This article is designed to provide all the information regarding your Arcadia spa warranty.
Arcadia Portable Spas warrants the structure of the spa shell against defects in workmanship and materials leading to water loss from the spa for a period of 10 years from date of manufacture subject to the limitations and conditions expressed in this warranty.
Arcadia Spas warrants against the loss of water through the acrylic surface of the spa shell for a period of 5 years from date of manufacture. NB! Leaving your spa uncovered when not in use will void this portion of your warranty.
Arcadia Portable Spas warrant the removable spa jets to be free of manufacturing defects for a period of 5 years from date of manufacture. This warranty excludes damage by grit, sand and improper water chemistry causing corrosion of the part and is limited to supply of replacement parts after the faulty part has been returned to Arcadia Spas for warranty inspection. NB! Leaking from jets is covered by the plumbing warranty. Exposure to sunlight caused by leaving the cover off an empty spa can distort the jets and other fittings. This is not covered under warranty.
Arcadia Spas warrants the heater element against defects in materials and workmanship for a period of 5 years from date of manufacture. After 1 year this warranty is limited to the supply of replacement parts and excludes labour and freight costs. This warranty does not cover damage to heaters caused by incorrect water balance resulting in the heater being subjected to abrasive/ acid water.
Arcadia Spas warrants the plumbing piping and plumbing joints against defects in materials and workmanship causing leaking for a period of 5 years from date of manufacture. After 1 year this warranty is limited to the supply of replacement parts and excludes all labor and freight costs.
Arcadia Spas warrants the water pumps against defects in materials and workmanship for a period of 2 years from date of manufacture. After 1 year this warranty is limited to the supply of replacement parts and excludes all labour and freight costs. NB! Damage to the pump motor caused incorrect chemical balance will not be covered under this warranty. NB! Arcadia Spas reserves the right to request that the pump be returned for assessment before it is replaced under this warranty.
replacement parts after the product has been assessed by either Arcadia Spas or the relevant control system manufacturer.
Arcadia spas warrant the air blower against defects in materials and workmanship for a period of 1 year. NB! This warranty will become void if the blower damage is caused by overfilling.
Arcadia Spas warrant the thermoclad spa cabinet against defects in materials and workmanship for a period of 1 year from date of manufacture. This warranty specifically covers the structural integrity of the cabinet. The thermoclad spa cabinet finish is warranted to be free from defects in materials and workmanship at the time of initial delivery. Fading and weathering of the surface will occur naturally over time, and are not considered defects.
1 year WiFi, audio system, ozone, UV, LED light(s) warranty.
Arcadia Spas warrants the factory installed WiFi, audio system, UV sanitiser, Ozone sanitiser and LED Light(s) assemblies, to be free from defects in materials and workmanship for 1 year. The UV globe is a parts only warranty, if it fails within the 1 year period, a replacement globe will be sent out free of charge to be installed by the customer.
Arcadia Spas warrants the External Heat Pump to be free from defects in materials and workmanship for 1 year. Installation that does not follow the factory guidelines can void your warranty. Arcadia reserves the right to request the return of the heat pump for assessment before it is replaced or repaired. Damage to the heat pump caused by improper water chemistry will not be covered under any warranty conditions.
Your Spa Cover is warranted for a period of 1 Year from the date of delivery. This warranty applies only to the structural integrity of the cover and the vinyl. Damage caused to stitching, straps or locks due to improper use of the cover will not be covered under warranty. Disposal of any cover replaced under warranty will be the owners responsibility.
Warranty coverage begins at the delivery date. Arcadia Spas only extends this warranty to the original purchaser and only if the spa has been purchased through an authorized Arcadia Spas re seller. Written notice of the defect and proof of purchase must be provided to Arcadia Spas or it's nominated representative within 14 days of the defect occurring. If the spa is required to be returned to Arcadia Spas for rectification all freight costs shall be pre paid by the customer. Repair or replacement of any defective product is at the sole discretion of Arcadia Spas. To action warranty service contact the authorized Arcadia Spas re seller you purchased from. If you are unable to obtain satisfactory service from your re seller written notification must be provided to Arcadia Spas within 14 days of the defect occurring. Arcadia Spas will pay the travel costs of the service agent for the first 40km from their base. Any further travel charges shall be the responsibility of the spa owner.
1. Damage resulting from improper water maintenance or chemical dispenser.
2. Damage from operating the spa above 45°C.
3. Damaged caused by clogged filters.
4. Damage caused to spa surface by improper use of spa cover and excessive exposure to sunlight.
6. Damage caused by not installing spa on sufficient hard level surface.
7. Damage caused by incorrect electrical installation, brownouts, voltage spikes or operating spa out of +/- 10% of voltage range.
8. Warranty is not extended to filter cartridges, head rests, pump seals or drain hoses.
9. Commercial use reduces all warranties to maximum 6 months.
10. Damage caused by relocation of the spa from its original installed location.
11. The spa's cover is warranted to be free defects at time of delivery.
13. Damage caused by flooding.
14. Damage caused by third party carriers.
15. Damage to frame caused by unrepaired leakage.
This warranty is the only warranty offered by Arcadia Spas and excludes any other implied or oral undertakings. Except as described above, this warranty does not cover defects or damage due to normal wear and tear, improper installation, alteration without Arcadia Spas' prior written consent, accident, acts of God, misuse, abuse, commercial or industrial use, use of an accessory not approved by Arcadia Spas, failure to follow Arcadia Spas' Pre-Delivery Instructions or Owner's Manual, or repairs made or attempted by anyone other than an authorized representative of Arcadia Spas. Arcadia Spas or its agents will not be liable for any incidental or consequential loss or injury. Arcadia Spas will not be liable for costs associated with but not limited to building alterations, removal costs, delivery costs or labour costs associated with the replacement of a spa.


