Women in Board & Action Sports organisation was born as Women in Boardsports in 2009 in Saas-Fee, Switzerland. Two strong women from the industry, Daniela Meyer and Carmela Fleury had a vision and started to make a beginning.
They had an idea, a network of people and started to built a platform. They created an annual Conference with an extensive agenda about board sports and the women in the industry, from product, to careers to inspirational talks. However they were lacking of internet presence and graphic (video & photo support).
Women in Board & Action Sports is a non-profit organisation and I have done 6 years of volunteering work with them.
Took video of all the conference and photographs which then were used for media and Social Networks.
Opened a Facebook Page, Flickr account, Twitter. And later in the year together with other volunteers we built the first WIB website. We also started sending press releases.
New version of the website was developed, we started now sending newsletters and developed a social media strategy: The Facebook Page and Twitter got a big boost and we had over 60 attendees in Saas-Fee from all over the world and over 100 women came to the ISPO Munich WIB lunch.
After developing promotional videos, banners, and links with industry media, WIB started growing. We then decided to change from Women in Board Sports to Women in Board and Action Sports, to be more inclusive.
Despite the changes in the organisation team, the conference kept growing, so it did the community online and the support from the industry media.
A big change was made, the Conference changed location from Saas-Fee to Biarritz, France. In an effort to be more accessible for more girls and women.
Since the first year, my work in WIB has been running behind the scenes, capturing the best moments and make sure they would get shared. Thanks to all the team and women that has contributed this has been possible.
After 6 years fully involved to the project I decided it was time to leave the organisation team and let new talent and younger girls and fresh ideas to get onboard.
Currently, the WIB organisation is setting up the 7th year of the conference and it has had the first time ever dedicated booth at ISPO Munich. WIB has now it's own identity and purpose.
Being a non-profit organisation, WIB had no budget for promotion or marketing, so all the actions had to be planned around collaborative work and organic growth.
Involving the attending women and making them feel part of the WIB community was the key to the growth. Mouth to mouth on and offline pushed WIB forward and gave it a common voice.
Also, working in a collaborative environment with a big team spread all over the world made by generally very busy and active women didn't always make it easy to achieve goals and deadlines. However, a lesson was learnt: divide the tasks, trust the others but be proactive and persistent. The revision and improvement would come later. It's perhaps a slower work team dynamics when it comes way to achieve goals, but it's certainly one of the fewer options you have in an organisation like this.
I always believed in the essence and the idea of WIB, it has helped me a lot and so I wanted other girls and women to have this opportunity. I also thought it was necessary for the evolution of the inside industry to have veteran and experienced women mixed up with younger and talented minds. I believe in the symbiosis that this conference provides.
Other members of the team had different views or reasons but they all helped to make WIB work.
Nowadays WIB counts with over 5000 women in its community which have participated on its events or conferences or in the virtual circles.
WIB has also helped many other non-profit organisations with donations and support like Skateistan and has helped with the funding of other projects involving women and action sports, like the recently released Board of Media documentary "level".


text:
Research article 26 May 2015
Research article | 26 May 2015
Modeling the formation and aging of secondary organic aerosols in Los Angeles during CalNex 2010
P. L. Hayes1,2,3, A. G. Carlton4, K. R. Baker5, R. Ahmadov1,6, R. A. Washenfelder1,6, S. Alvarez7, B. Rappenglück7, J. B. Gilman1,6, W. C. Kuster6, J. A. de Gouw1,6, P. Zotter8, A. S. H. Prévôt8, S. Szidat9, T. E. Kleindienst5, J. H. Offenberg5, P. K. Ma3, and J. L. Jimenez1,2 P. L. Hayes et al. P. L. Hayes1,2,3, A. G. Carlton4, K. R. Baker5, R. Ahmadov1,6, R. A. Washenfelder1,6, S. Alvarez7, B. Rappenglück7, J. B. Gilman1,6, W. C. Kuster6, J. A. de Gouw1,6, P. Zotter8, A. S. H. Prévôt8, S. Szidat9, T. E. Kleindienst5, J. H. Offenberg5, P. K. Ma3, and J. L. Jimenez1,2
1Cooperative Institute for Research in Environmental Sciences (CIRES), University of Colorado, Boulder, CO, USA
2Department of Chemistry and Biochemistry, University of Colorado, Boulder, CO, USA
3Université de Montréal, Department of Chemistry, Montreal, QC, Canada
4Department of Environmental Sciences, Rutgers University, New Brunswick, NJ, USA
5US Environmental Protection Agency, Research Triangle Park, NC, USA
6Earth System Research Laboratory, National Oceanic and Atmospheric Administration (NOAA), Boulder, CO, USA
7Department of Earth and Atmospheric Sciences, University of Houston, TX, USA
8Laboratory of Atmospheric Chemistry, Paul Scherrer Institute, Villigen, Switzerland
9Department of Chemistry and Biochemistry & Oeschger Centre for Climate Change Research, University of Bern, Bern, Switzerland
Received: 25 Jul 2014 – Discussion started: 20 Dec 2014 – Revised: 24 Apr 2015 – Accepted: 27 Apr 2015 – Published: 26 May 2015
Abstract. Four different literature parameterizations for the formation and evolution of urban secondary organic aerosol (SOA) frequently used in 3-D models are evaluated using a 0-D box model representing the Los Angeles metropolitan region during the California Research at the Nexus of Air Quality and Climate Change (CalNex) 2010 campaign. We constrain the model predictions with measurements from several platforms and compare predictions with particle- and gas-phase observations from the CalNex Pasadena ground site. That site provides a unique opportunity to study aerosol formation close to anthropogenic emission sources with limited recirculation. The model SOA that formed only from the oxidation of VOCs (V-SOA) is insufficient to explain the observed SOA concentrations, even when using SOA parameterizations with multi-generation oxidation that produce much higher yields than have been observed in chamber experiments, or when increasing yields to their upper limit estimates accounting for recently reported losses of vapors to chamber walls. The Community Multiscale Air Quality (WRF-CMAQ) model (version 5.0.1) provides excellent predictions of secondary inorganic particle species but underestimates the observed SOA mass by a factor of 25 when an older VOC-only parameterization is used, which is consistent with many previous model–measurement comparisons for pre-2007 anthropogenic SOA modules in urban areas.
Including SOA from primary semi-volatile and intermediate-volatility organic compounds (P-S/IVOCs) following the parameterizations of Robinson et al. (2007), Grieshop et al. (2009), or Pye and Seinfeld (2010) improves model–measurement agreement for mass concentration. The results from the three parameterizations show large differences (e.g., a factor of 3 in SOA mass) and are not well constrained, underscoring the current uncertainties in this area. Our results strongly suggest that other precursors besides VOCs, such as P-S/IVOCs, are needed to explain the observed SOA concentrations in Pasadena. All the recent parameterizations overpredict urban SOA formation at long photochemical ages (≈ 3 days) compared to observations from multiple sites, which can lead to problems in regional and especially global modeling. However, reducing IVOC emissions by one-half in the model to better match recent IVOC measurements improves SOA predictions at these long photochemical ages.
Among the explicitly modeled VOCs, the precursor compounds that contribute the greatest SOA mass are methylbenzenes. Measured polycyclic aromatic hydrocarbons (naphthalenes) contribute 0.7% of the modeled SOA mass. The amounts of SOA mass from diesel vehicles, gasoline vehicles, and cooking emissions are estimated to be 16–27, 35–61, and 19–35%, respectively, depending on the parameterization used, which is consistent with the observed fossil fraction of urban SOA, 71(±3) %. The relative contribution of each source is uncertain by almost a factor of 2 depending on the parameterization used. In-basin biogenic VOCs are predicted to contribute only a few percent to SOA. A regional SOA background of approximately 2.1 μg m−3 is also present due to the long-distance transport of highly aged OA, likely with a substantial contribution from regional biogenic SOA. The percentage of SOA from diesel vehicle emissions is the same, within the estimated uncertainty, as reported in previous work that analyzed the weekly cycles in OA concentrations (Bahreini et al., 2012; Hayes et al., 2013). However, the modeling work presented here suggests a strong anthropogenic source of modern carbon in SOA, due to cooking emissions, which was not accounted for in those previous studies and which is higher on weekends.
Lastly, this work adapts a simple two-parameter model to predict SOA concentration and O/C from urban emissions. This model successfully predicts SOA concentration, and the optimal parameter combination is very similar to that found for Mexico City. This approach provides a computationally inexpensive method for predicting urban SOA in global and climate models. We estimate pollution SOA to account for 26 Tg yr−1 of SOA globally, or 17% of global SOA, one-third of which is likely to be non-fossil.
How to cite: Hayes, P. L., Carlton, A. G., Baker, K. R., Ahmadov, R., Washenfelder, R. A., Alvarez, S., Rappenglück, B., Gilman, J. B., Kuster, W. C., de Gouw, J. A., Zotter, P., Prévôt, A. S. H., Szidat, S., Kleindienst, T. E., Offenberg, J. H., Ma, P. K., and Jimenez, J. L.: Modeling the formation and aging of secondary organic aerosols in Los Angeles during CalNex 2010, Atmos. Chem. Phys., 15, 5773-5801, https://doi.org/10.5194/acp-15-5773-2015, 2015.
(1) Four different parameterizations for the formation and chemical evolution of secondary organic aerosol (SOA) are evaluated using a box model representing the Los Angeles region during the CalNex campaign. (2) The SOA formed only from the oxidation of VOCs is insufficient to explain the observed SOA concentrations. (3) The amount of SOA mass formed from diesel vehicle emissions is estimated to be 16-27%. (4) Modeled SOA depends strongly on the P-S/IVOC volatility distribution.
(1) Four different parameterizations for the formation and chemical evolution of secondary...

