You can also use this form to renew your membership via the mail.
A tax receipt can be sent to you if you purchase a membership of more than $10 per member 19 years of age and over. The lifetime membership fee does not come with a tax receipt.


This Peppermint Mocha Caffè Mocha is the ultimate indulgence when you are looking for a cozy hot beverage.
COMBINE espresso and Nesquik in coffee mug. STEAM milk and Coffee-mate together using espresso machine or microwave on HIGH (100%) power for 1 minute or until very hot. Pour over espresso. Lactose intolerant? Substitute water for milk.


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Home News Covid-19 Updates
Garage sales are a go; clarity on bars and restaurants and Albany County death toll climbs by one
by Jim Franco
in Covid-19 Updates, News
ALBANY — Garage and yard sales are a go.
County Executive Dan McCoy said the state will allow sales, but with a 10-person limit, provisions to allow social distancing and if customers and hosts wear masks.
Also, during the daily meeting with the control room Wednesday afternoon, McCoy said there was some clarification on how restaurants can conduct outdoor dining.
Many restaurants are already utilizing tents in parking lots or on front walks. On Wednesday, the State Liquor Authority granted a uniform waiver allowing restaurants to serve food and alcohol on municipal owned property if streets or sidewalks can be closed down to allow more room to achieve social distance protocols. The SLA waiver also allows serving alcohol on other private property adjacent to or near the establishment. For example, if an owner wants to rent a lot to set up a tent for tables.
Bars and restaurants, though, do need to provide a seating diagram to the state showing how they will accomplish social distancing. It doesn't need a formal approval, McCoy said, but it has to be on record to protect patrons and business owners.
Restaurants have been offering take out since mid-March, and were initially slated to offer in-house dining in Phase III. In a surprise move last week, Gov. Andrew Cuomo gave restaurants the OK to offer outdoor dining provided they can accommodate social distancing protocols.
The eight-county Capital District is set to begin Phase III on Wednesday, June 17 at the latest. The numbers are such it could come sooner, and restaurants with indoor dining and personal care establishments like nail and tanning and tattoo parlors could open with safety protocols in place before that date.
Meanwhile, a woman in her 80s with underlying health conditions died from Wednesday to Thursday, bringing the total number of county coronavirus fatalities to 117.
On Thursday, there were 1,813 positive cases in Albany County with 469 under mandatory quarantine and 1,553 who tested positive and recovered. There are 13 residents in the hospital for a rate of .71, said County Executive Dan McCoy during his daily press briefing.
All but two of the 117 fatalities were older than 60 and all but two had underlying health issues.
Unlike Other states and countries that have seen a spike in the number of infections as they reopen businesses and people are otherwise beginning to engage in social activities, New York has not seen a significant number of new cases.
But, said Dr. Elizabeth Whalen, head of the Albany County Health Department, while the Capital District began Phase II on June 3 without a spoke, it doesn't mean things are back to normal.
"The numbers are encouraging, but one thing I can say for certainty is, that despite their improvement, the numbers indicate that COVID-19 is still around and it is still incumbent upon all of us is to continue to protect ourselves," she said. "The best strategy is the continued widespread use of testing. If you have symptoms, or if you have been exposed of if you have been in a high risk situation like a mass gathering please get tested. It is only through early identification, isolation of positive cases and quarantining of contacted individuals that we can continue to stop the spread."
EDITORIAL: Our conditional endorsement of school board candidates
The Spotlight area restaurant list: June 11-15, 2020

redpajama_set_name: RedPajamaCommonCrawl


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Support sought for new, larger chapel at OSF HealthCare St. Joseph, Bloomington
By: Tom Dermody - July 6, 2018 - Uncategorized
An artist's rendering of a new chapel planned for OSF HealthCare St. Joseph Medical Center in Bloomington. (Provided photo)
BLOOMINGTON — As OSF HealthCare St. Joseph Medical Center marks 50 years at its current location, plans are being finalized for a new, larger, and more prominent chapel to serve the spiritual needs of patients, families, and hospital staff.
A proposed $1.5 million expansion and renovation project would result in a 3,000-square-foot chapel between the main hospital entrance off Washington Street and the emergency department.
"The current chapel is located where our front door once was," explains Chad Boore, eastern region CEO for OSF HealthCare, in a video introducing plans for the new chapel. "And so for the first 45 years of this building, the chapel was very visible."
Because of recent expansions and renovations, the chapel is now nearer to the facility's center and can be difficult to find.
"The new design will make sure everyone knows for sure its location, not only from the exterior of the hospital, but also from the interior," added Deacon Gayle Cyrulik, manager of chaplaincy services at OSF St. Joseph. "This is just realigning things the way they should be by the original design."
There will be an illuminated cross outside the chapel, and a garden of remembrance is planned. Moveable seating will accommodate 76 chairs that may be rearranged depending on the physical needs of attendees.
Construction is expected to begin next spring with the new chapel opened in early 2020. A new use for the existing chapel space has yet to be determined.
FUNDRAISING ONGOING
A majority of the funding is coming from OSF HealthCare St. Joseph Foundation's unrestricted funds; however, more than $425,000 has been raised by the community and OSF St. Joseph employees. Donations are being sought to raise the final $175,000 needed.
"Our mission partners here at St. Joseph have totally engaged this chapel project and done so many fundraisers for it," said Deb Smith, vice president of nursing and operations. "But we need the community's help. We can't do it alone."
For more information, call Kimberly Scheirer, OSF HealthCare Foundation Eastern Region philanthropy director, at (309) 665-4902; email kimberly.k.scheirer@osfhealthcare.org; or view the video at osf.foundation/chapel.