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Write Box Showroom
The first phase of the building is an umbrella shaped standard unit of 5m X5m. The starting point of the second phase of the project design is to continue the standard unit of 5mx5m. However, considering that the umbrella column is in the middle of the 5m unit, it will affect the space between the sample plates after splicing, so the second phase of the design only follows the basic unit module of 5m, and does not take the umbrella shaped structure form of the first phase.
In order to correspond with the architectural color of the first phase of the white school, the architectural color of the second phase is still controlled by white. In the initial stage of conception and sketch,The chief architect formed the site logic with the plane of windmill model, so the advantage of layout is that it can form a series of visiting streamline; the plane of windmill type is divided into four parts: front hall, VIP hall, and two model showrooms. The four parts are separated properly. They form a central courtyard, which becomes the focus of vision.
In the first round of modeling design, the logic of 5m X5m is mainly emphasized, so the roof shape is designed as a combination of sloping roofs composed of many triangles. Each roof unit has different orientation and the same size (5m X5m). In the optimization stage, considering the construction logic of the large roof, we abandoned the repetitive modeling of the roof, and turned to pursue the space feeling of the normal point of view of ordinary people in the walking state.
Return to the perspective of people and the visual feeling of internal wandering to organize the design; such a design choice also brings the biggest feature of the project: it does not have a complete facade, that is, "losing facade ". As Colin Rowe said, " facade is never the top priority of modern architecture.". On the other hand, the group settlement composed of single unit is not exactly the way that Chinese classical garden has always used to move scenery. In this project, finds a combination of Chinese traditional and modern architecture.
Therefore, the designer shifted the focus of the design to the courtyard and the interior space of the building, so as to achieve the integration of the architectural landscape and interior. The facade of the building is the natural result of the combination of building communities.
The central courtyard enclosed by four boxes of windmill layout is the visual focus of the project, and the human action line is closely organized around the central courtyard: enter the vestibule from the outdoor corridor connecting the phase I and phase II projects, enter the corridor surrounding the central courtyard from the vestibule, walk through the VIP Hall and two model showrooms in turn, and then return to the vestibule.
As a result, only one corner of the four walls of the central courtyard is closed with solid walls, and the others are made of ground-based ultra white glass to form a visual experience of mutual penetration. In fact, this "transparency" also brings the so-called "loss of facade - the lack of Facade" into a multi-level landscape with rich connotations. Use multi-level transparent frame to overlay and combine the space, from "transparent" to "translucent".
The landscape composition of the central courtyard, drawing on the four square parent elements of the building, uses white or black gravel and grassland to jointly create a minimalist expression; the cherry blossom planted alone in the corner of the solid wall will project the shadow on the white wall facade; using modernism to respond to the tradition of Chinese garden is the subject studying and in-depth.
Each box gets a courtyard with the right view. Each courtyard is subordinate to the main view direction of the box, such as VIP's exclusive courtyard, which aims to enhance the VIP's sense of dignity; while the exclusive courtyard of the model room faces the south direction of the model room to the living room, which aims to get a greater sense of outdoor space. Once again, the advantages of integrated design of architecture and landscape are reflected: the language and style of landscape are highly consistent with architectural design.
The side courtyard between the box and the box is left blank, and the full lawn leads the vision of the inner corridor to the landscape tree at the corner of the courtyard; and at the location of each vision corridor, the landscape design has planted a proper tree. These views emphasize the sense of perspective for the observation in the cloister.
Considering the temporary nature, the structural form of the building is steel structure, and the large box of the exhibition hall in the two sample rooms is door type steel frame, and the ridge line changes according to the shape of the building. All materials of facade shall be controlled to be white, including white color steel tile of roof, white paint of exterior wall, white fluorocarbon paint of steel structure, white aluminum alloy window frame and ultra white glass, In this process, the design unit first delivers samples; in the construction bidding, each construction unit delivers samples again; after selecting the construction unit, the construction unit seals the samples; if the samples are delivered three times, the selected materials are not likely to be misexpressed in the later implementation process, so as to achieve the perfect completion of the design.
The building and interior are also integrated design: in the architectural design stage, the specific positions such as the air-conditioning vent and the light direction are considered, so as to make rational use of the floor height of the building, and the 2.7-meter-high window is used as the control line of the indoor ceiling. In interior design, the floor, wall and ceiling of the public area are considered simultaneously, and the true space of the building is fully reflected; in turn, the space rationality of the building is verified by the interior design requirements, which directly avoids the waste caused by the secondary decoration.

redpajama_set_name: RedPajamaCommonCrawl


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March 16, 2020 in Opinions // Nintendo revives franchise with "Luigi's Mansion 3"
March 15, 2020 in Opinions // The Top 10 Most Anticipated Video Games of 2020
March 14, 2020 in Lifestyle News // "Oh Honey!" Trixie Mattel is now All Grown Up and On Tour
March 13, 2020 in College News // The Poorhouse Rag: Calling All Writers
March 12, 2020 in Community News // Mindful West Virginia Coming to WVU Parkersburg
American Women Triumph in Rio
Posted on September 2, 2016 by thewvupchronicle in World News // 0 Comments
by Leah Carpenter
With the Olympic Women's Gymnastics coming to a close, the Americans take home the gold. The team was consisted of Simone Biles, Gabby Douglas, Laurie Hernandez, Madison Kocian and Aly Raisman.
Simone Biles, a new face in the gymnastics world, took gold for the Individual All-Around, the vault and the floor exercise. "I'm out to prove what I'm capable of," said Biles.
Biles is now the most decorated women in United States history with 19 World/Olympic medals. She ties for the most gold medals in a single Olympic Games with Larisa Latynina.
Throughout the 2016 Rio games, Biles was compared to athletes Usian Bolt and Michael Phelps with her legacy and success. She said she is like no one but herself. "I'm not the next Usian Bolt or Michael Phelps. I'm the first Simone Biles," said Biles.
Along side Biles were teammates Gabby Douglas and Aly Raisman are returning Olympians from London 2012.
Raisman returned as the gold medalist from the London 2012 Olympics. She did not medal after a tiebreaker for the All-Around. Many did not think that Raisman would return to the Olympics let alone qualify for Individual All-Around.
Raisman received the silver medal for Individual All-Around and floor exercise in Rio. "I'm happy I proved everyone wrong," said Raisman about her return to the Olympics.
The USA Women's Gymnastics Team took home the gold medal for Team All-Around with a team total of 184.897. Russia was the closest to Team USA with a score of 176.688.
Nintendo revives franchise with "Luigi's Mansion 3"
The Top 10 Most Anticipated Video Games of 2020
"Oh Honey!" Trixie Mattel is now All Grown Up and On Tour
The Poorhouse Rag: Calling All Writers
Mindful West Virginia Coming to WVU Parkersburg
The views and opinions expressed in this publication are those of the authors and do not necessarily reflect the official policy or position of WVU Parkersburg, its employees or students.


text:
The accommodation association welcomes changes to the Working Holiday Maker visa
Accommodation Association CEO Richard Munro says he is delighted to welcome back Working Holiday Maker (WHM) visa holders and international students and urges them to take advantage of the many jobs available in hotels, motels and areas of the city. accommodation in Australia.
With vacancies in the hospitality industry at record levels and as travel continues to normalize, the Association says there are exciting and rewarding employment options at all levels.
"The accommodation industry is once again welcoming WHM and international students who will help fill the yawning employee void needed to help serviced hotels, motels and apartments reach their potential after suffering through 2021" , did he declare.
"This is a fantastic opportunity for Working Holiday Makers and students to secure employment in a growing industry that offers excellent career prospects in all departments of our busy accommodation properties.
"Whether it's starting in a restaurant, doing housekeeping, sales and marketing, or IT, there are many choices in this fast-paced industry.
"The Accommodation Association has set up an online hosting portal The Hub to help match job seekers at all levels with employers on our website or you can contact local accommodation providers directly. "
Wyndham Hotels & Resorts, Inc. (NYSE: WH) Update on Short-Term Interest
New hires announced for the AC hotel in Hill Center
Boss 'catches' cleaner taking a selfie in his office and asks him to sit in his chair to teach workers a lesson
What are the new trends likely to be observed in the hotel and hospitality management software market in 2021? – The current of the Manomet
The first Hyatt Unbound Collection hotel in Central America set to open in spring 2022 – Hospitality Net
Saber (SABR) and Radixx to support the business development of Nok Air
Mail Tribune 100, January 3, 1921 – Medford News, Weather, Sports, Breaking…
PNP chief orders police to file a complaint against quarantine violator