redpajama_set_name: RedPajamaCommonCrawl


HOLR Magazine was invited on the set of The Launch Season 2 to shadow Liz Trinnear in her new role. Liz is the first person to host Canada's newest hit-music competition TV series and we couldn't feel more excited.
It was only my third interview as HOLR's Music Editor and it happened to be someone who I grew up watching. Immediately, Liz and I shared some parallels. I started my music career in 2009 at the age of 14 — the same year that Liz began her career at age 19, by beating 3999 hopefuls in MuchMusic's VJ Search.
Starting her own career through a competition, Liz is all too familiar with the formula that The Launch uses. However, one element that didn't exist when Liz competed, was mentorship, which The Launch has integrated more than any other series. Featured Season 2 mentors include: Bryan Adams, Sarah McLachlan, Ryan Tedder, Bebe Rexha, Jann Arden, Max Kerman, Marie-Mai and Scott Borchetta. As far as mentorship goes, there's no denying that it's quite the impressive list.
While Liz is a host and not a mentor on camera, behind the scenes it would be hard to find someone more fitted and committed to providing guidance to five emerging artists – and one emerging music editor.
As we arrive on set, my producer and I are greeted by Liz's Publicist Amy who escorts us to the top floor of the CBC Building as she briefs us on Liz's action-packed schedule. Today was 'performance day', shot with a live studio audience. Each episode begins with the audition and out of five artists two are chosen to perform that week's song. Once the artist's record the song, they perform it in front of roughly 300 fans. Shaun Frank, Jann Arden and Scott Borchetta were this week's mentors. Shaun, who is no stranger to multi-platinum records, produced the song, which will be available everywhere once this episode airs.
We hand everyone the latest issue of HOLR Magazine and someone comments that our covergirl, Dua Lipa, was the inspiration for the artists on this episode. We join Liz's caravan of team members, which happily continue to work as they walk along. There is no shortage of entertaining conversations, as we follow her to the dressing room where she will change into her first outfit of the day.
As Liz takes off to change into her second outfit, we are free to roam about the set, which is also a working music studio. Once she comes out of her dressing room, we once again join the caravan.
The photographer and his assistant are ready to shoot the moment Liz arrives and they quickly jump into action. Liz takes direction while breaking into dance every chance she can. As she entertains the 10-plus crew members, she effortlessly switches her poses for the camera. Within minutes we witness not one, but three photoshoots.
Liz and I walk and talk. Sensing my anxiety, she reassures me, "It's going to be great, don't be nervous, it's like we are just sitting down and talking." We settle into the chairs in front of a massive soundboard where the show's producers sit to record the songs in each episode. The one thing the producers tell us is, "Never touch anything on the board" which prompts us to pretend to fumble with knobs. Even though I was sweating like crazy, her genuine personality makes me feel like we're lifelong friends. As we begin conversing about her career and the show's hectic work schedule, my nervousness quickly begins to dissipate.
Liz grew up in London, Ontario where she attended Regina Mundi College before enrolling in a BA, Faculty of Information and Media Studies at the University of Western Ontario.
L: When I see messages saying 'I went to school for Media because of you,' it's really humbling because I am still a kid from London who was a total drama geek and just loved showing everybody new music. I think that was the most important lesson I learned in this industry – that it's okay to be you and when you are 'you' that's when you are your most comfortable and most confident. That's when you shine. When I first started they were like, 'Act like this! Say this! Why aren't you dressing like this?' I was so lost in the noise of it all I stepped away from Liz… and I came back to her. I found her, and I'm the most confident I've been.
She is married to Nathaniel Motte, the other half of pop-duo 3H0!3 and recently moved to LA and bought a house where they are beginning to plant their roots and turn it into a home.
L: Home is really him. He's my place to destress, chill out and be myself. I'm really trying to ground myself, be present, and disconnect from my phone and all the crazy energy of the world. I also have been getting into some meditation apps for breathing because I am such a spastic energy and I need more than ever to focus and find my chi, you know, zen out and take a deep breath.
Disconnecting from our mobile devices is difficult for most people, let alone an entertainment reporter on etalk. With just over 100,000 fans across her social media platforms I asked if she felt a responsibility to act a certain way online.
L: It's definitely a responsibility but I also don't take life that seriously. My mom's a cancer nurse and watching her come home from work everyday after being with patients who are sick and dying and knowing their impact on her life and how much she affects their well being. 'I'm not curing cancer.' There's time to be serious and make a point but I love to make people smile and laugh. Yes I love photoshoots and stuff, but I love my slippers and sweatpants just as much. And I think it's important to show the reality of our world with my online voice. You see artists on this show say, "I'm authentic, I'm authentic" and then you get a glimpse and you're like, 'no sweetie, just BE authentic'. It's so nerve-wracking to be yourself. I know what that's like. In the beginning of my career I had to go to Second City and do improv to kind of find who I was and rediscover "who is Liz?". I was growing up on television. I went from a girl to a woman in 299 Queen.
Liz has interviewed stars such as Lady Gaga, Justin Timberlake, Taylor Swift, Mariah Carey, Justin Bieber, Harry Styles and Shawn Mendes. Almost all the musicians who inspired me to make music. She became one to watch with her genuine, fun presence connecting audiences with artists on Much Music. For the last three years, she has refined her role as an Etalk reporter.
L: I've learned through interviewing Tom Cruise, Taylor Swift and Nicole Kidman, that the bigger the star, the nicer they are. They realize you're nervous because as an interviewer I've grown up watching you and listening to you — I admire you. It's that idea that we are all human and were all trying to figure it out. We all have problems. Everyone has daily struggles. It also speaks true to why people act a certain way.
As a new interviewer who has very little experience I asked Liz some of the highlights from her interviews she's done over the course of her career.
L: I've had great highs and great lows. Then I've had moments like with Nicole Kidman for the movie Lion. The movie is all about adoption and this beautiful gift that these parents gave this young boy. I have seven adopted kids in my family, so I shared that with her and how the movie is a love letter to those who are adopted and she opened up about her two adopted kids. We just had this really natural bond and it wasn't about the TV or the cameras. I had four minutes with her but the four minutes we're probably some of the most insightful minutes I've ever had in an interview.
L: I've always been a champion of emerging talent and emerging artists and that's what this show is. From the first day I stepped on set of The Launch I was like, "Wow!" And then hearing the voices, hearing the stories, the talent, the songwriting skills — it just blows you away. I've been fortunate to watch Shawn Mendes, Alessia Cara, Jessie Reyez, all at the beginning of their careers, watching them take off.
When we talk about Season 2 of The Launch I notice the sparkle in her eyes as she admires each artist she has come across during filming. Similar to her journey almost 9 years ago- she is no stranger to the personal growth on a competition show.
L: It's unbelievable seeing the growth and the transformation these artists go through. I insist that I don't find out anything until the moment the artist finds out. It's part of the fun, but also my heart is in my throat for them. That's the beauty of my position on this show. I've been there and I'm there for them. We are all so emotionally invested in the show. We are all proud parents walking around the set. I do my best to give them as much advice on the side as I can and I also encourage them to really live this moment and this experience and not be in their head about it. That's how you can lose who you are. It's important to enjoy and embrace what is going on. It's a wild journey.
L: All five of the artists from each episode are going to have incredible careers. There's no dud in the group. This is a launch pad for all of them. There aren't 500 artists, there are five. There's a reason they are here. Every episode comes out and every mentor comes out like damn, you might not be right for the song, but you are a star! That's the other thing, someone might be this unbelievable, ready-to-launch artist, but they're just not right for the song. It's not about your talent or your voice in this show, it's about being right for the song.
From one music lover to another I asked Liz where she goes to listen to new music.
L: I typically gravitate towards Apple. They've got this 'For You' playlist and they curate based on what you listen to and the new music that's coming out. It's brilliant! I'm also that obnoxious person who goes to a grocery store or a bar holding up my phone like 'Siri who is this?' My husband is a writer and producer and he will ask me, "Hey what do you think about this?" And I geek out. I get so excited.
L: There are a lot of reasons why my husband and I get along, but one of them is our passion for music. Watching him create and how hard it is to create and the journey – I have such an appreciation for songwriting and how a song came to where it is.
Liz's status as a celebrity combined with her glam meets every-girl authenticity, has enabled her to collaborate with brands like Topshop and Hudson's Bay. It's inspiring to see her transition from Muchmusic VJ to Etalk reporter and entrepreneur.
L: I'm such a brand kid. I like fast-fashion, high-fashion and I'm always changing beauty products. I always have a new thing in my bag. I'm really into adding new tools to the toolbox. I worked with Topshop from the beginning of their time in Canada and I was so honoured at the time because I wasn't even on a TV show regularly. They saw that I was so much the brand. I appreciate that brands come to me because I am authentically myself. That's where I hope to see the future of influencing. I'm influenced by people who are authentic, and naturally influencing me and I hope to do the same for other people.
After we wrap up, we walk over to her dressing room while she eats before the live taping. We ask her our 'HOLR Music questions' as we do at the end of all of our interviews. She answers enthusiastically while playing her chosen songs and a few others she can dance too.
Her publicist takes us backstage as we walk behind the crowd and watch her shine on stage. We echo the same sentiments that she said to Jann Arden earlier, 'Liz nailed it.' After enjoying one amazing performance from Jayde, an artist I've had the pleasure to write with, we say our goodbyes to our new friend and HOLR girl Liz.


Find activities in Paducah, KY and other fun things to do. View our list of attractions, activities, events, restaurants and visitor information.
Performing Arts Center/Meeting Facility The Luther F. Carson Four Rivers Center is a regional performing arts venue which presents professional touring performances, hosts educational and outreach activities, and provides rental space for public and private events of all types.