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Carpet is a great option that you may want to consider when putting in new floors. Carpet is usually soft, safe, warm, plus quiet. Professional flooring company can provide quality stain resistant carpet and gives excellent pricing. Carpet is likewise tested to trap allergens, that can be easily removed along with regular vacuum to aid your breath easier. It is comforting for the foot and it also demonstrates as a great insulation item to suit your needs and your family members. It is especially ideal if you have kids at home that operate around the house carelessly.
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The room was regal for the Midwest.
There were plaques and awards on the walls, and shelves full of unread books. A typewriter sat on the desk, the newest, best, and lightest model, given to him by the local paper on the day of his mayoral victory. Tobacco smoke lingered, thanks to all the cigars stuffed into the ashtray. The moonlight was bled away by the incandescent bulbs that were installed only a few years ago, after the boys came back from France.
He stared at his room, the center of his little empire, all his accolades and trophies. He would get out of this one. He knew it. He had his ace, after all.
Stan walked in. The open door let the sound of Lilian's typewriter spill into the room. As soon as the door closed, his footsteps filled the silence. He was tall, and his jaw square. He ran his fingers through his hair, which was matted. His suit was nearly dripping with sweat. He'd been the go-between for the strikers and the paper mill and the mayor's office all day. He was harried, exhausted, but keeping his feet quite well.
"Hello, Mister Mayor," he said as he put his hand on the guest chair's cracked leather.
"Have a seat, kid," said the mayor. He poured Stan a tall glass of scotch, no ice, in a highball glass.
Stan sat and gulped the drink, taking it all down in one go.
Stan took the drink again, cowed. He didn't drink nearly so fast this time.
Another man came through the door in a dark suit, unannounced. He carried a briefcase. Stan could tell it was heavy by the way he carried it, and the sound it made when set it on the desk. The man whispered in the mayor's ear as they both stood. The mayor nodded along gravely, hanging on every word.
The man in the dark suit passed Stan on his way out, and he knew: it was Boscowe's man. He recognized him from the plant, now shuttered thanks to the lockout.
Stan took another drink. The scotch burned.
Stan repeated the words back to him. The Mayor nodded, satisfied.
"Good, good." The mayor rose from his chair, walked out from behind the desk. He put a hot hand on Stan's shoulder. "I knew I could count on you." He reached over, taking the briefcase off the table, and put it directly into Stan's hand. It felt thick and heavy, like it was filled with newsprint, newsprint like his father had made, newsprint that made the city stink like death.
His father. He'd been so proud of him, son of a mill worker, gone to work at city hall. So proud.
With the briefcase in his hand, he let all his questions die. There was nothing to ask. He was given a task. That was all, just a simple task.
He walked to the train station, with the briefcase in his hand.
Thunder and lightening and rain, he thought to himself as he walked the quiet streets. Thunder and lightening and rain.
Stan let the drink sit on the desk in front of him. He didn't touch it.
"I lost my taste for it," said Stan.
Stan said nothing, his face looking like stone.
Stan's face betrayed a flicker of heat. Quickly, he tossed some dirt on it, letting it smolder out of sight.
Another man came through the door, unannounced. Stan shot a look his way; he recognized him instantly. It was a company man, Boscowe's man, someone in the mill's pockets. He carried a large briefcase with him. He wondered, absently, what was in it, before he could bring himself to admit he knew exactly.
City hall. That's who he was, to his family, to his father. His father had been so proud of him, his boy, too smart for the factory floor. He was destined for better things, greater things, not wasting away in a paper mill that made the city stink like death.
Stan put his hand on the doorknob, and remembered what his father used to call him.
The mayor was giving him another stern volley when he closed the door shut, hard. He nodded to Lilian, white as the sheet in her typewriter; she had heard the commotion through the door.
He walked out of city hall that night. In the back of his mind, a sliver of dread ate at him.
He was afraid of the bullets, the clubs and fists.
The Pinkertons were coming. And there was nothing he could do but prepare for war, and find some sleep to fix the feeling in his stomach.
"That is what we told the papers, isn't it?" Stan lit a cigarette with a lighter from his own coat pocket. He offered the mayor one before returning the carton to his coat-pocket.
A man walked in, unannounced. He wore a dark suit that Stan recognized instantly. He set a briefcase on the table with a heavy 'thud.' He whispered in the mayor's ear, whose owner hung on every word.
After he was finished, the mayor let the man leave, waiting to talk until after the heavy door had clicked shut.
"Stan, Stan my boy. I've known you for a long time, long time." He took another gulp from his glass.
Stan took a cigarette out of his pocket, along with a silver lighter, the one his father had given him on the day he began working for the mayor. He lit it, and inhaled. Smoke began to curl around his head into a halo.
Stan repeated. "Thunder and lightening and rain. I understand completely." He repeated the words to the mayor again, moving his hands just as the mayor did.
"Naturally, you can trust me, Mister Mayor. Of course. Just rest easy. I'll take care of everything. Just like always" He took up the briefcase in his hand. He was surprised how heavy all those bill stacks felt.
The mayor felt the weight fall from his neck. He sat back in his chair, sinking into the leather. Soon, he fell into a drunken sleep. Lillian came in and put a woolen blanket around his shoulders.
He awoke with a start, to the sound of a ringing telephone, and a room filled with dull morning light. Barely conscious, he answered. He recognized the voice immediately.
The news streaming from the other end of the line turned his face sheet white.
Stan walked in, clean and shaven. His small office was close enough to hear the mayor's angry scream. "Good morning, Mister Mayor. Is everything all right?" It took all his will to keep a smile from reaching his face.
The mayor sat in silence as Stan made his way to the door.
He walked over the carpet, past the books that no one read, making his way out the door. As he did, he heard the phone ring.
It rang over and over. He clicked the door shut behind him.
Through the door, he could hear it ringing, still.