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Want to Resist? There's a School for That
Suzette....
Photo: Fibonacci Blue
At 5:00pm on a recent spring afternoon, a group of eleven graduate students at Harvard University deposited their MA theses and then immediately launched a global program that drew more than 175,000 online participants throughout the month of April. Their creation, the Resistance School, is a "free practical training program" that seeks "to sharpen the tools communities need to organize and make sustained change that advances values of fairness, equality, and inclusivity."
Shortly after the School's launch, I spoke with one of its co-founders, Yasmin Radjy, to discuss its purpose, the founders' motivation, and the ultimate hope for an outcome. While the project isn't focused on any particular issue or topic, the organizers have found that a large percentage of the School's participants have been women – just as a large percentage of calls to Congress in recent months have been made by women. Eight of the eleven original co-founders are also women. But Radjy shared that they "want to make sure this movement isn't about any individual or about any particular cause. It is about collective action and a national effort." She emphasized that "we need to learn from each other and take action."
And the collective outcome has been tremendous. In fact, a very diverse group of individuals participated in the first four sessions of the School – individuals from all 50 states and more than 20 countries, as well as individuals focused on a range of issues and from various backgrounds. Student organizers, retirees, first time activists, and seasoned advocates all joined in to share and learn from each other. Radjy offered that "this diversity is a sign of the kind of energy that exists [in the United States] right now. We think a lot of people feel motivated to mobilize and organize more effectively, which is why this many people are willing to join this effort."
Of course, it's the energy to resist that brought this group together in the first place. Radjy noted that the original eleven co-founders began to meet in a campus conference room shortly after the inauguration in January, which she described as a "wake up call." At these meetings they discussed how they could best resist agendas that weren't inclusive, fair and progressive. They spoke with others around campus, as well as with family and friends, and they ultimately agreed that there was a gap in training for activists who wish to resist. That is how the idea of a Resistance School began and then grew into four practical sessions that would provide tools for communicating values, organizing and mobilizing communities, building capacity for action, and sustaining resistance over time.
When asked about her advice for aspiring activists, Radjy stated, "from our perspective all hands should be on deck, no matter what anyone's experience level or personality type might be. Our hope is to make a clear pathway to action and encourage all people to engage. We all have to learn, act and reflect – and learn, act and reflect some more. It's about the long haul. That is what citizenship is about."
After the Resistance School's first four sessions proved to be tremendously successful, the team engaged in a process of gathering feedback through surveys and phone calls in an effort to make adjustments and organize a second semester of resistance training. I asked Radjy how they plan to maintain the resistance for the years to come. She said, "political action has to be done as part of a group, part of a community. It's the energy we get from each other that sustains us as a whole. Burnout can and does happen in the resistance. There is a lot of work to be done and we have to work just as hard to help each other and grow our community."
And indeed the community is growing. If you are interested in learning more about the Resistance School, including watching videos of the first four sessions, take a look at their website. You too may be inspired to hone your resistance skills.


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Blog: Cinema Verde at the Edinburgh International Film Festival
June 30, 2016 Creative Carbon Scotland
This post comes from Creative Carbon Scotland
Last week as part of the Edinburgh International Film Festival (running from the 15th-26th June 2016), Creative Carbon Scotland hosted 'Cinema Verde', an event exploring the myriad ways for the screen sector to affect environmental sustainability.
Cinema constantly reflects and shapes our society: its immersive nature is a powerful force for visualising our current culture, imagining new worlds, and offering alternative perspectives. The opportunity for filmmakers to explore and address the challenging issues of our time whilst improving their own sustainability credentials and finances is a burgeoning area in the sector – and brought to greater prominence with the increasing Hollywood support of the cause:
We heard from a diverse range of panellists during the event, which was held at the EIFF Delegate Hub at the Traverse Theatre in Edinburgh.
First up, Mike Day (of Intrepid Cinema) talked to us about his conceptual content choices in directing a documentary that explicitly tackled issues of unsustainability in the Faroe Islands and whaling. Mike explained how he chose to inhabit the creative space between artist and activist when making work which explores such issues, and highlighted the role of the filmmaker in challenging existing conceptions about less-well documented communities.
The Islands and the Whales Trailer from Intrepid Cinema on Vimeo.
We then heard from Lucinda Broadbent of Media Co-op, a Scottish film production company who specialise in creating digital media and films for the third sector and broadcast television. Media Co-op are committed to increasing their positive social and environmental impact, and have been taking steps to reduce the carbon impacts of their production methods. Lucinda focused on the 'everyday' actions individual filmmakers can take when trying to work more sustainably, taking us through the start of her day, and the sustainable choices she makes along the way!
Finally we heard from Naresh Ramchandani of Do The Green Thing (an international organisation focussed on harnessing the power of creativity to tackle global climate change through 'playful propaganda') on the implicit actions screenwriters could take to grow the sustainability consciousness of their audiences. To read about some potential examples of this in practice, you can find their inspiring issue on 'How Screenwriters are Ruining the Planet' and watch this short clip below:
How to watch a movie from Do the Green Thing on Vimeo.
The Edinburgh International Film Festival is also a member of our Green Arts Initiative: an interactive community of Scottish arts organisations committed to reducing their environmental impact. EIFF has been working on reducing their waste, energy consumption, and business-related travel: even experimenting with video-conferencing guest to avoid trans-Atlantic travel in the past. Find out more on their green page on their website.
Events like this are just some of the ways through which Creative Carbon Scotland is supporting the screen sector in its efforts to reduce its environmental impact, and think creatively about approaching environmental sustainability.
If you're working in screen (or in the arts more generally) and are looking for some individual advice improving your environmental sustainability, get in touch!
Fiona (fiona.maclennan@creativecarbonscotland.com) in our team is an expert in all things carbon reduction, and can cannot you with others working towards similar goals. Alternatively, take a look through the links and resources below or on our dedicated page for screen.
The post Blog: Cinema Verde at the Edinburgh International Film Festival appeared first on Creative Carbon Scotland.
Creative Carbon Scotland is a partnership of arts organisations working to put culture at the heart of a sustainable Scotland. We believe cultural and creative organisations have a significant influencing power to help shape a sustainable Scotland for the 21st century.
In 2011 we worked with partners Festivals Edinburgh, the Federation of Scottish Threatre and Scottish Contemporary Art Network to support over thirty arts organisations to operate more sustainably.
We are now building on these achievements and working with over 70 cultural organisations across Scotland in various key areas including carbon management, behavioural change and advocacy for sustainable practice in the arts.
Our work with cultural organisations is the first step towards a wider change. Cultural organisations can influence public behaviour and attitudes about climate change through:
Changing their own behaviour;
Communicating with their audiences;
Engaging the public's emotions, values and ideas.
Go to Creative Carbon Scotland


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John T. "Funny Papa" Smith (auch Funny Paper Smith, The Howling Wolf, und Cool Papa Smith; * zwischen 1885 und 1890 in Texas; † um 1940) war ein US-amerikanischer Blues-Musiker (Gesang, Gitarre) und Songwriter, der mit dazu beitrug, den Texas Blues in den späten 1920er- und 1930er-Jahren zu entwickeln und bekannt zu machen.

Leben
Smith, der aus dem östlichen Texas stammte, arbeitete als junger Mann im Lincoln Theater in New York City. Eine Zeit lang lebte er in Oklahoma; in den 1920er-Jahren heiratete er und spielte auf lokalen Tanzfesten, Jahrmärkten und in Juke Joints in Louisiana und Oklahoma, u. a. mit Thomas Shaw. Er war als Songster häufig in der Region unterwegs, u. a. auch mit Texas Alexander und "Dennis Little Hat" Jones.