Thanks to its interdisciplinary system technology, house and building automation is setting future-oriented standards and plays a leading role – in the market and at Light + Building. Building automation systems control, regulate and measure all important components and plant, and interlink all technical systems of a building. As an integrating element of building-services technology, these systems also have a key function of great significance with respect to energy-efficient building operation and modernisation. In turn, building safety and security is an important aspect of smart building-services technology in both the commercial and residential sectors. Increasingly, safety and security systems are being integrated with other aspects of building-services technology.
Light + Building reflects this development by spotlighting integrated building-services technology, especially electric safety and security technology and building automation, as part of the concept embracing both energy and water.
inter-operability of the technologies in live operation.


text:
Top quotes by Abel Ferrara
Mulberry Street was the beating heart of the Italian-American experience, but you don't find those gangsters now. I live with a bunch of yuppies and models. Votes: 20
Most filmmaking is about shaking hands and just starting Votes: 11
I grew up in the '60s, which was a creative time, so it wasn't that big of a stretch to go from a baseball bat to a guitar to a film camera. Votes: 10
As an old-time New Yorker, it's not that I miss the '70s and '80s or whatever. I miss the fact that there was a certain kind of energy that exists when people can live for nothing. Votes: 10
The last day of your life is still going to be a day. Votes: 8
Life is what happens when you're doing other things, right? Votes: 8
It's funny, the hardest thing to do is to make something look like it's fast, loose and improvised, and get somebody to laugh. Votes: 7
That's the thing about making a movie: You never finish editing. They just take it away from you. Votes: 6
The world is constantly changing. You're constantly learning and you have to be willing to get off your mark, and get off your spot and take that knowledge you have not to fix yourself into a place but to keep going. Votes: 6
Most filmmaking is about shaking hands and just starting. Votes: 6
The more you get into any religion, it becomes the same. It really becomes how you treat other people and how you get outside yourself. How you look to help other people, and how you get out of this 'I, me, mine' type of thing. Votes: 5
I grew up in the Bronx. I'm into rap music. Votes: 5
Certain actors wanna get paid, they think working in a low-budget movie is being ripped off. But for others it's like, 'Yes, let's do it.' Votes: 5
Making money is not gonna change anything about what I am, except I won't answer the door. Votes: 4
Listen, anybody who has a film festival has the right to show what they want. Votes: 4
My life is proof that I don't need you to do what I do. If there's no one to see it, I'll watch it. Votes: 4
When I talk about drugs and alcohol, I'm talking about sex addiction, gambling addiction, eating addiction, throwing-up addiction. I'm not talking about mental illness. Votes: 4
I live with a bunch of yuppies and models. Votes: 4
I don't know what DVD commentaries are about. I'd like to strangle the person who came up with that concept. Votes: 4
My existence is about making movies, so I've just got to rock and roll with the punches. You want to make movies on telephones, I'm there. Votes: 3
I come from a world where you get the film done, that's a success. Votes: 3
I was raised a Catholic and when you're raised a Catholic they don't teach you to think for yourself. You're taught not to think too deeply about things. Votes: 3
It's only Western civilization that, God forbid, you talk about dying, when it's the only thing we know for certain, right? Everyone's going to die, so what's the big problem? 'Oh, God. Don't talk about it. Don't think about it.' I mean, I'm one of them. I'm not a big fan of talking about dying. Votes: 2
I'm in a house where if the washing machine shuts off, it sings a song. If iPad gets a message, it sings a song. I'm living in a real postmodern time - every single thing sings to you to tell you it's started, it's stopped, you've got a message, you didn't get a message... Votes: 2
As barbaric is we are, it's a miracle we haven't blown ourselves off the face of the earth so far. Votes: 1
The actors that I love to work with, they're hard on me. They're pushing me. Votes: 1
With 'New Rose Hotel,' I knew that I was getting paid a $100,000 fee to write, produce, and direct, and that's all I was going to get. Votes: 1
I direct, and I make movies I can't finance. I can't raise money. I can't sell anything. I make things. Votes: 0
A lifetime isn't long enough to learn how to make films. Votes: 0
Movies are only the result of where we are as human beings. Votes: 0
A script is not a piece of literature it's a process. Votes: 0
I'm about my characters. Votes: 0
In the film business, it's basically honor among thieves. Votes: 0
No one can stop me from talking about my movie. Votes: 0
I don't have a problem with Werner Herzog. Votes: 0
I don't want to live anywhere where I'm breathing two million cars' fumes and paying a zillion dollars for the right to be totally hassled. Votes: 0
But I'm never gonna get to a point in my life where what it costs to shoot a movie is going to determine what it is. The limits of my imagination is the only thing that's gonna stop me. Votes: 0
I'm a lapsed Buddhist like I'm a lapsed Catholic. I take it to a point. Votes: 0
My job is going to be to direct the film - I'm going to do it. And that's where my job ends. Votes: 0
I don't care if I get $50 million to do a film. Votes: 0
I'm not a big fan of talking about dying. And then I make a movie where I kill everybody. Votes: 0
I was born in the Bronx, and then my father moved us to the country at an early age. Votes: 0
Even if you're a poet sitting in your room writing a poem, you're still in the world - although I guess being a poet is a different than having to deal with 40 or 50 people to raise a couple million bucks and all that bullshit. Votes: 0
I don't need to push myself. I don't need to sharpen my own knife and slit my throat. I'm trying to chill it and find an equilibrium and a balance to my work. Votes: 0
There's a difference between the world ending tomorrow and just drinking and drugging yourself to death. Votes: 0
My grandfather lived to be 96 years old. He was born in a town outside of Salerno in Southern Italy. He came to New York when he was 20. He lived in the States from age 20 to 96, but he brought his culture with him, he brought his food with him, he brought his language with him, he never spoke a word of English. Votes: 0
Away From You
Constantly Learning
Day-To-Day Life
Doing What Is Right
Doing You
Doing right
Don't Need You
Far be it!
Film World
Funny Thing
Getting Going
Grew Up
Heart Beating
How To Treat Others
How To Treat People
I Am What I Am
I Came
I Want To Be With You
Improvised
Live In The Now
Long enough
Love Is Hard
Movie Making
Not Talking
Right Things
The Hardest Thing
Throwing Up
What Happens In Life
What Is Life
Where You Come
Working It
Being certain
Day life
Do what is right
Finish it
Fix yourself
Get working
Hard work work
Hardest thing
Hardest thing to do
How treat others
I won't
It is working
Just starting
Last day of life
Like a person
Like something
Love of work
Music rap
Not changing anything
Pushing on
Right doing
Right of life
Rock roll
Take you away
What happen
What i need
What is right
What life is
What up
Work and love
Work with love
Work work hard
You life


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Google Top UK Brand? Not worth reporting.
Filed under: BBC,Brand name — admin @ 10:02 am
I was quite surprised to read on Search Engine Land that Google is the top brand in the UK. However, following up the story you soon realise that the the title isn't really worth that much. The ranking is actually based on a survey of '1,500 professionals', rather than the public at large, and rather than being surprised that Google has knocked the BBC from the top spot, we should be surprised that the BBC ever held the top spot in the commercially focused business world.
Whilst the more vocal elements of the online community may worship in the church of Google, I think for the average UK user (myself included) the BBC brand is still a better indicator of quality, reliability, and distinction. The factors that the survey's ranking was meant to reflect.
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Brilliant comfort and an unbeatable silhouette: the Nike Air Max 1 is a definite essential in every sneaker cabinet. With its iconic form, this lifestyle companion has been creating a favorite spot in the hearts of countless fans for years. But not only in terms of look shines this kick, but he also convinces with his unbeatable comfortable fit, which he owes to the upper of leather and mesh, as well as the cushioning Air Max sole.


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text:
Richard D. (Dick) Combs
Richard D. (Dick) Combs, 73, Pottersville, Missouri, passed away peacefully at his home on December 23, 2021, with his wife Theresa (Terri) by his side.
He was born July 23, 1948, at Gary, Indiana, to Ralph Combs and Josephine Hamilton Combs. On September 10, 2005, he was married at Hebron, Indiana, to Theresa Einspahr. Richard retired as the Assistant Engineer at Lake County, Indiana, Highway Department after 30 years of service, and he moved to the Ozarks. He held the rank of sergeant in the United States Air Force and Indiana Army National Guard. Richard was an animal lover and avid outdoorsman since his childhood. He enjoyed fishing, deer and mushroom hunting, and wild plant identification. Richard was an accomplished guitar player.
He is survived by his beloved wife, Terri; stepson, Will Werline (Jessi); sisters, Vicki Alkire (Don) and Lynn Schmidt (Kim); nieces, nephew, great-nieces, and great-nephews.
His parents, Ralph and Josephine Hamilton Combs, preceded him in death.
A Celebration of Life potluck luncheon in Richard's honor will be held at West Plains Public Library Community Room on Saturday, January 29, 2022, from 1:00 pm to 3:00 pm. In lieu of flowers, feel free to bring a story and dish to share.
Joann Haddock Connie D. Hall
Karen Harbison
January 4, 2022	@ 4:49 pm
Terri,
My sincere condolences. You are in my thoughts and prayers.


From now on, you can view our recorded local TV programmes online. We aim to provide the online version a few days after the broadcast date. We will also gradually convert earlier episodes to this online format.
The University organizes many scholarly events (e.g., public talks, seminars & conferences) all year round. These events provide the latest information and the valuable opinions of renowned scholars. We are working to provide videos of these events online.


