
a. Microbial Commercial Activity Notice (MCAN, 40 CFR Part 725.100).
MCAN #
b.  TSCA Experimental Release Application (TERA, 40 CFR 725.250). TERA#
c. Tier I Exemption (Tier I, 40 CFR 725.424). TIER I#
d.  Tier II Exemption (Tier IL 40 CFR 725.428).  TIERII#
e. Test Market Exemption (TME. 40 CFR 725.300). TME #
4. Is the microorganism exempt under any of the R&D Exemptions for microorganisms (40 CFR
725.200 to 725.239)?
D. Other Section 5 Requirements
When appropriate, EPA issues §5 regulatory requirements on new chemicals or significant new
uses of chemicals via a TSCA §5(e) Order or §5(a)(2) Significant New Use Rule (SNUR, 40
CFR Part 721 or 725 Subparts L and M). TSCA §5(e) Orders may include use prohibitions,
labeling and Material Safety Data Sheet (MSDS) requirements, restrictions on the amount of the
chemical allowed to be manufactured or imported, as well as other restrictions.  (The
import/production limits often serve as triggers for toxicity or related testing requirements.)  The
SNUR requires notifying EPA at least 90 days before manufacture, import, or processing for
uses/activities designated by EPA as a significant new use. You should be able to respond
affirmatively to  one of the following specific alternatives (although more detailed analysis is
necessary to be certain of full compliance with all requirements). If you cannot respond
affirmatively to  one of the following specific alternatives, your chemical substance may not
currently comply with the requirements under TSCA §5, in which case it may not be legally
1. This chemical substance is subject to neither a TSCA §5(e) Order to which you are a party
nor to a Significant New Use Rule.
2. This chemical substance is subject to a TSCA §5(e) Order to which you are a party or a
Significant New Use Rule and you do not qualify for an exemption therefrom, but this particular
shipment complies with all requirements of the Order or SNUR.  The chemical substance is not
being imported for a prohibited use, it satisfies all applicable labeling and MSDS requirements, it
does not exceed any restrictions on permissible import volume, is not being imported for a
designated significant new use, and it complies with any other applicable requirements.
a. If this chemical substance is subject to a TSCA §5(e) Order to which you are a party,
what is the EPA-designated PMN, MCAN or SNUN case number?
b. If this chemical substance is subject to a Significant New Use Rule  (SNUR, 40 CFR
Part 721  or 725). what is the CFR citation in 40 CFR Part 721 or 725?
Significant New Use Rule, and this particular importation might otherwise exceed a restriction or
constitute a significant new use requiring the submission of a SNUN, but you qualify for the
exemption you have identified below.
a. If this  chemical substance is subject to a TSCA §5(e) Order to which you are a party,
What is the applicable exemption (e.g., R&D, byproduct)?
b. If this  chemical substance is subject to a Significant New Use Rule (SNUR, 40 CFR
Part 721  or 7251 what is the CFR citation in 40 CFR Part 721 or 725?
What is the applicable exemption in 40 CFR 721.45 or 725.912:
4. This chemical substance is subject to a Significant New Use Rule, but the importer has
submitted a Significant New Use Notice (SNUN) and completed the 90-day review period, and
the import complies with any requirement (e.g., per a §5(e) Order to which the importer is a
party) imposed by EPA pursuant to the review.  The SNUN number assigned by EPA is
UYes  UNo
E. Polychlorinated Biphenyls (PCBs) Requirements
The import of poly chlorinated biphenyls (PCBs) and articles containing PCBs is generally
prohibited under TSCA §6(e) and 40 CFR Part 761. If your shipment contains PCBs, in order
to certify that the chemical substance complies with the PCB requirements of TSCA, you should
be able to respond affirmatively to one of the following specific alternatives (although more
detailed analysis is necessary to be certain of full compliance with all requirements). If you
cannot respond affirmatively to any of the following specific alternatives, your chemical
substance may not currently comply with the PCB requirements of TSCA, in which case it may
not be legally imported.
1. The shipment being imported does not contain PCBs.
2. Is this shipment eligible for one of the exemptions identified in 40 CFR 761.80?
Identify specific exemption by CFR citation:
3. Does this shipment contain PCB waste that qualifies as an "other transboundary shipment"
under 40 CFR 761.99?
4. Does this shipment include products that contain PCBs generated inadvertently through an
excluded manufacturing process as defined in 40 CFR 761.3?  (Note that there are subsequent
associated recordkeeping and reporting requirements in 40 CFR 761.185 and 40 CFR 761.187.)