Im September 1930 nahm Smith seinen zweiteiligen Song "Howling Wolf Blues" (Vocalion Records 1558) auf. Der Song, der zu seinem Markenzeichen wurde, wurde in dieser Zeit von mehreren Musikern (wie 1948 von Lightnin' Hopkins) gecovert, die meist aus Texas kamen. Robert Johnson soll bei "Hellhound on My Trail" (1937) Anleihen bei Smith' Song genommen haben.

Nach einer gesprochenen Einleitung
 Well, here I am, got the blues about little old Victoria, the Howlin' Wolf.
 Guess I'll drop a few lines.

singt Smith die erste Strophe:
 I'm that wolf that everybody been tryin' to find out where in the world I prowl
 Nobody ever gets a chance to see me, but they all hear me when I howl.

In der letzten Strophe heißt es:
 (Looks, Seems) like God don't treat me like I'm a human kind.
 Seems like he wants me to be a prowler and a Howlin' Wolf all the time.

Smith nannte sich Funny Papa (was von den Produzenten fälschlich auf den Schallplatten als Funny Paper wiedergegeben wurde) oder auch – nach dem Erfolg seiner gleichnamigen 78er – Howling Wolf, circa zwanzig Jahre bevor Chester Burnett (1910–1976) unter diesem Namen Bekanntheit erlangte. Unter eigenem Namen spielte Smith 1930/31 in Chicago insgesamt 18 Plattenseiten ein, wie "Heart Bleeding Blues", "Good Coffee Blues", "Hard Luck Man Blues" und "Honey Blues" (Vocalion 1633); darunter waren auch zwei Duette mit Magnolia Harris ("Mama's Quittin' and Leavin", Vocalion 1602 bzw. Melotone M12077) und zwei mit Desser Foster ("Tell It to the Judge Nos. 1 & 2", Melotone M12117).

Kurz nach seinen letzten Plattenaufnahmen in Chicago 1931 wurde Smith in einer Spielhölle in eine Schlägerei verwickelt, bei der ein Mann getötet wurde. Er wurde im Staatsgefängnis von Huntsville inhaftiert, was seine Karriere beendete. Seine letzten Aufnahmen entstanden im April 1935 in Fort Worth mit Bernice Edwards (Gesang, Piano) und Black Boy Shine (Piano), blieben aber zu Lebzeiten unveröffentlicht. J. T. Smith soll um 1940 gestorben sein.

Würdigung
Nach Ansicht der Bluesforscher Alan B. Govenar und Jay F. Brakefield war Smith' Leben und Karriere typisch für die Bluesgitarristen seiner Zeit, die im Raum Dallas tourten. "Obwohl sie alle mehr oder weniger von Blind Lemon Jefferson geprägt waren, entwickelten sie trotzdem ihre eigenen Idiosynkrasien".

Smith' Gitarrenspiel war stilistisch von detaillierten melodischen Linien und repetitiven Bassriffs geprägt; für manche Kritiker war sein Spiel anspruchsvoller als das seiner Zeitgenossen, vor allem wegen seines alternierenden Daumen-Pickings. Andre Kritiker hielten jedoch fest, dass Smith die Tendenz hatte, auf einem verstimmten Instrument zu spielen.

Für Teddy Doering ist J. T. Smith vor allem wegen seiner Songtexte bedeutsam; neben "Seven Sisters Blues", in dem er von einer Reise nach New Orleans erzählt, sei vor allem der am 10. Juli 1931 aufgenommene "Fool's Blues" (Vocalion 1674) Smith' Meisterwerk, das die "Desillusion der afroamerikanischen Bevölkerung illustriert". Zitiert wird dabei die Redewendung "God takes care of old folks and fools". Zu Beginn des Songs stellt er in anscheinend naiver Weise fest:
 You know, I'm a single-handed-fool. An' gettin' old, too.
 Well, they say, God takes care of ol' folks an' fools,
 and I guess he will Here I am.

In einer weiteren Zeile ergänzt er: And now let's see if this is true. In den folgenden Strophen, als er versucht herauszufinden, wie es um ihn bestellt ist, meint er: God, when I was born, wonder was there any mo' mercy left. Später bemerkt er:
 Look like I'm laid off and cryin' both day an' night
 Everybody talks about me an' nobody don't treat me right.

Dann wird er bitter und kommt zu dem Schluss, in dem er im von "Trunkenheit, Unzucht, Schädlichkeit" geprägten Lebenswandel eines Bluesmusikers "das Werk des Teufels" sieht:
.People, it don't seem like(ly) to me that God takes care of ol' folks and fools.
 But since I been born he must have changed the rules..:
 You know this must be the devil I'm serving, I know it can't be Jesus Christ
 Because I'm asked him to save me and look like he's trying to take my life.

In der letzten Strophe beschreibt er seinen Gesundheitszustand:
 I got TBs, ill teeth, I got third degrees and Boll's disease /
 My health is gone now, left me with the sickness blues,
 People, it don't seem to Me
 That God takes care of old folks an fools.

Diskographische Hinweise
 Funny Papa Smith: The Original Howling Wolf (1930-1931) (Yazoo)
 J. T. "Funny Papa" Smith (The Howling Wolf): Complete Recorded Works in Chronological Order (1930-1931) (Document Records)

Lexikalischer Eintrag
 Alan B. Govenar and Jay F. Brakefield, Deep Ellum and Central Track: Where the Black and White Worlds of Dallas Converged. Denton: University of North Texas Press, 1998
 Sheldon Harris: Blues Who's Who: A Biographical Dictionary of Blues Singers. New Rochelle, New York: Arlington House, 1979.
 Rick Koster: Texas Music. New York: St. Martin's Press, 1998.
 Robert Santelli: Big Book of the Blues: A Biographical Encyclopedia. New York: Penguin Books, 1993.

Weblinks
 Eintrag in The Handbook of Texas
 Diskographie

Einzelnachweise

Blues-Sänger
Blues-Musiker
Gitarrist
Songwriter
Musiker (Vereinigte Staaten)
US-Amerikaner
Geboren im 19. Jahrhundert
Gestorben im 20. Jahrhundert
Mann

redpajama_set_name: RedPajamaWikipedia


Concrete deterioration causes serious problems for many structures ranging from the smallest residential complex to large commercial buildings and civil structures. Atmoshpheric and environmental conditions can impact concrete structures over time, triggering reinforcement corrosion and spalling of the outer concrete layers. SRG Global has the expertise to not only accurately diagnose such problems but to repair the concrete with skill and expediency.


Researchers at the Harbin Institute of Technology have developed an extremely sensitive tactile sensor that mimics how our hair and skin work together to feel touch, the movement of air, and different textures of objects we come in contact with. The technology may one day be integrated into prosthetic devices that will allow amputees to regain a sense of touch.
The technology relies on combining flexible and stretchable electronic skin with cobalt microwires. The microwires are coated in glass and the tips are placed within artificial silicon-rubber skin. The combination device allows it to feel anything from a slight breeze or a fly landing on it, to weights up to 10 lbs (~5kg) being placed on top. Additionally, the same sensor is able to distinguish lateral slip and friction forces, a particularly useful feature that would be beneficial for robotic fingers holding onto tools and utensils.


In the second in a series of interviews with the great and the good of global retail, ThisIsRetail talks to Mark Ashman, most recently CEO of HyperCity, a pan-India hypermarket chain.
eCommerce in India: Opening Pandora's Box?
If you think India's Foreign Direst Investment regulations will deter investors, you should think again!
Tesco has become the first global retailer to try to enter India since it allowed foreign investment in multi-brand retail last year. A brave move, you might think, but just how bold a move is it?