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text:
MEQUON NEWS
John Wirth beats fellow alderman to become Mequon mayor
Jeff Rumage
After 15 years on the Mequon Common Council, John Wirth took a risk in running for mayor instead of running for re-election to his 4th District aldermanic seat.
That risk paid off in the April 2 election.
After a long and often contentious campaign battle, Wirth beat out fellow Common Council member Brian Schneider to become the next mayor of Mequon.
Wirth captured 4,704 votes, or 58.3 percent. Schneider earned 3,336 votes, or 41.3 percent.
About 47.8 percent of Mequon's registered voters cast a ballot in the election.
Wirth will replace outgoing Mayor Dan Abendroth, who did not seek re-election this year. Schneider will continue to represent the city's 6th Aldermanic District, as he has since April 2018.
Now that the election is over, Wirth said he hopes the council can work together amicably.
When reached for comment at Mequon's American Legion Post 457, Wirth said he was "quite happy" with the results.
"I am gratified that so many people in Mequon preferred a positive campaign, are happy with Mequon and want to see good government continue in Mequon," he said. "I had a tremendous group of volunteers, and we ran a positive campaign."
Schneider also thanked his supporters. He said his campaign was based on factual information, but some construed his statements as negative.
"I do want to congratulate John Wirth, and I hope that he listens to what 41 percent of the voters said today when making decisions for our city the next three years," he said.
ELECTION RESULTS:Wisconsin and Milwaukee-area spring races
FULL COVERAGE:Wisconsin Elections
After beating out Schneider and businesswoman Cheryle Rebholz in a February primary campaign, Wirth and Schneider sent out mass email messages that ultimately resulted in a back-and-forth of "fact-checking" the other's claims.
Schneider was most critical of the growth in the Town Center District and the city's use of tax incremental financing.
Wirth has generally supported the Town Center's growth during his time in office. He said he believes TIF should be used conservatively, and only for the redevelopment of contaminated or vacant properties.
Wirth received more than 300 endorsements in his mayoral bid, including Abendroth and former Mayors Curt Gielow, Christine Nuernberg and Connie Pukaite.
Mequon mayor
✔ John Wirth 4,704
Brian Schneider 3,336
We're providing free access to our elections coverage as a public service to the citizens of Wisconsin. Our subscribers make this coverage possible. Please consider supporting local journalism that is essential to democracy by subscribing at jsonline.com/deal.
Contact Jeff Rumage at (262) 446-6616 or jeff.rumage@jrn.com. Follow him on Twitter at @JeffRumage or Facebook at www.facebook.com/northshorenow.


text:
Тетрозы (от греч. τέσσερις — четыре и франц. -ose — суффикс, обозначающий принадлежность к сахарам) — общее родовое химическое название класса четырехуглеродных моносахаридов, то есть сахаров, общей формулой которых является C4(H2O)4, или C4H8O4.

Строение молекул
В зависимости от наличия кето- или альдогруппы различают кетотетрозы (единственный представитель эритрулоза) и альдотетрозы (два представителя: эритроза и треоза).

Альдотетрозы способны существовать в циклических формах, имеющими строение фураноз, например:

Нахождение в природе
В природе в свободном виде встречаются достаточно редко, входят в состав некоторых гликозидов и полисахаридов. В виде фосфатов некоторые тетрозы (например, эритроза) являются важными промежуточными компонентами в углеводном обмене.

См. также
 Моносахариды
 Альдозы
 Кетозы

Литература
 Каррер, П. Курс органической химии. - М.: Химия, 1960. - 1216 с.
 Кочетков, Н.К. Химия углеводов / Н. К. Кочетков, А. Ф. Бочков, Б. А. Дмитриев. – М.: Наука, 1967. – 672 с.
 Березин, Б. Д. Курс современной органической химии: Учебное пособие / Б. Д. Березин. – М: Высшая школа, 1999. – 768 с.

Примечания

Моносахариды
Тетрозы

redpajama_set_name: RedPajamaWikipedia


HOUSTON – October 3, 2016 – Coats Rose, P.C., a leading business transaction and litigation law firm, announces the addition of a new attorney to the firm's Houston office. Cole Konopka joins as an associate to Coats Rose's public finance section in Houston.
November 11, 2013 Dallas, TX: Coats|Rose lawyers recently closed one of the first Texas municipal bond financings secured solely by "assessments" collected through a Public Improvement District (PID). The bond proceeds were used by the City of Lavon, Texas, near Dallas, to reimburse the developer of the Grand Heritage master planned community for water, sewer, drainage and road improvements serving Grand Heritage.


Point of Contact's multicultural arts education program, EL PUNTO Art Studio, presents a multilingual experiential art studio workshop for youth between the ages of 6 and 14 in Syracuse, NY. Designed by Punto de Contacto – Point of Contact, this contemporary art seminar is facilitated in collaboration with local and guest artists and through partnerships with community-based organizations over the course of several weeks. These activities culminate in an installation of the work produced. This installation will feature a reception for the students, parents, and the general community. The reception will be free to the public and refreshments will be served.
El PUNTO 2019 offers a combination of artistic disciplines such as drawing, design, painting, and musical storytelling. Students will be able to transform conceptual ideas into the language of various mediums, to tell narrative stories in imaginative ways. Using auditory, visual and literary arts, students will be able to collaborate in an immersive program that allows them to celebrate their unique imaginations and storytelling abilities.
The workshops will culminate with an exhibition of the participant's final projects in the beginning of May at La Casita Cultural Center.
To sign up for EL PUNTO 2019 fill out the form below, email pointofcontactgallery@gmail.com, or call the Point of Contact Gallery at (315) 443-2169.
Does El Punto have permission to take pictures of your child?
Does your child have have any food allergies? If so, please list allergies.


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EtherType je šestnáctibitová hodnota v některých typech rámců linkové vrstvy, která udává protokol dat zapouzdřených v datové části rámce. Hodnoty EtherType byly poprvé použity v původním standardu Ethernet v poli Type. V prvních verzích standardu IEEE 802.3 však bylo stejné pole použito pro délku datové části rámce, a protokol datové části rámce musel být odvozen z polí DSAP a SSAP v hlavičce IEEE 802.2. Koncept pole EtherType se však ukázal natolik praktický, že jej IEEE 802 použilo v podobě pole Protocol ID ve SNAP rozšíření hlavičky IEEE 802.2.

Aby v sítích Ethernet, kde v poli Length/Type může být EtherType podle původního standardu Ethernet nebo délka dat podle standardu IEEE 802.3, bylo možné rozlišit, o který formát rámce se jedná, používají se v nových sítích hodnoty EtherType větší nebo rovné 1536 (0x0600); menší hodnoty mají význam délky.

Použití
Hodnoty EtherType začínají od 0x0800. V moderní implementaci Ethernetu může pole v Ethernetovém rámci, které obsahuje EtherType, obsahovat délku dat v ethernetovém rámci. Historicky podle typu Ethernetových rámců, které se používaly na určitém segmentu Ethernetu, byly současně povoleny obě interpretace, což vedlo ke kolizím. Při použití rámců podle standardu Ethernet II byly tyto oktety považovány za EtherType, zatímco podle standardu IEEE 802.3 za délku dat v rámci v bytech.

Hodnoty EtherType původně mohly být libovolné v rozsahu 0-65535. V mnoha sítích Ethernet se používaly rámce formátů Ethernet II i IEEE 802.3 současně, což vedlo k nejednoznačnostem v interpretaci významu pole Length/Type. Pro zamezení těmto nejednoznačnostem povoluje standard IEEE 802.3x z roku 1997 pouze hodnoty EtherType větší nebo rovné 1536 (0x0600). Tato hodnota byla zvolena, protože maximální přenosová délka (MTU) datového pole standardních rámců Ethernet 802.3 byla 1500 bytů (0x05DC). Hodnoty 1500 (0x05DC) a menší indikují, že pole obsahuje délku, zatímco hodnoty 1536 a větší indikují, že pole obsahuje EtherType. Interpretace hodnot 1501–1535 není definována.

Délka dat v nestandardních jumbo rámcích (obvykle okolo 9000 bytů) leží v rozsahu hodnot používaných pro EtherType, což způsobuje konflikt. Pro jeho řešení bylo navrženo používat speciální EtherType 0x8870, místo délky rámce.

Při 802.1Q VLAN tagování a QinQ se používají zvláštní 16bitové hodnoty EtherType, který nejen označují obsah datového pole, ale slouží také k ukončení VLAN tagování nebo QinQ zásobníku. Při dopředném prohlížení 16bitový EtherType pomáhají při rozpoznání 32+32+16=80bitové hlavičky QinQ umístěné před datovým polem za oběma MAC adresami. Z těchto 80 bitů se pouze 32 používá pro dynamické informace. Úplný 66bitový adresní systém vyžaduje 18 bitů za MAC. Proto jsou použity další EtherType hodnoty pro trojnásobné tagování QinQinQ ().

Konzervativní používání 16bitového Tag Protocol Identifier (TPID) pro každý 32bitový VLAN tag následované původní 16bitovou hodnotou EtherType vytváří 48bitovou signaturu, kterou sice nelze zaměnit s částí datového pole, ale jejíž používání je velmi neefektivní. Existují proprietární implementace, které těchto 48 bitů komprimují. EtherType obvykle neobsahuje kontrolní součet (CRC nebo FCS).

V sítích IEEE 802 i v dalších sítích, které používají IEEE 802.2 LLC (např. FDDI) lze hodnotu EtherType přenášet v Subnetwork Access Protocol (SNAP) rozšíření hlavičky IEEE 802.2. V sítích Ethernet (které patří k IEEE 802 sítím), ale převažuje používání formátu rámce Ethernet II.

Příklady

V seznamu EtherType hodnot udržovaném organizací IEEE mnoho známých protokolů chybí; například EtherType 0x6003 používaný DECnet Fáze IV má uveden pouze odkaz na firmu DEC.