F. Asbestos Requirements
Imports of some asbestos-containing products are prohibited by the TSCA section 6(a)
regulations at 40 CFR 763 Subpart I.  In order to certify that the chemical import complies with
TSCA, you should be able to respond affirmatively to one of the following specific alternatives
(although more detailed analysis is necessary to be certain of full compliance with all
requirements). If you cannot respond affirmatively to one of the following specific alternatives,
your chemical substance may not currently comply with the asbestos requirements of TSCA, in
which case it may not be legally imported.
1. The shipment being imported does not contain asbestos.
2. The shipment being imported contains asbestos, but the asbestos-containing product is not
being imported for use in flooring felt, commercial paper, corrugated paper, rollboard, specialty
paper, or new uses of asbestos, as defined in 40 CFR 763.163.
3. The asbestos-containing product is being imported solely for export from the United States
and will not be further repackaged or processed in the United States, per 40 CFR 763.165(c)(l).
4. The asbestos-containing product is being imported in small  quantities solely for personal use
in the United States, per 40 CFR 763.165(c)(2).
5. The asbestos-containing product is the subject of a current exemption approved by EPA per
40 CFR 763.173. Describe the exemption:
G. Metalworking Chemicals Requirements
Certain chemical substances that may be used in metalworking fluids are regulated under the
TSCA section 5(f)/6(a) regulations at 40  CFR Part 747. In order to certify that the chemical
shipment complies with the metalworking fluid rules in 40 CFR Part 747, you  should be able to
respond affirmatively to one of the following specific alternatives (although more detailed
analysis is necessary to be certain of full compliance with all requirements). If you cannot
respond affirmatively to one of the following specific alternatives, your chemical substance may
not currently comply with the metalworking fluid requirements of TSCA, in which case it may
1. The shipment being imported does not contain any of the chemical substances regulated by 40
CFR Part 747.
2. This shipment contains a chemical substance regulated by 40 CFR Part 747, but not as part of
a metalworking fluid or in any form in which it could be used as a component of a metalworking
fluid.
3. This shipment contains a chemical substance regulated by 40 CFR Part 747 as part of a
metalworking fluid, but the metalworking fluid contains no nitrosating agents and the warnings
and instructions required by the rule have been provided.
4. This shipment contains a chemical substance regulated by 40 CFR Part 747, but the material
is exempt from the regulations because it is being imported only in small quantities solely for
research and development in accordance with section 5(h)(3) of TSCA, as an impurity, as part of
an article, or solely for export and is labeled accordingly.
H. Hexavalent Chromium Requirements
Hexavalent chromium-based water treatment chemicals are regulated under TSCA section 6(a)
regulations at 40 CFR §749.68. In order to certify that the chemical shipment complies with the
water treatment chemicals rules in 40  CFR §749.68, you should be able to respond affirmatively
to one of the following specific alternatives (although more detailed analysis is necessary to be
certain of full compliance with all requirements). If you cannot respond affirmatively to any of
the following specific alternatives, your shipment may not currently comply with the hexavalent
chromium requirements of TSCA, in which case it may not be legally imported.
1. The shipment being imported does not contain any hexavalent chromium-based water
treatment chemicals.
2. This shipment contains hexavalent chromium-based water treatment chemicals, but not for
use in comfort cooling towers and the required warning label is affixed.
If you answered "yes " to one or more of the above questions in Section III, you can
probably certify that the material being imported complies with TSCA. However, if you
answered "no" to all the above questions, the material may be ineligible for entry into the
customs territory of the United States and may be subject to detention, refusal of
entry/delivery, or a demand for redelivery per TSCA section 13 and 19 CFR 12.122 to
12.127. In that case, you may wish to consult the information sources in the "Further
Information " section above.


text:
Accelerated Skills Training
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Valencia Online (Canvas)
Valencia College News
Valencia College Announces Arts Calendar for 2016-2017
Orlando, FL – Don't miss the great shows and exhibits in Valencia's 2016-17 arts season. All events will take place on Valencia College's East Campus, at 701 N. Econlockhatchee Trail, Orlando, FL 32825. Tickets may be purchased at www.valenciacollege.edu/arts or by calling the box office at 407-582-2900. Discounted packages are available for theater performances and dance concerts.
Music – For more information, contact 407-582-2332
House Band Concert
Nov. 4, 2016 at 7:30 p.m.
Black Box Theater
Winter Choral Concert
Nov. 30, 2016 at 7:30 p.m.
Music Department Holiday Show
Dec. 2, 2016 at 7:30 p.m.