When man in the state of world-onlooker undertook to form a dynamic picture of the nature of matter, it was inevitable of all the qualities which belong to existence, scientists were only able to imagine and perceive gravity and electricity.
In the 1700s and 1800s mankind's consciousness was closely bound up with the force of gravity in the human body. Because of this focus, we were unable to imagine or perceive forces connected with levity, in our body, opposite to gravity.
Nature is built on and between polar archetypes. This means it was inevitable the 'gravity-run-universe' of Newton will eventually give way to a model of the universe built on gravity and its opposite. Which we call "levity" in Man or Matter.
We meet the idea of Creation composed and created only by gravity and electricity in the 1900s model of the atom, composed of what? A heavy electro-positive nucleus circled by virtually weightless electro-negative electrons.
Heavily revised from Man or Matter, Chapter XIII Radiant Matter p 282.
Plants demonstrate BOTH gravity and levity. This especially observable in seeds sprouting n the Earth.
The root shoots downward. Above ground the stems and leaves are drawn skyward.
Given this clear demonstration of TWO equal forces, in the birth of new terrestrial life, why do we think the human being is defined and bound by gravity alone?
We imagine human beings are defined and bound by gravity alone if we look at the human being with only our intellect.
If we do not also view our life thru the wisdom of the heart, there is only "death is the end," there can be no 'resurrection thinking' no Easter.
The human being is not bound by gravity alone. Only the intellect believes this, perceives this way. The human being lives BETWEEN gravity and levity.
Secret Life of Plants 117, Goethe section, inspired the above thinking. Treat yourself to this chapter if you have not read it. The whole book is online. For paper copies try your library or AllBookStores.com for best price.


SKU: 349.3E. Category: Earrings / Cotton Fibre Earrings.
The stately orchid, bold and beautiful, is the national flower of Colombia. This design is inspired by "Orquidea Tulipan" from Colombia and it grows in the cloud forest by mountain streams.
Earrings: 3×2.5cm. Weight: 2.7g. Hooks: Nickel Free.


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Parents, school leaders fight to keep San Jose…
Parents, school leaders fight to keep San Jose charter from closing
They're appealing a decision to close the school to the County Board of Education
Cornerstone Academy
Parents of students at Cornerstone Academy attend a board meeting regarding the renewal of the school's charter.
By Maggie Angst | mangst@bayareanewsgroup.com | Bay Area News Group
Three months after Cornerstone Academy leaders and parents were left dumbfounded by a decision that could potentially close the high-performing San Jose charter school, the community is holding out hope that their worst fears will not become a reality.
After the Franklin-McKinley School District rejected a district staff recommendation to renew Cornerstone's charter, the Santa Clara County Board of Education this month will vote on an appeal submitted by Cornerstone officials.
"January 15 — I wake up with that date etched in my nightmares," Cornerstone Principal Marion Dickel said about the county meeting where the board will announce its decision. "But at this point, I think they'll renew the charter because we've given our students what they need and I think the county board will see that."
The meeting will mark only the second time in the history of the county board that it has voted on a charter renewal after a district denied it. The last time that happened was in 2014 when San Jose Unified rejected the renewal of Sunrise Middle School and the county then approved it. In addition to the two renewal pleas, the county has voted on 37 initial charter school petitions that were turned down by districts — approving just half of those.
The debate over Cornerstone's renewal is part of a bigger battle over funding and facilities between California public school districts and charter schools — and what arguments can legally be made for a district to reject a charter.
Cornerstone Academy, an award-winning school within the East San Jose charter network Alpha Public Schools, opened in 2010 serving students in kindergarten through sixth-grade students. The district first renewed the school's charter in 2015 and then allowed it to expand to eighth grade in 2016.
But in its 3-2 decision on Oct. 22, the Franklin-McKinley School Board decided that it would not renew the school's charter, stating Cornerstone did not enroll enough Latino students, did not serve any students with "moderate to severe" disabilities and that the math scores of students with disabilities were declining.
Maimona Afzal Berta, a board member who also serves as a special education teacher in the Alum Rock School District, pointed out what she considered a lacking number of students with disabilities.
"I can't make the determination that academics is the single most determining factor in a charter's renewal when a subgroup of students is missing and no one has bothered to ask why these students aren't here," Berta said during the meeting.
Cornerstone Academy leaders, however, refute every reason the district made for rejecting the charter.
Shara Hegde, the founder of Cornerstone and chief school operator for Alpha Public Schools, said the accusation that the school doesn't serve any students with "moderate to severe" disabilities was "just plain false."
According to the State of California Commission on Teacher Credentialing, "moderate to severe disabilities" include autism, deaf or blindness, moderate to severe intellectual disabilities, multiple disabilities or serious emotional disturbance. During the 2018-19 school year, Cornerstone enrolled 40 students with disabilities — about 13 percent of whom had autism, according to school officials.
And while Cornerstone enrolls about half the number of Latino students as the district average — 30 percent compared to 60 percent — they're performing significantly higher on standardized tests than their counterparts at other district schools. In addition, College Connection Academy — a district school just a few blocks away from Cornerstone — has the same percentage of Latino students.
"We absolutely can and should do more," Hegde said about focusing recruitment efforts more on families of Latino students and those with disabilities. "But we can't have quotas for students with disabilities, because that ties our hands a bit due to the lottery."
When accepting new students, Cornerstone uses a lottery system that allows any student to apply without disclosing their race or whether they have a disability until after they have been accepted.
Anh Dao Tran, a parent of two Cornerstone students, submitted her son's name into the lottery twice before he was accepted. Tran, who has spent the past few months reaching out to parents and fighting to keep the school open, called the decision "very unfair."
Tran's fifth-grade son has Tourette's Syndrome. And according to Tran, Cornerstone's model of inclusion and his teachers have been critical to his success and ability to overcome his disability.
"Everyone has been very proactive in helping me learn to cope with his disability and in teaching him coping skills," Tran said. "My son has anxiety when he has to go to a new place, and it's hard to answer his questions when I also don't understand why they want to close it."
Mineta San Jose Airport projects 50 percent passenger growth, proposes expansion
Car reportedly driven off cliff in San Mateo County
San Jose charter school will close after years of failing to obtain its own campus
Randrea Acda, a first-grade teacher at Cornerstone, said she's spent the past few months trying to cope with the uncertainty and calm her students and their families. But in spite of her lack of job security, Acda said she's not looking into any alternatives yet.
"Finding your forever teacher home is really hard, but that's how I feel about Cornerstone," Acda said. "I'm not going to look without waiting for a final decision.
"I still have hope."
PM Report
Maggie Angst
Maggie Angst covers government on the Peninsula for The Mercury News. She's a Chicago native and previously covered breaking news for the Milwaukee Journal Sentinel and education for the Island Packet in Hilton Head, S.C.
Follow Maggie Angst	@MaggieAngst


Uzo Aduba and Amber Riley will play witches in "The Wiz Live!"
An "Orange Is the New Black" favorite and a "Dancing With the Stars" winner will be joining "The Wiz Live!," NBC announced.
Uzo Aduba, known for her role as Suzanne "Crazy Eyes" Warren in the hit Netflix show, and "Glee" star Amber Riley were both cast in the live musical set to air on NBC on Dec. 3.
Aduba, who appeared on Broadway's 2011 revival of "Godspell," will play Glinda the Good Witch of the South.
Riley, meanwhile, will play Addaperle, the Good Witch of the North, who points Dorothy down the Yellow Brick Road toward the Emerald City.
They join previously announced stars Queen Latifah, who will play the Wiz, Mary J. Blige, who will play the Wicked Witch of the West, and David Allen Grier, who was cast as the Cowardly Lion.
Stephanie Mills, who played Dorothy in the original Broadway production, will take on the role of Auntie Em, while New Jersey native Shanice Williams will star as Dorothy.