Související články
 Ethernet
 Ethernetový rámec
 Podvrstva fyzického kódování

Reference

Externí odkazy
 IEEE Registration Authority Tutorials
 IEEE EtherType Registration Authority
 IEEE Public EtherType list

Ethernet
IEEE 802


text:
Theater|Review: Skewering White Pieties About Diversity in 'Admissions'
Review: Skewering White Pieties About Diversity in 'Admissions'
Ben Edelman and Jessica Hecht as a high-school senior and his mother, whose liberal beliefs are challenged during college-application season in Joshua Harmon's "Admissions."CreditCreditSara Krulwich/The New York Times
NYT Critic's Pick
Off Broadway, Drama, Play
1 hr. 45 mins.
Closing Date: May 6, 2018
Lincoln Center - Mitzi E. Newhouse Theater, 150 W. 65th St.
By Jesse Green
In her 15 years as the head of admissions at Hillcrest, a not-quite-first-tier boarding school in New Hampshire, Sherri Rosen-Mason has increased the student body's diversity quotient threefold: to 18 percent from 6 percent. When it looks as if that percentage is about to climb even higher, her husband, Bill Mason, the head of the school, brings home a bottle of white wine to celebrate.
The wine is not the only thing that's white in Joshua Harmon's "Admissions," which opened on Monday in a Lincoln Center Theater production at the Mitzi E. Newhouse. So are the well-meaning characters — and their conflicts.
That's a daring choice for a play about racial representation, but it's a dare that pays off. Despite some flaws common to its genre, "Admissions" is an extraordinarily useful and excruciating satire — of the left, by the left, for the left — for today.
The satire is largely aimed at the kind of pieties about inclusion that are espoused by woke white liberals. In "Admissions," these liberals include not just smug Sherri (Jessica Hecht) and Bill (Andrew Garman) but also their excitable teenage son (Ben Edelman), a high-achieving senior at Hillcrest.
Named Charlie Luther Mason — the "Luther," naturally, for Martin Luther King — he is by upbringing if not by temperament a believer in the amicable coexistence of meritocracy and diversity. But when he gets deferred from his holy of holies, Yale — and, worse, when his best friend, Perry, gets in — that faith instantly crumbles. After all, Perry's SAT scores weren't as good, and he takes only two A.P. classes while Charlie takes three.
Is it relevant to add that Perry is black?
Actually, Perry's mother, Ginnie (Sally Murphy), is white, and his father, Don, an English instructor at Hillcrest, is biracial. (We do not meet Perry or Don.) But who gets to "count" as diverse is one of the play's horrible-hilarious wrangles. In an argument with Roberta, a member of Hillcrest's development staff, Sherri insists that the school's admissions catalog must depict a student body that is visually diverse — so Perry, who is light-skinned, doesn't count. To comply, Roberta (Ann McDonough) has to stage photos that feature recognizably dark-skinned students, reading "The Bluest Eye" no less.
Perry may not be black enough for the catalog, but Charlie certainly thinks he was black enough for Yale, and accepted for that reason. In an astonishing 17-minute howl of disappointment, he undoes a lifetime of indoctrination as he dissects the logical fallacies on which, he feels, his parents' values — and Yale's, and Hillcrest's — are based.
Andrew Garman, with Jessica Hecht and Ben Edelman the Lincoln Center Theater production of "Admissions." CreditSara Krulwich/The New York Times
Is Penélope Cruz a person of color? Is Kim Kardashian? If so, why isn't, say, Marion Cotillard? And why does Perry's mother act as if "it's this huge achievement that a not totally white baby popped out of her vagina"? Should white people hate white people?
The evening I saw it, this line of thought had the audience roaring and clapping and then seeming to want to retract both responses as Charlie veered into ever more uncomfortable ideas.
That's good satire at work, causing us to think critically about people we don't at first recognize as images of ourselves. And the discomfort only deepens when Charlie, stung by his parents' reaction to his tirade — his father calls him a spoiled brat — reconsiders his position and makes a startling decision.
"If there are going to be new voices at the table," he says later in the play, "someone has to stand up and offer someone else his seat." By a method I will not spoil, Charlie proposes to do for diversity what his parents only give the appearance of doing, and in the process reinvent himself as a Great White Martyr.
But martyrs are not always as determined as mothers, and Sherri's tolerance turns out to be finite. Her assumptions of privilege, however unexamined, will not be denied. The crux of Mr. Harmon's argument, which is as tightly constructed as a finger-trap toy — almost every piece of information supplied at the start pays off by the end — is that hypocrisy may look a lot like love.
Satires don't usually go there. Recent racial comedies, like Branden Jacobs-Jenkins's "An Octoroon" and Bruce Norris's "Clybourne Park," have been built on ludicrously bad behavior, and let the results speak for themselves. "Admissions" is less extreme but also, as a result, harder to put across. The characters are caught somewhere between well-observed types and absurd caricatures. Sherri's mama bear ferocity is necessary to turn the plot, just as Charlie's hysteria about Yale is, but in real life both would be subtler. Of course, in real life this plot wouldn't happen.
That doesn't mean it shouldn't happen onstage. As in his previous plays "Bad Jews" and "Significant Other," Mr. Harmon is admirably unafraid of portraying incorrectness in the guise of sour comedy. In a way, Charlie is a combination of Daphna, the relentless scold of "Bad Jews," and Jordan, the whiny wallflower of "Significant Other." But "Admissions" is even better for being about something substantially larger than one character's unhappiness.
Still, I'm not sure that Daniel Aukin's warm and intermittently rollicking production finds the right tone. Though there are moments in which the mere placement of bodies on the Newhouse's thrust stage is enough to make you anxious, there are too many others that seem to pull back from the blinding clarity that's needed. (Mark Barton's lighting is way too gentle.) When the actors, generally working in a naturalistic vein, tear into their characters' most unhinged moments they seem to be grinding gears. You find yourself questioning the likelihood of their behavior when, ideally, you would be too breathless to study it.
No matter. One of the things the theater should be doing today, and rarely does, is lancing the boil of our own self-deception. "Admissions," as that pun of a title suggests, is a kind of confessional, except that no forgiveness is offered, or deserved.
Lincoln Center - Mitzi E. Newhouse Theater
Upper W. Side
lct.org
Written by Joshua Harmon; Directed by Daniel Aukin
Ben Edelman, Andrew Garman, Jessica Hecht, Ann McDonough and Sally Murphy
This information was last updated on Sept. 20, 2018
Follow Jesse Green on Twitter: @JesseKGreen.
A version of this article appears in print on , Section C, Page 1 of the New York edition with the headline: Deferment, in Black and White. Order Reprints | Today's Paper | Subscribe
Review: In 'Significant Other,' the Gay Best Friend Is the Odd Man Out
Tiny Space, Big Enough for Emotions
With 'Significant Other,' Joshua Harmon Happily Writes About the Unhappy
Off Broadway's Spring Semester: Five New Plays About School