I couldn't believe it when I found out Spyro was being remastered. I thought Crash Bandicoot was amazing, but Spyro was the game in my teens. I brought the original games when they first came out. Infact, I've still got them. Even now, I still play them on my PS1 occasionally. I used to think Spyro was wonderfully squishy then. But when I saw him for the first time, I'll be honest, I squealed (I know, I'm a big kid). He was made so life-like, I couldn't help but want to squeeze the cheeks on his squishy face. What made it even better was The fact that three of the best Spyro games were remastered. Spyro The Dragon, Spyro 2: Ripto's Rage! and Spyro: Year of the Dragon.
The cannon is loaded and ready.
The game was developed by Toys for Bob and published by Activision. I realise I'm biased, but they did an amazing job. The gameplay was as I expected, virtually the same as the original. But that's exactly what I was hoping. It was the graphics that did it for me. They were just so detailed. You could actually see the worlds as they were ment to be seen. There was so much more definition and depth. It was easy to see how much time and devotion has been given when remastering the levels. When Spyro went through the snow, he left prints behind. When using his fire attack, the ground and surrounding area would become scorched. The fire even illuminated a darker room. Then, of course, there's Spyro. When I took my first look at a more sleek, defined Spyro. It was like looking at an old friend the way you always imagined he'd be. Spyro pranced and charged with much more elegance. Spyro's wings and horns were more emphasized and much more prominent. I was just overjoyed with how Spyro looked. Yes, once again, I'm biased. I don't care.
The game music was basically the same as I remember. I couldn't help but bop along to it. It was like a walk down nostalgia lane. Even the smallest of details, such as the sound as the gems being freed from a strong chest. It's became my favourite sound. The controls used were practically the same as the original games, so I found handling Spyro very easy to do. To be honest, if I was playing the game for the first time, I'd still find him easy to control. Spyro is such an easy and fun platform game, that is easy to get lost in. Even Spyro's charge movement was the same as I remember. It's still easy to lose control of Spyro when he's stampeding, especially around corners. I can't count the amount of times I ran off the edge or head butted a wall. It took a number of tries to get it right. It was worse on the Tree Tops level, on Beast Makers home. Almost every walkway was a supercharge ramp. It was quite confusing, trying to work out which supercharge ramp to use to get to the third dragon. In the end I needed to use three different supercharge ramps to get there. Then, of course, there's the speedway levels. These are the levels where Spyro glides along a course, using spot-on precision to hit every item. The rings and arches were relatively easy. But items like the chests, lamps, aeroplanes, etc were a lot harder to hit. I found these levels took the longest, if I wanted to get all the items in one go. In one speeches level, I finished it completely with less than a second to spare.
The one thing I noticed with the reignited trilogy is the game seemed easy in some places and then difficult in others. I don't mean unbeatable difficult. I mean an annoying, I want to throw my controler, difficult. Yet, as soon as that part was completed I start thinking, why did that take so long. The game has been made child friendly. Personally, I think that makes the game even better. It means that a new generation of gamers can understand why myself and my peers loved Spyro so much. I noticed there were only a few differences between the original games and the reignited trilogy, as well. But this was mainly the cut scenes in the game and tweaks to some of the characters. Such as the dragons Spyro had to find in the first game, they had clothes on. It's these small things that can only be noticed by someone who played the original games.
When it comes to Spyro, I can't help but say how fantastic the games are. I enjoyed the time it took to play all three of them. Even the annoying parts were worth completing. All three games were fun to play and I found it difficult to put the game down. It doesn't matter if, like me, you played Spyro when they first came out or the reignited trilogy is the first time you've played it. The game is perfect for gamers of all ages. If you like platform games that are easy going and relaxing to play (for the most part). I definitely recommend this game.
Until Dawn is one of my favourite horror games. The game is mostly exploration, quick-time events and decision-making. Not only does it make me think, it still has the potential to make me jump. So, I thought it was the perfect game to play over Halloween. Especially since it gives me the chance to choose the good ending or the bad ending. Don't get me wrong, I've completed this game more times than I can count. Including collecting all the trophies, to get a PS4 platinum trophy (very proud of that). Another thing I like about this game is that it works on the butterfly effect. I'm sure you all know what that means. The most rational explanation of it is, the flapping of a butterfly wing can cause a tornado somewhere else. It's safe to say that small events can have a quite big effect.
That is exactly how the game is played. I have to chose certain small event to create the biggest consequence. And, sometimes, these small events have nothing to do with the ending. Take Sam, for example. Early on in the game Sam goes down to the basement with Joshua to turn the boiler/power on. If you take the time to look in the cabinet where Josh is, before following the QTE, you'll find a baseball bat. This gives Sam the chance to talk to Josh about it, then place it on the other side of the room. Now, this may not be important to the ending, but it is to Sam. You see, later on in the game Sam is chased by the psycho. This is where you really have to be quick with the QTEs. At some point, Sam will run to the basement. If you choose to hide, the baseball bat will be right where Sam put it earlier. Giving her the chance to hit the psycho with it and run away. However, if you didn't pick up the bat in the beginning and you choose to hide. There's a good chance the psycho will over power Sam and knock her out. On the other hand, if you've played the game as much as I have, you'll know which buttons to choose to evade the psycho, without even having to use the baseball bat.
Another thing I like are the totems. These are collected throughout the game. There are five sets of totems to find and they all have some influence on the game. They are used as a guide, as long as the player knows which decisions to make, they are great way to steer the player to the desired ending. However, if you've played the game in a certain way, the outcome of following the totem may not give the desired effect. But, we'll get to that in a bit.
The Death Totem – Black totems or butterflies, shows the character's possible death.
The Danger Totem – Red totems or butterflies, shows a dangerous event that a character could experience.
The Loss Totem – Brown totems or butterflies, show the possible death of another character.
The Guidance Totem – Yellow totems or butterflies, show visions that can guide/help the player.
The Fortune Token – White totems or butterflies, Show visions of good fortune/luck.
As I said earlier, the visions shown by the totems will only help if the correct decisions have been made. For example, when Matt and Emily are at the top of the radio tower, a guidance token shows Emily giving Matt the flare gun. If you find the flare gun and give it to Matt there may be a chance he fires the flare gun straightaway. Which means he won't have it later on in the game where he might need it. This is because the player has decided to play Matt as a pacifist. Every time he agrees with Emily, you don't get the choice to save it for later. So, when the time comes to choose between saving Emily or jumping to safety. If the player chooses to save Emily both times, Matt will die because he has nothing to defend himself with. Remember what I said about small decisions causing big consequences. But, here's the kicker, even if Matt had fired the flare gun, Matt would have survived if the player had chosen to jump to safety. Which means the totem is kind of useless. Personally, if I'm playing for the good ending, I'd choose for Emily to keep the flare gun. This means, when Emily is running from the Wendigo, I can shoot it with the flare gun and then hit every QTE. This stops Emily from being bitten and the game skips the 'Emily has been bitten' scene.
It's the same with the collectables. Collecting certain items help to trigger certain scenes or determine future events. Take the twins clueline. The player needs to find Hannah's tattoo card, the picture of Hannah showing her tattoo and the scrawled journal, to ensure Josh's survival until dawn. Collecting all the mystery man, twins and 1952 clueline really does help develop the story as the game is completed. A lot of the twins clues show what happened to them after they fell at the beginning of the game. Mystery man clues reveal the stranger on the mountain and how Josh became the psycho. The 1952 clueline reveal what happened in the sanatorium, including where the Wendigos came from.
I can honestly say that I can play this game over and over again. You do have to play the game through at least once to understand how it works. You can then start again to create the desired ending. One thing I will say, do the 'no-one survived' ending before the 'everyone survived until dawn' ending. Personally, I felt better knowing that everyone survived in the end. Rather than finishing the game with everyone dead. It's probably just me being a softie, but who cares. There's nothing better than finishing the game with everyone alive.
I knew, before I even put it on. Ghost and Goblin's is one of the hardest games to play and no matter how many times I try, I can't get past the first level. Guess what, this time was no different. But I am getting better. If it's not the zombies and ogres, it's the bats and the birds. Those birds! The amount of times I thought, 'Great, I got past that, finally'. And what happens, a bird comes along. A bird! The first time I played this game was on my C64 and I think I was just too young to realise how frustrating the game really is. Or how weird it is.
Ghost and Goblin's is a slide scrolling platform game, developed by Capcom. It was first released in arcades in 1985, before being ported to other platforms. The main plot of the game is to get the Knight, Sir Arthur, through a series of levels to rescue his kidnapped bride from Satan's palace. The game is as basic as it is difficult. All I had to do is run, jump and climb my way through six levels. Simple, right? Not so fast. While I'm running, jumping and climbing, I'm also avoiding every enemy that tries to stop me reaching my bride. I've got zombies running at me, then rising out of the ground when I least expect it. There are birds flying at me when I get close enough (yes, I'm going on about birds again). The ones that are just sitting there like butter wouldn't melt, I mean. Others just fly at me, sometimes two at a time. They're half the reason I keep dying! There are ogres that take a number of hits before they die. The same goes for the bosses at the end of each level.
When it comes to playing this game, I find I'm more reliant on my reflexes. Mainly because the monsters can come at me so quickly, that I have to make a split second decision to duck, jump out of the way or shoot. I'll admit, this doesn't always go well. Especially since Arthur can only take two hits before he dies. The first hit takes off his armour, to reveal his heart covered underwear. The second hit will turn him into a pile of bones. Which will start the game back at the beginning or in the middle of the level. Depending on how far I've got in the game.
The weapons that Arthur uses can also determine how far I can get. Since some weapons are better than others. Arthur starts with a lance. This one is quite handy, especially with the distance it covers. I can kill bosses from further away. Other weapons that can be picked up are knives, axes and flaming torches. The knives are the same as the lances, they have a distance to them. Where as the axes and flaming torches are more up close and personal. Since Arthur can only fire left and right, it can be tricky with the enemies that fly over. So, I find the best strategy is to run, jump and dodge my way through.
Fact is, people either love the game or they hate it. Me personally, as frustrated as I get with it, I really do enjoy the game. Yes, I spend most of my time dying. And yes, I spend the rest of my time shouting at my TV because Arthur decided he didn't want to jump at that particular moment. But the more I play, the better I get in each section. It's a very slow progress, but every time I play, I get a better feel for the game and I get that little bit further. I really would recommend this game, as long as the constant dying, the hours it can take to complete just a section of the game and the constant trial and error aspect of it, doesn't bother you. It really is worth it.