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Granite Industries Of Vermont, Inc. Business Information, Profile, and History
For family memorials or individual memorials, trust the people who know, understand and work with granite. Retailers with an eye for the very best memorialization select Granite Industries of Vermont for the most demanding execution of detail.
History of Granite Industries Of Vermont, Inc.
Based in the small town of Barre, Vermont, privately owned Granite Industries of Vermont, Inc. (GIV) specializes in the manufacture of granite and marble memorials. It is one of a handful of regional companies contracted by the U.S. Department of Veteran Affairs to produce marble headstones for government cemeteries, the memorials provided free to veterans' families. Responsible for the Northeast section of the country, GIV provides all of the headstones for Arlington National Cemetery. Although the bulk of the headstones are for veterans of World War II and Korea, many bear the names of soldiers killed in the war in Iraq, resulting in a great deal of publicity for the tiny company, which employs less than 60 people and does about $10 million in business each year, a third of which comes from veterans' headstones. GIV is also known for its ability to do custom work, and is especially adept at recreating historic monument styles, put to use in the making of replacement headstones, such as the thousands of deteriorating headstones in Confederate graveyards in the South. In addition, the company has won a number of high-profile projects, such as Arlington's Pentagon Victims Memorial dedicated to the people killed in Washington in the September 11, 2001 terrorist attacks, and the black marble wall of the Vietnam Veterans Memorial in Washington. In addition to veterans' headstones and war memorials, GIV also produces public and civic memorials, landscape architecture, and specialized building architecture. Whereas most of the company's raw materials come from local quarries, GIV also imports granite and marble of other colors from countries such as Sweden and South Africa. In addition, the company buys finished product from China, which is able to sell at prices far less than a rough cut GIV could buy at a local quarry. In order to compete against the Chinese, GIV is increasingly turning into a high-quality niche operation.
Emergence of the Vermont Granite Industry in the 1800s
Barre, Vermont, bills itself as the Granite Center of the World, with the industry focused around local quarries that hold an estimated 4,500-year supply of Barre Gray granite, unique to the area, the result of the land being covered and scraped by succeeding tides of ice sheets over the course of many thousands of years. Barre Gray is a favorite material for monuments, markers, and mausoleums because it is almost as hard as sapphire and resists moisture, and so can be exposed to the elements without crumbling or staining. Moreover, it is consistent from piece to piece and the fineness of its crystals is ideal for carving.
The Barre area was settled in the late 1770s, but in the early decades the area's principal industries were dairy, lumber, and farming. But any farmer who tried to clear his land was sure to encounter granite outcroppings, which the practical Yankees used for house foundations and millstones. It was not until the 1810s that the first quarry opened in Barre. Starting in 1833 the stone was hauled by ox teams over nine miles of hills to Montpelier for use in the construction of the State Capitol completed five years later (at a cost of $400). Next, the city of Troy, New York, ordered ten million paving blocks, which inspired other Barre residents to become involved in the business and stone workers to move into the community. But the growth of the industry was hindered for decades because of transportation difficulties. For years Barre Gray had to be hauled ten miles by ox to reach the closest railroad station. The transportation costs for moving raw material to the shops, and finished work to the customer, made Barre granite and products prohibitive in cost and stunted the growth of the industry. The problem was not remedied until 1875 when the Central Vermont railroad built an extension from Barre to Montpelier. Now the industry began to take shape and the community attracted stonecutters and artisans from Europe, especially Italy, many of whom launched their own business.
Predecessor Company's Founding Likely in the Early 1900s
Two of the Italian immigrants who came to Barre were cousins Constantino and Guido Valz, both born in Montesinaro, Italy, and who founded GIV. Constantino came to the United States in his teens and learned stonecutting from his uncle in Fitzwilliam, New Hampshire. Eight years later, after completing his apprenticeship, he moved to Barre and found work. After four years he decided to strike out on his own and formed a partnership with Guido, five years younger. According to GIV, the cousins launched Valz Granite Company in 1897, but this date is contradicted by Arthur W. Brayley's definitive book History of the Granite Industry of New England, published in 1913. Brayley lists Constantino's birth date as October 11, 1878, which would make him less than 20 years of age, and his cousin (born on September 23, 1883) would have been 14 or 15 if Valz Granite was indeed founded in 1897. If Brayley's research is accurate, it is more likely that the company was founded a decade later, around 1906 or 1907. Nevertheless, the cousins did become partners, starting out modestly, working out of a shed in a meadow. They did well enough that after two years they were able to build their first plant, located on the same site as GIV's present operation. According to Brayley, they specialized in medium and large monument work.
Valz Granite remained in the Valz family until the 1940s when it was bought by Henry Vanetti, an employee of the company, and his brother Aldo. Henry was born in Italy, and Aldo, ten years his junior, was born in Barre. They elected to keep the Valz Granite name and continued the tradition of concentrating on larger work, especially mausoleums. After Henry's passing in 1963, Aldo continued to run the business. When he died in 1978, his son and daughter inherited Valz Granite. They tried running it for two years, but neither were well versed in the monument business and in 1980 they elected to sell the company.
Partners Silvio Nativi, a Barre native and second-generation Italian-American, and New York City businessman Herman Goldberg bought Valz Granite, changing the name in 1980 to Granite Industries of Vermont. Nativi was already running another company, Nativi Granite Company, founded half a century earlier by his father, specializing in monument work. Nativi and Goldberg decided to devote GIV to the construction industry, to perform "cladding" work, putting up sheets of granite or marble on the exterior of buildings. Thus they invested in European equipment such as diamond saws and polishers and gutted much of the GIV plant to make the transition from monuments to cladding. One of their first major contracts was Manhattan's AT&T Building. Ironically, the company's new cladding capabilities landed it a memorial contract that would become the most famous project in company history: The Vietnam Veterans Memorial in Washington, D.C., "the wall." GIV cut, inscribed, and polished the nearly 150 slabs of black granite imported from Bangalore, India, that made up the two separate walls that comprised the memorial. There were no joints connecting the three-inch-wide panels; they were simply pushed together, connected by stainless steel pins drilled into the sides. GIV warned the architect that the granite would expand and contract with the seasons and likely crack, but the installation was not changed. Several years later the first cracks began to appear in some of the center panels, where outer stress converged. A number of blank panels had been stored at the time the memorial was built, allowed to age at the same pace as the rest of the materials, and would likely be pulled out someday to replace the cracked sections of the wall.
GIV concentrated on cladding during the bulk of the 1980s. Then in 1988 Nativi Granite suffered a major fire and Silvio Nativi decided to get out of the business. He and Goldberg agreed to sell GIV. They found a buyer in Jeff Martell, who formed a partnership with Nativi Granite's office manager, Glenn Atherton, to buy the company.
Martell came to the granite and marble business by chance. He grew up in New Jersey, the son of an airline pilot who flew out of La Guardia. He began his college education at the University of Tampa before transferring to the University of Vermont in Burlington. He graduated in 1977 with a bachelor's of science degree in water quality and environmental science, but his dreams of ridding the world of pollution were soon dashed when he learned that the kind of positions available with the Vermont government paid a pittance. Thus he found a job with a SONY distributor, moved to Maine, and began selling electronics. A year later he returned to Vermont to attend a friend's wedding and met the owner of Cook, Watkins & Patch, a Barre granite company, and was recruited as a salesman. Martell agreed and began selling monuments throughout western Pennsylvania, Ohio, and Illinois. He enjoyed the work and over the next five years he established a solid customer base. When Cook, Watkins began experiencing financial problems, he quit in 1983, shortly before his employer went out of business, and launched Martell Memorials. He represented four different Barre granite manufacturers, selling into his established network of customers in the Midwest. He ran his own brokerage business for the next five years, until the opportunity to buy GIV arose.
Nativi and Goldberg's asking price was in the $1.8 million range. Both Martell and Atherton put up $100,000, but had to approach Vermont National Bank for the balance. Three times the bank rejected their loan application, prompting Nativi and Goldberg to drop their price to $1.6 million. The loan was finally granted--albeit at a steep cost, two points over prime at a time of high interest rates. Moreover, the bank kept a tight rein on the company's capital line and required a monthly look at GIV's profit and loss statement. Martell and Atherton's financial situation was made even more precarious because they soon learned that the plant was in terrible condition and required a great number of improvements. The roof was leaking, the heating was shot, and the place was such a fire hazard that the company had to pay a $60,000 premium for fire and liability insurance. The partners would eventually install new ten-inch mains to accommodate a $100,000 sprinkler system, which lowered the insurance premium to just $15,000 a year.
As part of the purchase agreement, Martell and Atherton agreed to complete the construction contracts already on the books, but because Martell and Atherton's backgrounds were in memorials, they wanted to eventually focus on that business. To do so, the company had to incur the expense of leasing space for six months from another area company, Beck & Beck, until it could acquire the specialized equipment it needed to do memorial work in its own plant. With Atherton serving as plant manager and Martell handling sales and the financial responsibilities, GIV and its 26 employees generated about $3 million in revenues in the first year, producing barely enough cash flow to stay afloat.
Mid-1990s Switch to Marble Contract