So you're thinking of adopting lean manufacturing at your workplace, huh?
But what will you tell employees and managers? How will you explain lean to them?
In this article, we've got some ideas, suggestions, and tools for you to use. We think these can help you introduce lean to rank and file employees and managers. Then you can go on to get into these ideas in more detail and to introduce more ideas over time.
But that doesn't mean we've got the perfect list. So if you've been through this before, feel free to share your own ideas and thoughts. That's what the comments section is for at the bottom of this article.
You'll also notice we included the names and links to a few classic lean books. Again, feel free to recommend some of your own faves in the comments section.
We hope this helps you with your manufacturing training program.
Convergence Training are manufacturing training experts. Explore the links below to learn more about what we do.
Let's say you've heard about lean. You've read about it and you've studied it, and you're excited by it.
Even better, you'd like to introduce it at your workplace.
But how and where do you start? What are the things to mention on the first day, or the first few days?
So let's do it, huh?
Lean is a method for making a manufacturing process more efficient.
That process of "making a manufacturing process more efficient" is performed by identifying and focusing on value creation and getting rid of stuff that doesn't contribute to value creation.
Value is determined by your customers.
If they'd be willing to pay for a process or action so that it's part of the good or service they're buying, it's contributing value.
If they wouldn't be willing to pay for it, it doesn't contribute value.
And Then What Is Waste?
Waste is anything you're doing that doesn't create or increase value.
Once you've identified value, you can begin to identify, reduce, and eliminate the waste that doesn't contribute to value.
And that's what makes you more efficient.
Click the arrow button below to review what you just learned and then quiz yourself.
Muda: Something that doesn't add value to a process.
Mura: Unevenness in an operation.
This is the "classic" sense of waste that we've discussed throughout this article–anything in a process that doesn't contribute value.
Muda type 1: Doesn't add value as determined by the customer but is still necessary and therefore can't be eliminated now.
Muda type 2: Doesn't add value as determined by customer, is not necessary, and can be eliminated now.
As you probably guessed, lean efficiency efforts focus by definition on muda type 2.
Mura means unevenness or inconsistency.
An example would be having a production line in which materials "pile up" at one production stage, creating an inventory of unused materials.
Muri means overburden or unreasonableness.
An example would be a machine or worker that's overworked.
Muda, mura, and muri are three different concepts. Yet, they're related, and eliminating one can help you eliminate the others.
Click the arrow below to review what you learned and then quiz yourself on muda, mura, and muri.
So now you know there are three general types of waste.
We'll focus on muda (which, as you probably remember, is something you're doing that doesn't add value) for the rest of this article. But don't lose sight of the other two, and maybe we'll write more about them in the future.
Seven types of waste (muda) were originally identified by Toyota's Chief Engineer, Taiichi Ohno, as part of the Toyota Production System (TPS). They were also reprinted in the classic book Lean Thinking by James Womack and Daniel Jones. That book is a recommended read and it's where I've taken the list from.
Excess Transport: Excess movement of the work in process, which wastes time and other resources.
Excess Inventory: Excess inventory is a waste of cash and space. It requirements management and can become obsolete over time.
Excess Motion: When people have to spend more time walking from place to place for their job, or looking around for things in a messy environment.
Waiting: Time is money, and sitting around waiting is wasted time/money. Waiting can be caused by many things, including breakdowns, production bottlenecks, shortages of supplies, materials, and parts, poorly conceived processes without good "flow," slow or absent workers, and more.
Over Production: Creating more than demand. This is commonly considered the worst kind of waste, because it creates other forms of waste too. For example, if you produce too much, you've then got to use transport to move it to storage and use space to store it, plus it represents cash used to create it that you can't use for other purposes.
Over Processing: Work that's part of your process but that adds no value as determined by your customers.
Defects: Defective goods and/or rejects are a waste of time, money, and supplies.
If you take the first letter of each of these wastes, you'll get the acronym TIMWOOD, which may make it easier to remember.
Click the arrow button below to review what you learned and then quiz yourself on the original seven wastes.
As you'd imagine, since the original seven types of waste were listed, people have come up with others.
Maybe you can think of more examples of waste? What are some of your own ideas–write them below in the comments section!
One simple way to introduce lean to the workplace is begin with three aspects and build from there.
It's very common for companies just implementing lean to begin with 5S.
5S is a method for making a workplace more organized and efficient. Having a more organized, efficient workplace allows a company to increase value, decrease waste, and be more efficient.
It also improves safety, which is a great bonus.
5S is a five-step process. Each step was originally named with a Japanese word beginning with the letter "S." The English translations also begin with the letter "S," conveniently.
We've got the steps explained for you below.
The first phase of 5S is to sort. Sorting means taking stuff from the workplace if it's not needed for your work processes.
You can put that stuff in long-term storage, or maybe you'll dispose of it.
Red-tagging is a process to help you sort. You just go around the work area and put a red tag on everything that's unnecessary. Then, collect everything with a red tag on it, put all red-tagged items in a central holding area, and move each red-tagged item from the central holding area to an appropriate location (storage, trash, etc.).
After everything that's unnecessary has been removed, you should organize everything that's left so it's all in the best possible location.
This means putting things where they're easy to access when they're needed and so that their location helps to increase efficiency and decrease waste.
While sorting, consider marking areas with tape or paint so it's obvious what goes where. This is part of what's known as the visual workplace, which is a very important concept in lean.
Want more information about visual workplaces and visual communication? Check the book The Visual Factory by Michael Grief.
Below is a short sample from an online 5S training course. It explains the second S–straighten–and demonstrates putting things in their place and using visual communication to mark their place.
Once you've sorted and straightened, then clean up the workplace. That's what "shine" means.
So now you've sorted, straightened, and shined. The workplace is looking good and you're seeing more efficiency already.
But don't stop now. It's time to standardize to make sure things stay this way.
This means developing best practices to keep things as you've got them now and creating consistent procedures for performing jobs efficiently. To do this, include sort, straighten, and shine in people's job responsibilities so they'll be done consistently.
Remember, if you don't do this, things will return to "same old" quickly enough, and your gains will be lost.
The final element of 5S is to sustain. That means to keep it going. Change isn't easy, and if you don't keep feeding the lean fire, things will break down.
A great way to keep it going is to continue talking about it and make sure all employees feel involved. Welcome their feedback and insights.
Signs, posters, meetings, and other methods of communication can also help keep the 5S method and practices fresh and make sure things don't spiral out of hand again.
And it's important that management continue emphasizing their commitment to lean. Employees will notice this and act accordingly.
It's not easy to change a company's culture. Keep beating the lean drum.
Click the arrow button below to review what you learned and quiz yourself on 5S.
Job standardization is the process of developing the single best way for a worker to perform each job task, documenting that method, teaching workers to perform the task that way, and then making sure that's really how employees do perform the task.
Managers and the employees who perform the task as part of their job should develop the standard method for doing the task together. Managers shouldn't dictate this, as employees typically know the task better than managers do.
You may find this book on the Training Within Industry (TWI) "Job Instruction" article of interest if you want to explore this topic further.
Kaizen means something like "change for the better." (For more information, read our longer articles on kaizen and kaizen events).
Lean manufacturing depends on kaizen so that the company is always trying to improve, be better, create more value, and eliminate more waste.
The goal of kaizen isn't to make a single big change with drastic results. Instead, it's to create a never-ending series of small changes, each of which leads to small improvements. The total effect of all those small changes, however, is a large improvement.
Kaizen flips the traditional pattern of "change from above" upside-down. In kaizen, employees are given the power to make suggestions. In fact, one of management's key roles in a kaizen culture is to train workers about kaizen and to encourage workers to make suggestions for continuous improvement.
Once workers understand their role in kaizen and get used to doing it, they'll become more active, engaged workers. As a result, the process of continuous improvement will begin moving forward, little bit by little bit.
When employees see their suggestions implemented, and see the improvements that result over time, they'll get even more excited and will become even more active participants in the kaizen culture at your workplace. Soon you'll have a runaway snowball of kaizen! Kaizen will help you create a continuous self-improvement cycle–lather, rinse, repeat.
If you'd like to explore this topic more, you may enjoy this article on kaizen and/or this article on the related-yet-different concept of kaizen events.
But wait. You may be wondering if job standardization and kaizen aren't direct contradictions.
That's a good question, if you were. But actually, the lean idea of kaizen is closely linked with the idea of standard work.
In lean, it's considered important to have work done in a standard way, as we mentioned. But that doesn't mean the standard way to do work can never change.
If a worker comes up with an idea to make word more efficient (by increasing value and/or decreasing waste), the change is put into effect.
Then the change is monitored and the results of the change are measured. Those measurements are compared to earlier measurements of the same work process before the change occurred.
If the change truly did increase value, it's kept and a new standard is created. If the change didn't increase value, it's scrapped, and the company returns to the old method and/or looks for a new way to modify the process.
This process continues as long as the company does.
Click the arrow button below to review what you learned about 5S, job standardization, and kaizen and then quiz yourself.
Conclusion: What Else Should You Tell Employees about Lean?
So what do you think? How did we do?
Did we include the "right" stuff for introducing lean to your workers? If not, what might you add, what might you remove, or what might you change?
And what stories can you tell us based on your personal experience of implementing lean at real workplaces? What worked well? What didn't? Where were the big challenges and sources of opposition? Where were your big victories and successes?
Thanks for reading. We look forward to reading your comments. Let us know if you'd like to preview our online workforce training courses for manufacturers like you or our learning management system, designed to help administer training in a manufacturing environment.
Before you go, why not download our free MANUFACTURING TRAINING GUIDE, below?


Tagged with " Anton Kozikowsk"
Everybody congratulate DANIAL (and yes, that is spelled correctly) HEMME on his new slot as Creative Services Manager at Sinclair's WEAR, the ABC affiliate in Pensacola, FL. Danial was promoted from being what he calls the lowly writer/director. The Detroit native loves that Gulf Coast, even with the oil problems. He loves film and is intrigued by the horror genre. You should ask him about that. He's looking for someone to take a newly created post, that of Sr. Writer Producer, so if you're into palm trees and want to be around when the cleanup is complete, this is your chance. Well Dunne! Mr. H.
Former KPIX promo pro ANTON KOZIKOWSKI is now making films in Albuquerque and sends along this info: Anton says, "Hey! "Leather Kittens Gone Bad" Premieres Friday, 8pm at the Kimo ABQ! An all-girl band kidnapping producers and torturing them with songs and moves until their plan backfires. (no kittens were harmed during filming) Anton Kozikowski Producer".
Any of you reading this from The Conclave? If so, I hope you run into Well Dunne! Talent's RICH VANSLYKE who is attending.
Research shows that, yes indeed, thank you notes ARE elemental to business. Read about it here.
How to Write A Marketing Plan with 5 Questions. How enticing is that title? Yeah, it's the basics, but they're usually worth revisiting.


New Orleans hosted the 2015 USAV tourney this week. I had the opportunity to do Yoga with a team from the Dallas area each morning in their hotel, before they went to the Convention Center to compete.
They were looking for muscle stretch and calm before playing.
Out of over 300 teams, "my" volleyball team placed 13 in the junior nationals!
I am not short, but you can see from the first photo that height is relative!


Tracy Moore has held multiple posts, including president and vice president, with the Remodelors Council, a group affiliated with the Winston-Salem Home Builders Association. His hands-on involvement in the day-to-day scheduling and managing of AMB projects allows him to continually scrutinize all aspects of the process to ensure the best customer experience. He also volunteers his time regularly with organizations like Habitat for Humanity and Brenners Children's Hospital.
Love their attention to detail. Quality workmanship unmatched. Honest and local. Our go-to for home improvement and reno projects.
I used Dreammaker Bath and Kitchen for a whole house renovation and they exceeded my expectations. The design process takes time but that's to make sure that all items are addressed before construction starts. I would definitely use this company again and would recommend them to anyone.