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Ted Gushue Interview - The Art of Automotive Storytelling
Describing him as an automotive editor, writer and photographer, only begins to scratch the surface of Ted Gushue, this week's interviewee. He used to be a professional DJ, is the current Global Ambassador to St Moritz, has released a book on Bentley Continentals from the '90s, and is the Founder and Editor of Type7 (@type7), Porsche's Instagram-only magazine. He is a man who truly never stops, usually at some automotive event, car shoot or on a plane, though admittedly less so with the current pandemic. We hear a bit about his non-stop life, his passion for effectively capturing and telling automotive stories and also hear the backstory behind his 1976 Porsche 911S... all whilst he is climbing a mountain in Sardinia!
Charles Clegg interviews Ted Gushue for The Apex by Private Collectors Club. Recorded and Produced by Jeremy Hindle & Demir Ametov. Transcribed by David Marcus. Edited by Charles Clegg.
Source: Ted Gushue
Growing up you were surrounded by some cool cars in your family. What was your first automotive memory and was there a particular car which really kicked off your passion?
Well, I came home from the hospital in a 1982 911SC in Guards Red. Cars were just always a part of my family. We weren't a wealthy family, but back in the '80s and '90s, you could buy incredible cars that were just considered old beaters. Unfortunately it's something that our generation now, because of the current speculative market, it's really difficult to do. My family couldn't afford a new lease but we could afford a grey market two door Range Rover that was imported by Peter Livanos, because it was just a rust bucket and nobody wanted it, so it was five grand. We just always sought out these interesting cars that were just kind of overlooked by people because they were too high maintenance, they weren't the newest and latest and greatest. And so we've always had cool cars in our family.
The writing was on the wall. Ted with his first Porsche and his father's 1982 911SC in Guards Red behind. Source: Ted Gushue
For me, it was as a 4 or 5 year old in my father's Ferrrari 328 GTS. It's carved in my memory, not only the sounds and thrill of being driven in it but also the smell of the leather, which is very distinctive. I remember weird things such as my father only had one cassette in it, Paul Simon, Graceland and still to this day it is my all time favourite album as it takes me back to that exact moment, my father at the wheel, targa roof off, bombing around some Cotswold lanes. Do you think it is these shared experiences which bring classic cars from being just an interest, into a passion or even a way of life for some people?
So, for instance, the car that I drive, a 1976 911S which you've met a few times, this was the car that I was raised in. I think my father bought it when I was four years old or so, and he paid $5,000 for it in '92. It was just a car to him and it was a very cool car but we didn't think of it as an investment, it was just a cool Porsche that was cheap and we loved it. It's just always been a way for our family to go on roadtrips, to go to polo on weekends, whatever the event would have been, there was just always something that we were going to in this car. And so to your point of being brought back to a memory, that's exactly what it is. Every time I sit in that car, which I still own, I smell the memories and I can hear the memories and it's a very special thing.
Ted with his 1976 911S. Source: Ted Gushue
Am I right in saying that cars went back beyond your father, and your grandparents were even involved with old cars?
Yes exactly, my grandfather on my father's side, he was a mechanical engineer by trade, I guess is correct to say, but by night, what he would do is he would buy wrecked cars and restore them. You would see my grandfather panel beating on a 330 GTC and then restoring it and then driving the hell out of it and then selling it for a profit. So that was just like his hobby on the side. My father and my uncle just grew up around incredible cars coming in and out of the house, so that they could be restored, just for fun, just to make a quick buck.
Back then, when you totalled your Ferrari or totalled your Porsche, it's not like today where the insurance companies just take ownership of the product or take ownership of the chassis and you're not allowed to touch it, you just kind of had to deal with it yourself. So people would go list in a local newspaper like 'crashed Ferrari for sale', and my family bought them and fixed them. It's not accurate to call it a business, although eventually my uncle started a body shop and restored cars that way, but it was just a cool thing for them to do and it was a shared passion for my family.
With the automotive passion passed down through 3 generations, Ted was exposed to the classic car world from the word go. Source: Ted Gushue
When I was thinking about how to introduce you for this interview it was quite tough... professional photographer, connoisseur of classic cars, watches and cigars; editor of Type 7, writer, media consultant, brand advisor; documenter of the awesome Bentley Continentals from the 90s (which I am a particular fan off as I used to have a 1996 Continental T!) and the list goes on. But what I realised is that regardless of the medium or publication, it seems that the consistent theme has been about capturing and telling a story. Is that a fair assessment and, if so, what, to you, is so interesting about capturing a story?
Yes, probably the way I would describe myself most is just a story teller. I've had many great opportunities open up to me because I've sat there and tried to tell someone's story, and it's just led to everything. One door has led to another because of the art of storytelling. I think it's as old as time. People have a great need to be told great stories, and for me I saw a huge lack of this being done in the car world.
Interviewing Sir Jackie Stewart. Source: Ted Gushue
You had traditional magazines that were just really traditional and quite boring in my opinion, and so when I joined Petrolicious in 2015, to start as their Editor in Chief, I just was like okay guys, we need to really focus on bringing the editorial story quality of the videos that we do. You guys are probably familiar with the Petrolicious style video where you would find the owner and you would tell their whole life story through the car. The car became the canvas, and this to me seemed like the most beautiful concept and I took that concept and ran with it, and it's always just maintained itself as something that I'm really passionate about.
I've never been able to really sum up what I do, you've made a beautiful attempt to try to say what my career has been like, but it's been just trying to tell a story and finding that common thread throughout everything and finding a way to bring people together through storytelling. I think that's a big part of what's happening in the world today. People are losing touch with how similar we all are. It breaks my heart because I've travelled the world for the last 10 years, and I've met so many people in so many places that have such diverse backgrounds, and especially once I got into the car world, I just saw that we're all so passionate about the same thing. We all might have differences like someone might be conservative or liberal or whatever, but at the end of the day when you step up to an engine we're just like 'wow, okay, that's f***ing cool', and that to me was just such a bonding force for humanity. I can ramble about it all day but it's quite simple, I just really love telling stories because I think it does the world good.
Chatting cars with Jay Leno. Source: Ted Gushue
I completely agree with you about the passionate community element of cars, and indeed it's similar with other things. I know that when you first moved to New York you were a professional DJ and, of course, music is another world that's got a really passionate community associated with it. From your experiences of both, do you think there are any parallels between the passion in these communities?
Well, I think the kind of passion that comes out of night clubs at 2am in the morning is a little different than the kind of passion that makes people wake up at 6am in the morning to go to a cars and coffee. [laughs] They're slightly different objectives, I would say, in those communities. But the art of playing music for a group of people and understanding their mood and understanding what they need and what they want to hear and what's going to bring them to a new level, is the same to me as editing a magazine or editing an Instagram page, or however you want to say whatever I do, it's all the same. It's just trying to understand what people need and then finding out what I can give to them in a very special package. To me it's totally equal. It might be difficult to see the connection for some people but playing music to people that want to dance is the same as editing a magazine.
Type 7 book in collaboration with Porsche. Source: Ted Gushue
Obviously the most recent thing you've done that with is Type7 (@type7), the Instagram only publication you founded in association with Porsche, and already you've managed to build a large and heavily engaged following. What's your secret to building these communities, and not only building them but also keeping them engaged?
There's no secret sauce, that's the beauty of it. There's not like 'oh I've got this one simple trick which allows you to build a community'. No man, it's about quality, consistency and care. You have to invest in quality, you have to be prepared to be consistent, like we post three things a day, so we give you three beautiful things a day that you can consume, and then you have to just really care.
I've been very lucky to have a team at Porsche who approached me about the project, before it was even called Type7, and they cared. They cared about the next generation of Porsche enthusiasts, they cared about a generation of people that don't even think about cars. How cool is that that a car company as big as Porsche, would sit down and say we care enough to try to talk to people, young guys and girls who live in cities, who don't think about cars at all, and we want to say 'look, even if you don't buy a car from us, we still want to hang out'.
I guess you could make a savvy marketing strategy out of it, but to me it was a genuine interest to connect to those who aren't even trying to be a part of a car conversation, and they say we don't even have to talk about cars, let's talk about architecture, let's talk about art, let's talk about travel. Obviously less travel now, but let's talk about the beauty that's in the world and I fell in love with that concept. I said 'oh, I had to get involved.'