Jazz Concert
Fall Opera Theatre Workshop
Dec. 9 & 10, 2016 at 7:30 p.m.
Spring Symphonic & Jazz Band Concert
Feb. 28, 2017 at 7:30 p.m.
Spring Choral Concert
April 5, 2017 at 7:30 p.m.
50th Anniversary Show
April 11, 2017 at 7:30 p.m.
Spring Opera Theatre Workshop
April 21 & 22, 2017 at 7:30 p.m.
Theater – For more information, contact Theater Box Office: 407-582-2900
Book and lyrics by Steven Sater; music by Duncan Sheik. Based on the play by Frank Wedekind.
Oct. 21, 22, 24, 28, 29, 2016 at 7:30 p.m.
Oct. 23 & 30 2016 at 2 p.m.
Tickets: $15 general admission; $12 for students, faculty/staff, alumni and seniors
By George Axelrod
Feb. 17, 18, 20, 24, 25, 2017 at 7:30 p.m.
Feb. 19 & 26, 2017 at 2 p.m.
Tickets: $12 general admission; $10 for students, faculty/staff, alumni and seniors.
"CREATION – Births of Mythology"
April 7, 8, 10, 14, 15, 2017 at 7:30 p.m.
April 9 & 16, 2017 at 2 p.m.
Student-Directed One Act Play Festival
Lowndes Shakespeare Center, Loch Haven Park, Orlando
Music by Tom Kitt; book and lyrics by Brian Yorkey.
June 9, 10, 12, 16, 17, 2017 at 7:30 p.m.
June 11 & 18, 2017 at 2 p.m.
Dance – For more information, contact Theater Box Office: 407-582-2900
Choreographers' Showcase
Nov. 18 & 19, 2016 at 8 p.m.
Tickets: $12 general admission; $10 for students, faculty/staff, alumni and seniors; $6 for children 12 and under.
3 in Motion
Jan. 27, 2017 at 8 p.m.
Valencia Spring Dance Concert
March 24 & 25, 2017 at 8 p.m.
Valencia Dance Summer Repertory Concert
July 14 & 15, 2017 at 8 p.m.
Film – For more information, contact the film production office: 407-582-2413
22nd Annual Film Celebration
Feb. 2017 (times and films TBA)
Tickets: $7 general admission
Visual Arts – For more information, contact: 407-582-2298
Carl Knickerbocker: Paintings & Film
Aug. 18 – Oct. 13, 2016
Opening Reception – Thursday, Sept. 8, 2016 from 6-8 p.m.
Anita S. Wooten Gallery
Selected Fine Art Faculty Exhibition
Nov. 3 – Dec. 16, 2016
Opening Reception – Thursday, Nov. 3, 2016 from 6-8 p.m.
Kevin Haran: Paintings & Sculpture
Jan. 12 – March 3, 2017
Opening Reception – Thursday, Jan. 12, 2017 from 6-8 p.m.
Annual Juried Student Exhibition – Digital, Graphic and Fine Arts
Opening Reception – Friday, April 14, 2017 from 6:30-8:30 p.m.
Awards ceremony at 7:30 p.m.
Janet Onofrey: Paintings
June 8 – Aug. 3, 2017
Opening Reception – Thursday, June 8, 2017 from 6-8 p.m.
Humanities Speakers Series 2016-2017
Dr. Azar Nafisi: The Republic of Imagination
Nov. 3, 2016 at 1 p.m.
Francesco Attesti: Classical Pianist
Feb. 7, 2017 at 7 p.m.
Posted by Valencia College News
About Valencia
art listings
arts calendar for 2016-2017
college art events in Orlando
Search Valencia College News News Releases Facts
Carol Traynor
Senior Director, Public Relations
ctraynor@valenciacollege.edu
Linda Shrieves
Director, Public Relations
lshrieves@valenciacollege.edu
ACCESSIBILITY| CONSUMER INFO| POLICY MANUAL| PRIVACY| PUBLIC RECORDS| SSN USAGE| SITE MAP
Valencia College provides equal opportunity for educational opportunities and employment to all. Contact the Office of Organizational Development and Human Resources for information.
P.O. Box 3028, Orlando, Florida 32802
© - All rights reserved.


text:
class AddShowScoreToInvestigationsAndActivities < ActiveRecord::Migration[5.1]
  def change
    add_column :investigations,      :show_score, :boolean, :default => false
    add_column :activities,          :show_score, :boolean, :default => false
  end
end

redpajama_set_name: RedPajamaGithub


Sawasdee Mansion makes it all possible among the exotic paradise by offering you the comfort, traquility and indulgence. From here you can discover a land with rich culture, steeped in tradition and full of surprises.