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« Back to Articles
Analyzing Malt Flavor
By Scott Bickham (Brewing Techniques)
Most people can accurately describe a beer as "malty," but beer analysts often go a step further to identify a beer as worty, husky, or having grassy notes. The differences can be subtle and not necessarily undesirable in a beer. This article discusses the flavors that derive from malt, including the phenolic compounds that can give your beer a medicinal flavor.
When one speaks of malty flavors, it is usually in a positive light. Medicinal, phenolic flavors are not so highly regarded, although phenolic compounds can provide subtle background flavors that would be missed if absent. Strong concentrations of any flavor can be problematic, depending on the beer style. All of these flavors derive primarily from compounds present in the first and primary ingredient, malt, but the extent of their contribution to the beer's flavor profile is affected not only by the selection of malt but by several other factors in the brewing process.
This installment covers Classes 3, 4, and 5 of the Beer Flavor Wheel: cereal, caramel or roasty, and phenolic flavors. These flavors are listed in Table I with their related first- and second-tier descriptors. The box "Malts and Adjuncts as Flavor Sources" contains a summary of the flavors contributed by the most common base and specialty malts.
To view our selection of brewing malts and grains from Viking Malt, Briess Malting, Weyermann, and more, click here!
Cereal Flavors
The cereal flavors are classified as "grainy," "malty," or "worty." Grainy is further broken down into "husky," "corn grits-like," or "mealy" flavors.
One way to become familiar with the husky flavors class is to chew on spent grains or to taste the last runnings from the lauter tun, particularly if six-row malt or adjuncts were used in the recipe.
Grainy flavors: Husky. These husky, grainy flavors may be regarded as either desirable or undesirable, depending on the style of the beer, the intensity of the flavor, and the personal preference of the taster. They are appropriate as a background flavor in most pale lagers, particularly the American standard and Dortmunder export styles, but they should be more subdued in the American premium, Pilsener, and Munich Helles styles. The compounds responsible for husky flavors include the aromatic aldehyde cyclopentyl methanol, which is perceived as malty, husky, or strawlike. Melanoidins such as 2-acetylpyridine and trimethylpyrazine contribute similar grainy flavors.
These compounds normally are present at 5–10% of their flavor thresholds, which is sufficient to make an important contribution to the background. Excessive huskiness may result from oversparging or lengthy mash schedules, particularly if the temperature and pH of the water in the lauter tun rise above the recommended ceilings of 170 °F (77 °C) and 6.0, respectively, for example. The "corn grits" descriptor is similar to the aroma of corn meal or flaked maize.
Mealy. Freshly ground grain or flour would be characterized as "mealy." Although these comparisons are with raw materials, the flavors often carry over to the finished beer. Mealy flavors are not desirable and often result from overcrushing grains or allowing unconverted starches to pass through the lauter tun. Raw corn flavor would be appropriate in American standard lagers and cream ales that include corn grits as an adjunct, and it was probably an important component in the pre-Prohibition Pilsner style.
Malty flavors: These flavors reflect the presence of unfermented sugars, particularly maltose, maltotriose, and maltotetrose. Malty favors are favorably regarded in nearly all beer styles, with the exception of those that should be fully attenuated. Nitrogen-containing melanoidins such as the dimethyl pyrazines also contribute malty flavors.
Worty flavors: These flavors are similar, but tend to have a less refined character; like graininess, they do not appeal to all tasters because they are often perceived as cloying. In small-scale brewing, they are often a sign of an abbreviated fermentation, which can occur when the yeast has depleted its supply of nutrients or has been shocked by rapid temperature changes. Worty flavors coupled with vegetal or parsnip flavors indicate contamination by Gram-negative bacteria.
Recognizing the flavors: To learn to identify cereal flavors it is best to reference the flavors and aromas of the raw materials themselves. As mentioned earlier, for example, to learn to recognize mealy flavors one has only to experience the aroma of freshly ground grain.
One can learn to recognize malty and worty flavors by tasting the wort as it is being transformed into beer. The initial profile would be characterized as worty, but this fades as sugars are consumed and the malty character becomes dominant. Worty flavors can also be produced by doctoring a reference beer. I found that 1 tbsp of an unfermented starter (specific gravity 1.035) prepared from the second runnings of a batch of Doppelbock contributed a perceptible worty, caramel flavor to a 12-oz sample of an American light lager. One tsp of malt extract syrup dissolved in 2 tsp of hot water should have a similar effect when added to the beer.
Caramelized and Roasted Flavors
The flavors in Class 4 of the Beer Flavor Wheel are classified as "caramelized/roasted," with the first-tier descriptors "caramel" and "burnt." Both types of flavors derive from melanoidins, which are ring-shaped, aromatic hydrocarbons. The relative levels of these basic caramel and roasted flavors are determined not only by the type of malt but also by the mashing and boiling processes. Low-temperature kilning and simple mashing procedures favor the production of melanoidins with bready or biscuitlike flavors, which are desirable in most beer styles. More intensive thermal loading during malting produces more of the toffee and toasted malt character found in many dark German lagers. Finally, the high kilning temperatures used to make roasted malts produce flavors that are described as bitter chocolate, burnt, and even smoky. Burnt flavors can also originate from scorched grains in mashes that are not properly stirred, but the relatively low density of wort prevents roasted flavors from being formed during the boil. Nevertheless, direct firing of brew kettles and low-flow external wort boilers can impart distinct caramelized flavors to wort.
Caramel flavors: These flavors are broken down into the descriptors "molasses" and "licorice," which should be familiar to most tasters. Melanoidins with these flavors are formed through the reaction of reducing sugars with secondary amines, such as pyrrolidine, which is formed from the decarboxylation of proline (a primary amine). Crystal malt contains more of these compounds than pale malt, but most are below their individual thresholds in the finished beer, with the exceptions of maltol and iso-maltol. Another member of this family, pineapple furfural, has burnt sugar and (not surprisingly) pineapple flavors. In the Meilgaard flavor-unit system, these caramel flavors are acceptable as primary flavor constituents in some specialty beers, particularly dark ales. In fact, licorice and molasses are often used as adjuncts in porters and imperial stouts to accent these characteristics. Also, molasses flavors often develop in ales upon aging, in conjunction with sherrylike flavors. These flavors are appropriate in old ales, barleywines, and imperial stouts.
Table I: Malt-Derived Flavors in Beer*
First Tier
Perception†
Comments, reference compound
Class 3: Cereal
Grainy
O,T
Raw grain flavor
Husklike, chaff
Corn grits
Maize grits, adjuncty
Mealy
Maltose
Worty
Fresh wort, used in conjunction with other terms to describe infections
Class 4: Caramelized, roasted
Burnt sugar, toffee
Molasses, black treacle
Brewers' licorice
Burnt
O,T,M
Scorched aroma, dry mouthfeel, sharp, acrid taste
Bread crust
Charred toast
Roast barley
Roasted malt/barley
Class5:Phenolic
Tarry
Asphalt, pitch
Plasticlike, Band-Aid
Carbolic
Hospital-like, trichlorophenol
Iodoform
Iodophors, hospital-like, medicinal
*Information from reference 2, pp. 467–468.
†Perception key: O = odor, T = taste, M = mouthfeel
Burnt flavors: The burnt flavors have the second-tier descriptors "burnt toast," "roast barley," and "smoky." These flavors are primarily from nitrogen-containing melanoidins in the pyrazine and pyridine groups, in contrast to the bready/biscuit flavors in pale malt, which arise primarily from sulfur-containing melanoidins. Pyrazines and pyridines are prevalent in roasted barley and in chocolate and black malts, and they give stouts and porters their dark colors and distinctive flavors. Excessive amounts of these malts often result in a burnt, charred aftertaste, however, so the key to brewing these styles is balance and moderation. Even then, stouts and porters usually have a dry, slightly acrid mouthfeel that is unpleasant to some tasters. It is also important to differentiate these roasty flavors from the carbolic burnt flavors of some phenols, but this distinction is often difficult when evaluating a dark beer with fermentation flaws.
Malts and Adjuncts as Flavor Sources
Base malts: The base malts used in brewing are predominantly produced from six-row or two-row barley, with the latter subdivided into pale lager, or Pilsner, malt and pale ale malt. Pilsner and six-row malts are generally not fully modified and are kilned at relatively low temperatures (around 140 °F [60 °C]), whereas pale ale malt is fully modified and kilned at slightly higher temperatures. Thus pale ale malt produces a darker beer with some caramel and biscuitlike or bready flavors. Six-row malts have a higher percentage of husk material than two-row malts. Because most of the phenolic compounds in malt originate in the outer layers of the kernel, which includes the husk, beer produced from six-row malts tends to have higher levels of phenols than beer from two-row malts.
Specialty malts: In addition to these base malts, brewers use a wide range of specialty malts and adjuncts to provide additional flavor and color. The most common group comprises caramel malts, which are kilned at 140–170 °F (60–77 °C) while moist to saccharify the starches inside the kernel. This process extensively degrades proteins and increases the malt's acidity. After the starches have been sufficiently converted, the malt is heated in torrefaction (parching) drums to develop the flavor and color. The resulting malt varies from cara pils, which has a very light color of 2 °L, to dark crystal, with a color of 80 °L or higher.
Munich and Vienna malts are produced by cycling hot, humid air through the kiln, which partially converts some of the starches into reducing sugars. These sugars combine with amino acids through the Maillard reaction to produce the melanoidins that give these malts their characteristic biscuitlike or bready flavors. Melanoidin formation has been discussed in detail elsewhere, but it should be noted that this reaction will continue during the mashing and boiling stages of beer production.
Another group of malts relevant to the flavors discussed here are roasted malts such as chocolate and black patent, which are produced by kilning the malts at a series of increasing temperatures. These malts have distinctive bitter chocolate, burnt, or roasty flavors and darken the beer considerably. The roast barley used in stouts is made in a similar manner, but it is not malted. Smoked malts are still being produced using the traditional method of kilning over hardwood or lignin. Not only do these malts absorb lignin phenolics from the burning fuel, but also some of the native phenolic compounds in the husk may be chemically transformed by the heat.
Adjuncts: Several adjuncts are also used to provide caramel or roasted flavors to beer. Caramel syrups are produced by caramelizing sucrose or starch syrups with a high glucose content. Ammonia is sometimes used to increase the yield of this process, but this results in the formation of 4-methylimidazole, which is toxic to some animals. Malt-based colorant is also produced by conventionally mashing roasted malt and then concentrating the wort into a syrup similar to the process used to manufacture malt extract. Other adjuncts that impart these types of flavors are molasses, treacle (a blend of molasses, invert sugar, and corn syrup), and brown sugar.
Recognizing the flavors: To become familiar with these flavors, one should taste as many different types of roasted and caramel malts as possible. It is also possible to produce these flavors in a reference beer by adding a tablespoon of a melanoidin-rich wort starter to a 12-oz sample of reference beer, as described in the malty/worty section. Caramel and molasses flavors may also be produced by dissolving 1 tsp of dark corn syrup or molasses into 1 tbsp of hot water and adding the resulting mixture to the reference beer. (This experiment will require the removal of about half an ounce of liquid to make room for the adulterant.) These amounts were sufficient for my palate, but your mileage may vary.
Phenolic Flavors
The last class of flavors contributed by malt are phenolic flavors, which were discussed in detail in Steve Alexander's recent BT article, "Fear of Phenols: A Guide to Coping with Brewing's Most Contrary Chemicals." Alexander provided an excellent introduction to the origins, chemical structure, and flavoring effects of phenols in beer. The information here complements that article, focusing on the most common phenolic flavors and identifying their probable origins in the brewing process.
The phenolic class of the Beer Flavor Wheel is broken down into "tarry," "Bakelite," "carbolic," "chlorophenol," and "iodoform," descriptors as shown in Table I. Other common descriptors are "medicinal," "clove," "Band-Aid, "and "electrical fire," so phenols clearly can produce a wide spectrum of flavors. Although the descriptors on the Beer Flavor Wheel were designed to be familiar to most tasters, "Bakelite" may need some clarification. It refers to a plastic developed in the 1920s that is used to make a variety of products ranging from costume jewelry to capacitors. It produces a slightly smoky, plastic- or Band-Aid-like aroma when cut or sanded, so these descriptors might be more useful.
Although these descriptors all sound negative, it should be noted that beers that had been stripped of all phenols were formed to be dull-tasting by a taste panel. Thus, when phenols remain in the background, they contribute positively to beer flavor.
Phenols from malts: The primary source of phenolic compounds in beer is malt, although most of these compounds can be released only through mashing. For this reason, intensive mashing procedures such as triple decoctions favor the release of more phenols into the wort, although usually at levels well below the flavor threshold.
Table II: Troubleshooting Cereal, Caramel, Roasty, and Phenolic Flavors
Origin/Remedy
Oversparging, alkaline or hot sparge conditions
Reduce sparge volume, pH, or temperature.
Too much corn-based adjunct
Reduce amount used.
Overcrushing grain, starch in wort
Coarser crush, more thorough mash procedure.
Too much malt, high saccharification temperature
Reduce malt and saccharification temperature.
Abbreviated fermentation
Raise fermentation temperature, repitch yeast, or add yeast energizer.
Excess caramel
Excessive use of caramel malts
Reduce caramel malts.
Excess roast
Excessive use of roasted malts, scorched mash
Reduce roasted malts, monitor and stir mash.
Medicinal, plastic, smoky
Phenolic compounds, usually from wild yeast
Obtain fresh yeast and watch sanitization.
Chlorophenol, iodophor
Reaction with sanitizers
Rinse thoroughly, avoid using plastic and rubber hoses or fermentors immediately after sanitizing.
Oversparging and sparging with alkaline water also promote the extraction of phenols from the grain husks. It has also been shown that the extraction of phenols from malt also depends strongly on the malt-to-water ratio. Worts produced from thin mashes with a ratio of 1:4 and 1:5 contain higher levels of phenols than those produced from more concentrated mashes with a ratio of 1:3, which is equivalent to 1.5 quarts of water per pound of malt. Some common phenols found in wort are hordenine, 4-vinyl guaiacol, vanillin, and syringaldehyde, catechin, and epicatechin. These compounds are formed by the thermal breakdown of phenol–carboxylic and hydroxycinnamic acids, and although vanillin and syringaldehyde are metabolized by yeast, the others are carried over to the finished beer.
Phenols from hops: Phenolic compounds from hops primarily include phenolic acids, proanthocyanidins, and flavonols, but the amount of hops used is small compared to malt, and the phenolic compounds contributed are thus minimized. This implies that these phenolic acids do not precipitate nor are they metabolized by yeast, but their contribution to the overall phenol level is still generally insignificant compared with compounds derived from malt.
Effects of fermentation: Although the phenols in beer primarily originate in the malt, the flavor levels can change dramatically during the fermentation process. This fact is particularly true with ales, since many top-fermenting strains are capable of decarboxylating cinnamic acids to produce the more flavor-active phenols. In particular, the Saccharomyces cerevisiae strains used for Weizens produce extremely high levels of 4-vinyl guaiacol, which has clovey notes. Vanilla is another phenolic-based flavor that is commonly encountered in Weizens, and some Scottish-ale yeast strains are also reputed to produce low levels of smoky phenols.
Some wild yeast strains and, less frequently, enteric bacteria, produce high levels of less desirable phenolic flavors. Bakelite or plasticlike flavors are usually attributed to phenol, cresol, and 4-vinyl phenol, whereas isoeugenol is described as "dental antiseptic" or clovelike. Other phenols such as 4-ethyl syringol and 4-vinyl syringol have smoky characteristics. These contaminants also produce high levels of polyphenols, which are linked chains of phenolic rings that have very little aroma, but produce an unpleasant, mouth-puckering astringency.
Reactions with sanitizers: Another common source of phenolic flavors is the interaction of wort or beer with sanitizers, particularly those containing chlorine or iodine. This reaction generally results in chlorophenols, which have a disinfectant-like, medicinal flavor, and iodine-containing phenols have very similar characteristics. Although one can usually detect these compounds at concentrations as low as 5 ppb, a significant percentage of the population is completely insensitive to this flavor. Chlorophenols are readily absorbed by fermentors and hoses and passed on to the beer as it is being transferred, so these materials should be thoroughly rinsed and aerated after contact with sanitizers.
Recognizing the flavors: Several of these phenolic flavors can be used to doctor a reference beer. An excellent sample can be prepared by adding 0.4 mL of Vicks Chloraseptic mouthwash to a reference beer, which is approximately equivalent to adding 1/3 tsp of solution of ⅛ tsp Chloraseptic plus ⅜ tsp distilled water to a 12-oz sample. Although the source of the clovelike flavors in beer is 4-vinyl-guaiacol, this compound is not readily available. An alternative that comes close is to use actual cloves; I found that adding 4 tsp of a solution prepared by soaking several cloves in 3 oz of beer was sufficient to doctor a 12-oz sample of a reference beer. Although artificial vanilla extract will give vanilla flavors, the ethanol in the solution may compromise the tasting experiments. The chlorophenol and iodophor flavors are not as easy to reproduce because they require the chemical interaction of the sanitizer and phenolic compounds in the beer, but it usually takes only one encounter with them in an affected beer to sensitize one's palate to these objectionable flavors.
Good and Bad Malt Flavors
The cereal flavors discussed here are a result of using grains in the brewing process and are therefore appropriate in most styles. Caramel and roasty flavors are also malt-based, but according to the Meilgaard flavor unit system, they are usually found at significant levels only in specialty beers. This includes a significant number of styles, including most ales and amber and dark lagers. Although some phenols are desirable in beer as a background constituent, the perceptible levels of the flavors covered here usually indicate problems in the brewing process that should be addressed. Tips for troubleshooting inappropriate levels of these flavors can be found in Table II.
In the next revolution of the Beer Flavor Wheel, we will characterize the last class of malt-derived flavors, which includes those categorized as "grassy," "green," or "nutty." Also in this class are resinous flavors, which will enable us to make a transition to hop-derived flavors and finally to alcohols and esters. We will then turn our attention to aromatic compounds either derived from hops or produced in the fermentation process.
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Orange marigold flower blossoms in bloom.
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Red and white tulips in a flower garden.
Pastel purple lilac bush in bloom.
Blooming purple lilac flower bush with large blossoms.
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Unique rare orchid flower design.