Ted with the monstrously powerful Sunoco Porsche 917/30 Spyder. Credit: Porsche
At first it was just me and then the team at Porsche, and my colleague Franziska Jostock who is great. Now we've got a team of four people working full time on it. I've got my editor, Nat Twiss, he's our managing editor who handles the day to day of the publication. Our creative director, Thomas Walk, who is based in Sydney who joined us from Deus Ex Machina. He designs our books and he also does a lot of the photography for us as well on that side of the world, a really talented photographer.
I'm totally blessed, it's a dream project. I couldn't imagine a scenario where a young guy in my position gets approached by his dream car brand to go create a work of art. I had to pinch myself to even think about it.
The Porsche Museum at the Solitude Revival 2019. Credit: Porsche
That's certainly something which any person passionate about the automotive world really cares about, certainly myself, trying to get younger people to come into our world and understand the history, pick up the skills and enjoy the vibrancy of the community. I think it's just so important because otherwise it will wilt. You're targeting under 35s with Type7. Do you think they're picking up the passion and do you think they'll be interested in tinkering with a '60s 911 in 20, 30 or 40 years time?
The goal isn't to get them necessarily tinkering, the goal is to just open the door to the conversation. So we will create a beautiful story about an incredible architect in Brazil, and fans of this architect will then find it, because we've tagged them and the architect reposts it or something. They then see the post and they come in, and then they'll scroll through and they'll see every fourth post is about a young person who has a bond with a Porsche, and they can't help but not look at this person who has this bond and not get it. Because we put it together in such a light, that it's just really easy for anyone to understand.
I think people can, when they see things in a sympathetic light, it's easy for them to get invested, and that's our goal. It's just to say 'wow', not even necessarily go out and buy one or tinker or whatever, just to be sympathetic and to understand it, so that when you do see a Porsche in the world it's a positive thing.
1998 Porsche GT1 Strassenversion. Credit: Porsche
Talking of Porsches, over the past couple of years we've done a couple of rallies together where I've either been trying to keep up with your Porsche 911S or I've been trying to escape from it. I know there's a cool story, what is the backstory of that car?
So like I touched upon earlier, we're the second owners, we bought it from a guy named Myron Schuster who is a great collector and a good friend of my fathers. For whatever reason he was just like, 'I've got too many of these '76s', he had like three of them or something, and he said 'Ron, take it for five grand'. My dad paid him five grand on the spot.
It's really quite straightforward how it came into our lives. But then it's had a pretty crazy story since. It's been rebuilt twice, first by the former speed shop Farnbacher Loles.
[Ted reaches top of Sardinian hill] Sorry I just got to the top of a hill here, it's a little bit windy. It's so beautiful here, I wish you guys were here with me, it's just stunning.
I wish I was as well.
A part of the family, Ted's 1976 Porsche 911S. Credit: Ted Gushue
So the car was rebuilt by Farnbacher Loles, which at the time was called Speedsport Tuning, by another guy who passed away recently actually, a chap named Spencer, great guy. My dad has always just really loved this car. When I was 16, I snuck the keys and I really did a number on the gearbox. I think I broke a few teeth off third gear or something because I had no idea what the hell I was doing.
So the car was always just this mystical thing to me. We had finished the big restoration at Speedsport in 2014 where we put a 3.2 litre in, I think there was a Billy Boat exhaust or something, a big mean exhaust, the car was really dialled. Then in 2015, my dad sees that I'm moving out to L.A. to go work at Petrolicious, and he literally just hands me the keys, and he goes 'look, this car is going to change your career and change your life' because, as he rightly predicted, if you have a classic car it's much easier to talk to other classic car owners. When I was going to go work at Petrolicious he understood that if I was rolling up in a classic, it would make my life a lot easier, and he was totally correct.
It allowed me to very quickly join the Porsche community in Los Angeles and just really express my sincerity in wanting to be someone to tell their story. And it totally changed the trajectory of my career at Petrolicious and I can very very comfortably state that if he had not given me the keys, I wouldn't have been as successful as I was there in growing that community, because I would have been somewhat of an outsider. I would have been taking an Uber to go to a photo shoot or whatever. It really disarmed people in a way that allowed me to tell their story in a much more natural light. Not that I was plotting or anything, looking back it opened the door to me in a way that was just so natural.
Having done over 200,000 miles, there have been no shortage of adventures with Ted's 911. Source: Ted Gushue
Plus it was, for a young guy who was taking on a whole new adventure, moving to a different coast that he really didn't know, it was a bit like having a piece of home with me. It was my family in the embodiment of a car and I didn't feel lonely, I felt like I had my family with me all the time and I still feel that. I've driven the car all throughout Europe this Summer and I've had it over here since 2017 and it's been to every event imaginable. It's built all this history with me and the bond has only grown, which is interesting because we've had to redo the car again in 2018. I guess it was two or three years ago now, maybe it was 2017. A friend of mine borrowed the car for two seconds to park it for me and ended up bending the chassis. It was a stupid mistake and so then I called up my friends at RUF in Pfaffenhausen, and they said 'look, don't worry about it, send us the car, or we'll pick it up with a trailer and we'll make it right'.
Three or four months later the car was totally brand new. We left the interior as original, but the car was completely restored by hand by RUF and so now it's got this killer RUF exhaust and they've done all these great things to it, and it's really just intensified how special the car is. They took it up to 11, before it was really special to me but now it's just like wow, okay, so I've got the history of RUF in there. And then because of my location in Europe, I've been able to service the car at some of the best Porsche workshops in the world. Like I did the gearbox at Maxted-Page. Yes, there's just all these great little things like that that really add up.
Given you're up a mountain I think we've got to talk about the Alps and specifically St. Moritz. Indeed, I believe you are a Global Ambassador to St. Moritz, which I'm not sure how that happened but what an awesome title! What makes St. Moritz so special and can you tell us a bit about the car events there, particularly the ice racing and concours?
Yes, so I first came to St. Moritz in 2017. I was working at Petrolicious still, I believe I was, or maybe it was 2016, whatever it was, you'll notice I'm not very good with dates, I showed up to St. Moritz. I had wanted to go there my whole life and I had grown up with zero time spent in Europe. I was an aggressively competitive skier when I was a kid, and it was just one of those places you kind of always dreamed of skiing.
So I come in the Summer to go and attend the Bernina Gran Turismo, which I think was in its second edition, and I just found this place so magical. I can't even describe it. I arrived and I just said look, they've shut down the Bernina Pass so that the Ferrari Breadvan and like 70 other of the best race cars you'd ever see at Goodwood, can do a top speed FIA sanctioned hill climb. They've got police barricades blocking traffic so these crazy cars can go up it.
Bernina Gran Turismo. Credit: Ted Gushue
At dinner we'd be in some epic chalet that's been there for 150 years and just eating all this local cuisine, immediately it hit me how special the place was. And that was before I even really started scratching the surface of all the history there and all the winter sports and the Cresta Run, and everything that makes it so special. I hadn't even scratched the surface, so I said look, this is the coolest place I've ever been, so I started posting like crazy about it on my Instagram and on Petrolicious.
At the end of the weekend, I get tapped on the shoulder by a guy named Fabrizio D'Aloisio, who is Italian born but has been there forever, he works at the tourism office, or he's on the tourism board for the city, and he says look, we've been sponsoring Ukrainian butt models to come here and take the same picture of the holding their boyfriend's hand in the hot tub, the classic influencer photos, and nothing ever makes a difference. You've come here in one weekend and the town's Instagram has picked up 5,000 fans. And I go, wow, that's crazy. I had no ambition towards trying to impress them, I was just like this place is awesome.
You'll notice the work I do on my personal Instagram or my clients or whatever, it's always sincere. I'm not trying to sell you something that I wouldn't buy myself, if that makes sense. So I just sincerely fell in love with this place, and then at the end of it, he's like how could we formalise to make sure that you come back here more often. They basically said, 'you really seem to understand the place, let's have you back here, let's talk about how we can work more together', so I keep coming back.
Ted at the famous St Moritz Cresta Run. Source: Ted Gushue
Eventually they said we'd love for you to be our first Global Ambassador so that you can be a testimonial to what goes on here, because it's difficult to understand it unless you go there, unless you see it in person. If you see it in person and if you come with me to the right restaurants and meet the right people, everything, it's a magical place. I just said how could I turn that down, so they gave me a little identity card and all this stuff. It's not like they pay me some crazy salary or something, it's more just like a nice invitation for me to spend more time there. Over the past few years I just say this place just rocks.