Sawasdee Mansion & Guest House is located in the heart of Pattaya, within the walking distance of vibrant shopping centers, fine restaurants, exciting entertainment, and cultural attractions.


I have been creating gifts at Little Treasures Kettering for nearly 2 years, where does the time go. This week I have finally managed to make up some more of my 'Baby Ice Creams'. Whilst I was editing the photos I came across a photo of one I made 2 years ago, at the very beginning of LTs….can you see the difference?
I do love product…or should I say gift development..
There is such a notable change in appearance, I think you will agree! with how the 'Ice Cream' is formed and of course the gift wrapping and tags.
I wonder what they will look like in another 2 years time……….
Next Rain rain go away!


text:
Storms Drive Rates Up for Vans and Reefers
on February 11, 2014 4:07 pm
Visibility and road conditions are poor in Virginia and throughout the Southeastern U.S. this week. Photo: Virginia Dept. of Transportation
Van Rates Surge Between Snowstorms
Van rates continue to rise, and the national average line haul rate (excluding fuel) was up to $1.48 last week. Add an increase in the fuel surcharge, and brokers were paying an average of $1.97 for a truck last week. That's higher than June, and higher than last year's unprecedented, all-time high of $1.95 per mile in December. Demand now remains elevated into mid-February, which is typically the slowest month of all, and the extreme weather continues to be both widespread and unpredictable.
The Northeast and Southeast are buried in snow yet again this week, and the effect on trucking freight is likely to be pretty much the same as it's been for the past month or more. Spot market volume is up, rates are up, and the roads are a mess.
Last week, van rates were way up on key lanes that connect hubs in the three regions with the worst weather: the Midwest, Northeast and Southeast. On the lane from Columbus to Memphis, for example, vans got a 33¢ (19%) raise, to $2.03 per mile -- a rare occurrence outside the Christmas freight season.
More Freight Flows to the Spot Market
One of the outcomes of the weather-induced market pressure is a shift of freight from the contract market to the spot market. Shippers and their contracted carriers are struggling to fulfill all their scheduled hauls, as road conditions change from day to day.
Even if drivers manage to cover their routes as planned, their pick-up and drop-off points might be closed or understaffed because distribution center employees couldn't get to work. Missed appointments at the loading dock reduce productivity for drivers and equipment, further lousing up an already crazy dispatch schedule.
This wreaks havoc with the entire contract model, so shippers shift freight to 3PLs and freight brokers, who cover those loads by hiring carriers on a one-time, transactional basis. Sometimes the loads are covered through a commercial load board, and sometimes the intermediaries call on their own lists of core carriers. Even when the 3PL works with the same carriers all the time, however, the rate will not typically be based on a long-term contract, but on the current spot market value of the lane in question. Pressure builds on those rates when carriers face a high likelihood of delay, as they will price their services to compensate for lost productivity.
Flowers ♥ Reefers in Florida
Friday is Valentine's Day, and imported, fresh flowers have been arriving at sea ports and airports, where they are transferred to temperature-controlled warehouses and onto "reefer" vans for delivery to wholesale floral markets and other distribution centers across the country.
Miami Airport is the hottest venue for winter delivery of flowers, accounting for 85% to 90% of imported blooms, according to American Shipper Magazine. Last week, outbound reefer rates rose 4¢ (2.1%) from Miami and 12¢ (7.9%) Lakeland. Rates spiked in key lanes, including Miami to Atlanta, where rates rose 20¢ (13%) to $1.76 per mile including fuel. Atlanta's severe weather may have played a role in that sharp increase, but rates also rose 16¢ (12%) on the lane from Lakeland to L.A., where weather is not an issue.
Even with the uptick, Florida reefer rates are not exactly high; but at $1.86 per mile out of Miami and $1.57 from Lakeland, they're about 20¢ higher per mile than they were last year at this time. Outbound rates from those markets peak in April or May, and drop to their lowest point in October.
This year, those rates rose modestly in December and slid again through January until last week's unseasonable bump.Rates out of both markets are actually down over the most recent four-week period, by 7.3% and 8.6%, respectively. The winter citrus harvest plays a role, as well, but volume is down due to a combination of unusually cold weather and an insect-borne virus that causes trees to shed their "greening" fruit before it is fully ripe.
Pent-Up Demand Boosts Rates in Atypical January
Rate Carriers, Brokers and Shippers with New "Company Reviews" Feature