Nativi Granite had been in the business of producing granite flat markers for the Veterans Administration (VA), but because of its lack of equipment, GIV was unable to pursue the business until 1990 when it won a bid to produce the military markers for the Northeast and Mid-Atlantic states. The company kept the contract for the next four years, but it was a very competitive business, and while GIV's costs continued to rise the VA paid the same price, causing GIV's margins to be compressed to a razor's edge. It was then that the company, which to this point had exclusively worked in granite, began looking at marble, and pursued the VA marble upright contract for military markers. These 42-inch high markers, of which 20 inches were above ground, came in two styles: oval top and "old style," used to replace the markers on the graves of Confederate soldiers from the Civil War. These markers had a peak, making them difficult to sit upon--as well as for Union veterans to desecrate the graves of their erstwhile foes. GIV won the marble upright contract for the Northeast in 1994 and played a major role in the company's improving fortunes in the 1990s, accounting for about 30 percent of revenues. The year 1994 also was marked by misfortune at GIV: Atherton died of a heart attack at the age of 52 while snowmobiling. The company was able to get by until Martell hired a new plant manager, William Perry. Later an office manager was hired, Forrest Rouelle, to whom Martell would eventually sell a 5 percent stake in the company.
As sales grew so did the GIV operations. By the mid-1990s revenues totaled $4 million to $4.5 million, improved to the $6 million to $7 million range in the late 1990s, and settled around $10 million in the 2000s. When Martell and Atherton bought GIV, the plant was about 50,000 square feet in size; over the next 15 years it grew by 50 percent. A shipping room was built in 1992, an addition to handle the veterans' markers came in 1994, an outbuilding dedicated to the preassembly of mausoleums was constructed in 1997, and in 2000 the company added a crating area and a washstand area where markers were not only cleaned but inspected. At this point, the company was told by the state that due to the lack of fire walls the facility could not make any more additions without major renovations.
In the mid-1990s, GIV and others in the granite industry began to feel pressure from imports from India, but later in the 1990s China weighed in and put the entire U.S. memorial industry under severe pricing pressure. GIV had begun taking steps to become more of a high-end niche player, producing personalized monuments and mausoleums and introducing new memorial designs. Around 1993 the company acquired Barre Draft Services, picking up specialized equipment as well as talented draftsmen who proved crucial in the company's efforts to stay ahead of foreign competition. But only a few months after GIV unveiled a new design, a Chinese company would have a copy on the market. Graveyards in the New York City area that were once 95 percent Barre product, according to Martell, were now 70 percent Chinese. The price differential was so great that GIV began to buy blank monuments from the Chinese in the 2000s, since it could not even buy raw materials from a nearby quarry at a lower price. In a 2005 interview, Martell offered an example of a massive buffalo from China, some eight feet in length and six feet high, costing just $600.
GIV lost its upright marble contract with the VA in 2000. Whereas the VA maintained that price was just one factor in awarding bids, along with quality and ability to deliver on time, Martell expressed his belief that the contract was lost on price in 2000. Two years later, the contract was won back, again on the basis of price, according to Martell. It was an important piece of business for GIV, one that would focus on providing the markers for World War II veterans who were dying off at an increasing rate, expected to peak in 2008 at around 675,000. The company also picked up business due to unwanted reasons. It won the contract for the five-sided Pentagon Victims Memorial in Arlington cemetery, dedicated to the people killed at the Pentagon during the September 11, 2001 terrorist attacks. As the war in Iraq dragged on, the company saw an increasing number of orders for markers for soldiers whose birth and death dates were uncomfortably close in time.
Principal Competitors: Rock of Ages, Inc.; Cold Spring Granite Company; Keystone Granite; Wang Li.
Related information about Granite
A coarse-grained, acid (high in silica) igneous rock containing orthoclase feldspar, quartz, and mica (and/or hornblende); pale pink or grey in colour, its durability makes it an important building stone.
Granite is a common and widely-occurring type of intrusive, felsic, igneous rock.
Granites are usually a white, black or buff color and are medium to coarse grained, occasionally with some individual crystals larger than the groundmass forming a rock known as porphyry. Granites sometimes occur in circular depressions surrounded by a range of hills, formed by the metamorphic aureole or hornfels.
The average density of granite is 2.75 g·cm−3 with a range of 1.74 g·cm−3 to 2.80 g·cm−3.
The word granite comes from the Latin granum, a grain, in reference to the coarse-grained structure of such a crystalline rock.
Granite primarily consists of orthoclase and plagioclase feldspars, quartz, hornblende, muscovite and/or biotite micas, and minor accessory minerals such as magnetite, garnet, zircon and apatite. Highly peralkaline forms of granite which are silica undersaturated may have a feldspathoid such as nepheline, and are classified on the A-F-P half of the diagram.
The volcanic equivalent of plutonic granite is rhyolite. Granite occurs as relatively small, less than 100 km2 stock-like masses and as large batholiths often associated with orogenic mountain ranges and is frequently of great extent. Small dikes of granitic composition called aplites are associated with granite margins.
Granite has been intruded into the crust of the Earth during all geologic periods; Granite is widely distributed throughout the continental crust of the Earth and is the most abundant basement rock that underlies the relatively thin sedimentary veneer of the continents.
Despite being fairly common throughout the world, the areas with the most commercial granite quarries are located in the Scandinavian Peninsula (mostly in Finland and Norway), Spain ( mostly in the Galicia area), Brazil, India and several countries in the South end of the African continent, namely Angola, Namibia, Zimbabwe and South Africa.
Geochemical origins
Granitoids are a ubiquitous component of the crust because they represent a eutectic point to which magmas will evolve via igneous differentiation. The final mineralogy, texture and chemical composition of a granite is often distinctive as to its origin.
For instance, a granite which is formed from melted sediments will have more alkali feldspar, whereas a granite derived from melted basalt will be richer in plagioclase feldspar.
Alphabet Soup Classification
The 'alphabet soup' scheme of Chappell & White was proposed initially to divide granites into I-type granite (or igneous protolith) granite and S-type or sedimentary protolith granite.
M-type or mantle derived granite was proposed later, to cover those granites which were clearly sourced from crystallised mafic magmas, generally sourced from the mantle. These are rare, because it is difficult to turn basalt into granite via fractional crystallisation. The granite caldera of Yellowstone National Park is an example of an A-type granite. The production of granite by metamorphic heat is difficult, but is observed to occur in certain amphibolite and granulite terrains. In-situ granitisation or melting by metamorphism is difficult to recognise except where leucosome and melanosome textures are present in gneisses. In all cases, melting of solid rock requires high temperature, and also water or volatiles which act as a catalyst by lowering the solidus temperature of the rock.
Stoping, where the granite cracks the wall rocks and pushes upwards as it removes blocks of the overlying crust
Diapirism where the density of the lighter granite causes relative buoyancy and the granite pushes upwards, warping and folding the rock above it
Assimilation, where the granite melts its way up into the crust and removes overlying material in this way
Inflation, where the granite body inflates under pressure and is injected into position
Most geologists today accept that a combination of these phenomenon can be used to explain granite intrusions, and that not all granites can be explained by one or another mechanism.
The Red Pyramid of Ancient Egypt (c.26th century BC), named for the light crimson hue of its exposed granite surfaces, is the third largest of Egyptian pyramids. Menkaure's Pyramid, likely dating to the same era, was constructed of limestone and granite blocks. The Great Pyramid of Giza (c.2580 BC) contains a huge granite sarcophagus fashioned of "Red Aswan Granite." The mostly ruined Black Pyramid dating from the reign of Amenemhat III once had a polished granite pyramidion or capstone, now on display in the main hall of the Egyptian Museum in Cairo (see Dahshur). Other uses in Ancient Egypt, www.eeescience.utoledo.edu/Faculty/Harrell/Egypt/Mosques/CAIRO_Rocks_1.htm include columns, door lintels, sills, jambs, and wall and floor veneer.
How the Egyptians worked the solid granite is still a matter of debate. Dr. Patrick Hunt hebsed.home.comcast.net/hunt.htm has postulated that the Egyptians used emery shown to have higher hardness on the Mohs scale.
Many large Hindu temples in southern India, particularly those built by the 11th century king Rajaraja Chola I, were made of granite. With increasing amounts of acid rain in parts of the world, granite has begun to supplant marble as a monument material, since it is much more durable. Polished granite has been a popular choice for kitchen countertops due to its high durability and aesthetic qualities. The Black Galaxy granites from the Cheemakurthy area of Andhra Pradesh in India are world-reknowned for their elegance.www.stone-network.com/black_galaxy_granite.htmlhttp://stone-network.com/india/granite/black_galaxy.html
Engineers have traditionally used polished granite surfaces to establish a plane of reference, since they are relatively impervious and inflexible.
In the world of sports, curling rocks are traditionally fashioned of granite.
Sandblasted concrete with a heavy aggregate content has an appearance similar to rough granite, and is often used as a substitute when use of real granite is impractical.
Image:Granite azul noce.jpg| Azul Noce (Spain)
Image:Granite giallo.jpg| Giallo Veneziano (Brazil)
Image:Granite_gran_violet.jpg| Gran Violet (Brazil)
Image:Granite lavanda blue.jpg| Lavanda Blue (Brazil)
List of minerals
List of rocks
Skarn
Greisen
Aplite
Batholith
1897: Valz Granite Company is founded, according to the company.
1940s:The company is sold to the Vanetti brothers.
1980: Valz is sold and is renamed Granite Industries of Vermont (GIV).
1988: Jeff Martell and Glenn Atherton buy GIV.
1994: Atherton dies.
2002: The company regains the marble upright contract with the Veterans Administration.
Hanson Plc Business Information, Profile, and History
Giant Cement Holding, Inc. Business Information, Profile, and History
This web site and associated pages are not associated with, endorsed by, or sponsored by Granite Industries Of Vermont, Inc. and has no official or unofficial affiliation with Granite Industries Of Vermont, Inc..