After this crazy period on earth, the past six months, I said look, I'm not bullish of the situation. I know that people that were in the Alps during lockdown had a very nice life, and for me being around nature is really important and being able to hike or ski or whatever. I really needed to be happy. I lost my lease in London on this great house boat that I was renting from a friend of mine, she very rightly had to increase the rent, and so I said let me see what else I can get for my money.
I happened to be in St. Moritz for a meeting and so I looked at a couple places just for fun. I opened the door to the first place and I'm like 'okay, sold'. It's so cool, it's like the coolest little two bedroom with three balconies overlooking the lake and it's got all the wood panelling and very typical Engadin style. I said okay cool, I'll hide out here for a year and work from there.
Credit: Ted Gushue
It could be worse. On that theme around coronavirus, You recently posted a photo from Porto Cervo of a building with the saying "A smooth sea never made a skilled pirate", which resonated with me giving these past few months with the coronavirus pandemic. You are normally non stop travelling, barely in one country for more than a day, making Phileas Fogg look sedate. Obviously this has all changed with coronavirus. How have you dealt with such a drastic shift and have these past few months changed your outlook at all?
Well, my biggest philosophy is that every crisis is an opportunity. I have lived with inconsistency in my life forever. I didn't come from money, I had to work for everything I had. I had access to opportunity because of the privilege of where I was brought up, but success was not guaranteed to me in this life. So I've always dealt with uncertainty with a very positive outlook because when things are uncertain, that's when cracks open up, and cracks are when you can kind of wedge yourself in and find out a whole new way to exist.
I was nocturnal for the first two years living in New York DJing, that was a whole different life. And then I was a management consultant for a year working for NASA and the Dow Jones. That was a radically different life. Then I was a nightlife reporter working for a newspaper, going to every party in New York City for a whole year meeting everyone I possibly could. A radically different life. Each one of these was an opportunity that came out of the previous one, not going through a crisis but just reaching its end point.
Ted with Lewis Hamilton. Source: Ted Gushue
By the nature of the path I've been on, every time a chapter closes, for me it's for a reason. The last three or four or five years, I have lived in airplanes and I have seen more in this life I think, in my relatively short period on this earth, than many ever will get to and I'm so grateful. But if the world says to me 'sorry we're closed', I'm not going to sit there and cry looking at my suitcase, I go 'great, what's the opportunity here?' And I go okay, now the opportunity for me is to really start investing in places that I really want to be.
Because of the strength of my passport luckily, despite my country's best efforts, I can very comfortably move around Europe and for me the places that make me happiest are Italy and Switzerland. I've been to so many places, I've kind of evaluated how I just naturally feel when I'm in that place. And so for the summer I'm here in Sardinia and then after the 15th September I'll be in St. Moritz and then we'll see where the world is in six months.
There is not a single part of me that says 'oh man, I'm sad not to be in the first class lounge of JAL'. All of the travel was wicked. Actually it's not true, I do miss Japan. Japan is the greatest experience in this life. But honestly I really kind of pivoted just to focus on being happy, healthy and rediscovering exercise which is something that really kind of fell off when I went through this travel period. As you know, when you travel, it's not easy to stay on the ball and you end up drinking and whenever you go to a new place for three days, it's like boom boom boom, as opposed to cool, how can I focus on being a local for the next three months and learning how to live that lifestyle. So that's been my pivot, if that makes sense.
Ted has a close relationship with Larusmiani. Here with their seaplane. Source: Ted Gushue
One of the things I've noticed that might be one of these new doors opening is that you've been posting quite a lot about boats recently. Indeed, we chatted about it briefly last night. Growing up a friend of mine had a Cigarette Racing Boat for many years before buying an Apache, which I just loved blasting around South of France on. I see that you've done a number of posts about Magnums and all sorts of cool boats. What's your interest in that world?
How could you not be into boats if you're into cars? To me, it's such a lateral obvious move because the shapes are just as sexy, the stories are even crazier. The chances of death are way higher for the people that were competing and often they did die. So for me the narrative is right in tandem with classic car racing and the evolution of the automobile. Truthfully I see the boat community as being really bad at storytelling and I just keep looking at it and I go 'why is no one talking about this, why is no one talking about XYZ boat, why is no one talking about that?' And every once in a while you'll see someone post about the Ferrari speedboat from the '30s, you'll get a post here and there, but the community isn't as structured as the car community. So I'm just sitting here looking at this incredible history and I'm like gosh, look at this, this is just bonkers.
Monte Carlo Offshorer 30s being restomod'ed by Guglielmo Miani from Larusmiani. Source: The Restorer / Larusmiani
My friend Guglielmo Miani, from Larusmiani, he's invested in a shipyard and started restoring the Monte Carlo Offshorer 30s from the '80s, which is the first design that Carlo Riva did after he sold the Riva Company that his family founded. So now I've been helping them doing their communication on this project, but basically they're doing full restomod versions of these really killer boats that are just so much fun. The thing is like a Ferrari on the water. You can't really explain it any better than that. We've been screaming all around Sardinia and Porto Cervo and Costa Smeralda this Summer. Just talking to all sorts of people about it and it's just a really fun adventure.
A lot of fun. I'm conscious of your time, so to end with we have some quick fire questions. So firstly, automotive hero?
Denis Jenkinson. Jenks. If there's anybody I've wanted to model my life on, it's him. That guy defines find the ticket, taking the ride and telling the story. Who else would just get in the car like that with Stirling Moss and just go 'you know what, **** it, I'll navigate', and then win. And to live to tell the story. So I think that guy deserves all the credit in the world. Without him, we wouldn't have these legends. You would have newsreels and all this stuff, but that would be at the finish line, but this guy was in the car at every step of the way with the most iconic people on earth and the most iconic cars. He's the reason why they are iconic and he's the reason why we have those stories. Without him I think the classic car world looks very different.
Ted and his trusty Leicas. Source: Ted Gushue
Favourite camera?
Well, I'm very biased towards Leica because it's the cameras that have really helped shape my career. I shoot the M10-P right now, which is a really great addition from my friends over at Hodinkee the watch magazine. They did a great limited edition camera with them. It's been a fantastic camera and it's really helped me shape my style as a photographer. It's constantly teaching me because it's totally manual. I've always just loved their cameras.
They're not cheap, so I tell people if you're going to buy one you've got to be using it. For me it's a business case but a lot of people who have the dough will go and buy it and it will just sit there, which I think is a crime. Only buy the stuff you need.
Leica M10-P. Credit: unknown
Modern or old, ultimate Porsche?
I own it, I already own it.
Okay, that's a fair answer. Last question - money no object, excluding your Porsche, three car garage?
Well, I'm building right now a Fiat Panda 4x4, the Series 1.
Great choice.
I'm fully restoring that. We're doing the full interior with all the fabrics of my buddy's company, Larusmiani, big fur seats and all this stuff. So that's going to be my little St. Moritz weapon for the Winter. And then my 911 for sure.
No, excluded.
Oh, excluded. I'm a huge fan of the 996 GT2. I think this car is just such an animal and I'd love to own one. My friend James Marks just bought one the other day, I'm pretty jealous. I'm not an envious guy but this is one 911 that I'd love to own someday because I think it's one of the last of that era that really could kill you. These modern cars have so much traction, so much grip, so much technology to keep you on the road that you're on rails essentially. With this GT2 it's just really trying to kill you, it's super cool. I love it, and I've always loved the 996 styling. I guess because it was probably the first modern Porsche experience I had. My dad borrowed a friend of his C4S cabrio, and we just had an amazing weekend with it, he and I and my brother. That's just a very important car to me. So I've always loved the 996 style.
Fiat Panda 4x4s in St. Moritz for the first Classic Driver Panda 4x4 Meeting. Source: Classic Driver; Credit: Jan Baedeker
Then last car, so we've got the Panda 4x4 sorted, we've got the GT2. I don't know, what would be the last car? I drove a friend of mine's original Le Mans history D-Type, and this was really an incredible experience. I did about 140 mph in it, and it just felt like it wanted to go further and further and further. To have that experience in a car of that age was really quite moving to me.
Great choices. Certainly I would love a D-Type, Panda, GT2. I wouldn't be complaining. Excellent. Ted, thank you so much for your time, it's been absolutely brilliant. I am sorry we're disturbing your walk up a mountain, I hope that all goes well and I look forward to seeing you hopefully in the next couple of months.
Yes, we'll get you through the tunnel and come over to the mountains this Winter. I'm sure you'll be needing it. I have a feeling that we're all heading back towards a very strange Fall, let's say.
Yes, back to the cabin. We'll see, fingers crossed. Ted, thank you so much and see you soon.
You can follow Ted on Instagram at https://www.instagram.com/tedgushue/ and Type7 at https://www.instagram.com/type7/.