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Home | The Blog | October Dreams 2 — Last Chance to Order the SIGNED Trade Hardcover!
October Dreams 2 — Last Chance to Order the SIGNED Trade Hardcover!
This weekend will be your last chance to order SIGNED copies of the TRADE HARDCOVER of October Dreams II edited by Richard Chizmar & Robert Morrish, the long-awaited follow up to one of the most acclaimed Halloween anthologies ever!
The editors will be making time to personally sign these trade hardcovers and since neither of them do many book signings or conventions these days, it's likely you'll never have another chance to get your book signed by them! Order the special signed trade hardcover on the October Dreams II page before time runs out!
Featuring Ray Bradbury, Dean Koontz, Robert McCammon, Robert Bloch, Stewart O'Nan, Glen Hirshberg, Joe R. Lansdale, Al Sarrantonio, Whitley Strieber, Lisa Morton, Matthew Costello, Elizabeth Massie, and dozens of others, this oversized volume will contain spooky Halloween short fiction, dozens of authors and artists recalling their own personal memories of Halloween, and essays detailing the "history" of Halloween.
Many of the contributing authors will also autograph the signed editions, which we don't expect will last long considering the popularity of the original October Dreams and the low print runs we have planned for these special editions!
The long-awaited follow up to one of the most acclaimed Halloween anthologies ever! This oversized volume will contain spooky Halloween short stories, dozens of authors and artists recalling their own personal memories of Halloween, and essays detailing the "history" of Halloween. Many of the contributing authors will also autograph the signed editions, which we don't expect will last long considering the popularity of the original October Dreams and the low print runs we have planned for these special editions.
via Cemetery Dance.


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        $escapeHtml         = $this->getEscapeHtmlHelper();

        $content = sprintf(
            '<textarea %s>%s</textarea>',
            $this->createAttributesString($attributes),
            $escapeHtml($content)
        );

        $this->view->headScript()->append('/ckeditor/ckeditor.js');

        return $content . '<script>CKEDITOR.replace(' . $element->getName() . ');</script>';
    }
}

redpajama_set_name: RedPajamaGithub