The City of Glasgow Chorus is one of the biggest independent choral groups in the west of Scotland.
In October 2016, the Chorus will be the first choir from Scotland to tour China, giving concerts in Beijing, Tianjin and Shanghai. We are currently raising funds to support this trip, and are very grateful for any donation you can make!


Fresh after delivering his update Tuesday on the state of Canada's economy and public finances, Finance Minister Bill Morneau (pictured above) has already began musing about next year's federal budget. According to media reports, Morneau confirmed that his government plans to eliminate additional tax credits as part of its ongoing review.
But Morneau should use this opportunity to reform taxes—concurrently reducing tax rates broadly—not to generate more revenues for Ottawa and raise the tax burden on Canadians.
Eliminating tax credits, which are essentially special carve outs in the tax code for particular individuals doing particular activities, can help simplify a system that has grown in complexity over the years. Tax complexity imposes real costs on Canadian families who spend a significant amount of time (collecting and organizing receipts, understanding the rules) and money (paying accountants, buying software) complying. The cost of complying with the personal income tax system alone is estimated at up to $7 billion—or roughly $501 per household—each year.
Tax credits add to the cost of compliance because claiming a tax credit or deduction requires keeping records, ensuring eligibility, and perhaps hiring an accountant to ensure you're not missing out on any tax benefits.
While tax credits can help reduce one's tax bill, the related compliance costs partially offset the benefit. These compliance costs likely explain why lower-income Canadians are less likely to claim some tax credits or be aware of them in the first place.
And a more complicated tax system is more costly for governments to administer (i.e. manage and enforce). These administrative costs, along with the costs of compliance, consume resources unavailable for more productive priorities that actually help grow our economy.
The solution is straightforward: a simpler tax system. That means scaling back ineffective tax credits and reducing tax rates more broadly. In other words, the extra revenue from eliminating tax credits should be used to launch a major tax reform plan, not to pad federal revenues.
Remember that with more tax credits, the government has to keep income tax rates higher to raise the same amount of revenue. By eliminating a large number of ineffective tax credits, the government could, in exchange, broaden the tax base and use the resulting resources to dramatically reduce personal income tax rates for all Canadians. Such a reform would result in a much simpler tax system that improves the incentive for Canadians to work, save, invest and be entrepreneurial—all things that help propel the economy forward.
The last fundamental reform to Canada's personal income tax system took place in 1987 so the country is overdue for another round of reform. With the government's current review of tax credits, Morneau has an opportunity to lead this charge.
But simply eliminating tax credits without concurrently reducing tax rates will produce another round of tax hikes on Canadians, further contradicting the Liberals stated objective to keep more money in the pockets of Canada's middle class.