text:
Secondary Shuffle – 2014: Legend's Last Licks And The Munchkin Bunch
Posted on March 21, 2018 at 11:00 am
The 2014 season was in many ways a difficult year to watch for longtime fans of the Pittsburgh Steelers, even though the team was able to return to the postseason after missing it the previous two years. It was especially to hard to watch the secondary, which by the end of the year had become a shadow of its former self.
2014 Starts
2014 Snaps
Mike Mitchell 16 16 977
William Gay 16 13 878
Troy Polamalu 12 12 717
Brice McCain 14 9 615
Cortez Allen 11 6 463
Will Allen 16 4 315
Antwon Blake 16 1 275
Ike Taylor 5 5 263
Gone already was Ryan Clark, replaced by free agent addition Mike Mitchell, while two legends, Troy Polamalu and Ike Taylor, were almost literally on their last legs. By the end of the season, the cornerback group was one that I referred to as the Munchkin Bunch: William Gay, Brice McCain, and Antwon Blake, all shy of 5'11".
2014 Cortez Allen Ike Taylor William Gay Troy Polamalu Mike Mitchell
It started out with Taylor and Cortez Allen, the latter entering his second season as a starter, with Gay in the slot, but it didn't end up that way, as mentioned above. But at least the starting safety pair remained intact, even if it would be their only season together.
2014 Brice McCain William Gay Antwon Blake Troy Polamalu Mike Mitchell
With Mitchell the newcomer, all eyes were on him, but as pretty much everybody knows, he struggled during his first year in Pittsburgh. It wasn't until after the season that he noted the severity of an offseason groin injury, revealing that he had offseason surgery to repair multiple tears in his groin, which he played through. Playing through injuries would be on of the tentpoles of his Steelers legacy.
With Polamalu often off on his own, Mitchell spent much of the summer actually running with Will Allen, and Allen would start four games with him in two two-game stints while Polamalu dealt with a knee injury.
Meanwhile, Taylor suffered a broken arm during a week-five friendly-fire incident with Lawrence Timmons, lost for the rest of the season, and that would be the end of his career. Gay assumed the starting role from him, with McCain moving into the slot role.
Just prior to the start of the season, the Steelers gave Cortez Allen a five-year extension worth $24.6 million. He got off to a reasonable start to the season, but later dealt with a knee injury and ultimately broke his thumb, the Steelers eventually placing him on injured reserve.
But he was benched prior to that—several games prior to that, in fact—first demoted to the nickel and then replaced entirely, with Gay, McCain, and Blake the trio at cornerback. McCain would start on the outside and then move to the slot in the nickel, Blake playing outside.
You can see the correlations in the numbers. Even though they faced fewer pass attempts per game than average, they allowed the sixth-most passing yards per game, among the most explosive plays, and the most passing plays of 40 or more yards with a passer rating allowed of 98.3.
It's worth noting that Shamarko Thomas did not see a snap on defense that year. In 2015, they planned on passing the torch to him with Polamalu retiring. Spoiler for tomorrow's article: it didn't work out.
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text:
Акса́й () — село у складі Темірського району Актюбинської області Казахстану. Адміністративний центр Аксайського сільського округу.

У радянські часи село називалось Перелюбовка.

Населення — 1002 особи (2009; 1406 в 1999).

Примітки

Джерела

Посилання
 На Вікімапії

Населені пункти Темірського району
Села Актюбинської області

redpajama_set_name: RedPajamaWikipedia


text:
\section*{Model Derivation}

The assumption that the flow in the upstream and downstream rigid
segments is {dominated by its horizontal component} implies that  the
pressure gradient in these segments is {approximately} spatially constant, ${\partial
  p}/{\partial x}=G(t)$. Using that the fluid pressure under the
membrane is $p_{\rm m}=kY(t)$, the momentum equation ${\partial
  u}/{\partial t} = -{\partial p}/{\partial x} + {\partial^2
  u}/{\partial y^2}$ (equation~(5) in the paper) reads
\be
\label{mom}
\frac{\partial u_{\rm u/d}(y,t)}{\partial t} =
-G_{\rm u/d}(t) +
\frac{\partial^2 u_{\rm u/d}(y,t)}{\partial y^2}
\ee
with
\be
\label{eq:G_u}
G_{\rm u}(t)=\frac{k Y(t) - p_{\rm in}(t)}{l_{\rm u}}
\ee
and
\be
\label{eq:G_d}
G_{\rm d}(t)=-\frac{k Y(t)}{l_{\rm d}}
\ee
for the upstream and downstream segments, respectively. The flows in the two rigid segments are coupled by
mass conservation which requires that the
rate of change in the volume of the elastic segment
is matched by the net volume flux from the rigid segments
\be
\int_0^{l_{\rm m}} \frac{\partial y_{\rm m}}{\partial t} \ {\rm d}x =
 \int_0^1  (u_{\rm u} - u_{\rm d} ) \ {\rm d}y.
\ee
For the membrane shape assumed in the paper (equation~(6))
\be
y_{\rm m}(x,t) = 1+ Y(t)\, M(x),
\ee
with $M(x) = 4 (x/l_{\rm m})(1-(x/l_{\rm  m}))$, we obtain
\be
\int_0^{l_{\rm m}} \frac{\partial y_{\rm m}}{\partial t} \ {\rm d}x =
\frac{{\rm d}Y}{{\rm d}t} \int_0^{l_{\rm m}} M(x) \ {\rm d}x  =
\frac{2}{3} \ l_{\rm m} \ \frac{{\rm d}Y}{{\rm d}t},
\ee
so that
\be
\label{conti}
\frac{2}{3} \ l_{\rm m}  \ \frac{{\rm d}Y}{{\rm d}t}
= \int_0^1  (u_{\rm u} - u_{\rm d} ) \ {\rm d}y.
\ee

\subsection*{Analytical solution}

To explore under what conditions the system displays resonant
behavior we consider the case of a purely oscillatory forcing, $p_{\rm in}(t) =
\widehat{P} \exp({\rm i}\alpha^2 t)$ and assume a time-periodic response such
that $Y(t) = \widehat{Y} \exp({\rm i}\alpha^2 t)$. Inserting this ansatz into \eqref{mom}
and solving the resulting ordinary differential equation, subject to
the no-slip boundary conditions, we obtain the solution
\be
\label{womm_sol}
  u(y,t)_{\rm u/d}=\left(1-\cosh(\sqrt{{\rm i}}\alpha y)  + \dfrac{\cosh(\sqrt{{\rm i}}\alpha)-1}{\sinh(\sqrt{{\rm i}}\alpha)} \sinh(\sqrt{{\rm i}}\alpha y)\right)\, \dfrac{{\rm i}}{\alpha^2}\widehat{G}_{\rm u/d} \exp({\rm i}\alpha^2 t),
\ee
where $\widehat{G}_{\rm u}  =\widehat{Y}k/l_{\rm u}-\widehat{P}/l_{\rm u}$ and $\widehat{G}_{\rm d} =-\widehat{Y}k/l_{\rm d}$ and, for the upstream and downstream segments, respectively. Substituting these two solutions into the right-hand-side of equation~\eqref{conti} and integrating we obtain
\[
\int_0^1  (u_{\rm u} - u_{\rm d} ) \ {\rm d}y = \frac{{\rm i}}{ \alpha^2}\left(1 + \Gamma(\alpha)\right)\left(k \frac{l_{\rm u} + l_{\rm d}}{l_{\rm u} l_{\rm d}}\widehat{Y}-\frac{\widehat{P}}{l_{\rm u}} \right)\exp({\rm i}\alpha^2 t),
\]
where $\Gamma(\alpha) = \dfrac{2}{\sqrt{\rm i} \alpha}\dfrac{1-\cosh(\sqrt{{\rm i}}\alpha)}{\sinh(\sqrt{{\rm i}}\alpha)}$. By inserting $Y(t) = \widehat{Y} \exp({\rm i}\alpha^2 t)$ into the left-hand-side and differentiating we obtain
\be
\label{amp_eq}
\frac{2}{3} \ \alpha^4 \ l_{\rm m} \ \widehat{Y} =  \left(1 + \Gamma(\alpha)\right)\left(k \frac{l_{\rm u} + l_{\rm d}}{l_{\rm u} l_{\rm d}}\widehat{Y}-\frac{\widehat{P}}{l_{\rm u}} \right).
\ee
The solution reads
\be
\label{comp_amp_sol}
\widehat{Y} = \frac{-(1+\Gamma(\alpha))\widehat{P}}
{l_{\rm u}\left(\dfrac{2}{3} \alpha^4 l_{\rm m}- \left(1 + \Gamma(\alpha)\right) k \dfrac{l_{\rm u} + l_{\rm d}}{l_{\rm u} l_{\rm d}}   \right)} = \frac{3}
{2 l_{\rm u}l_{\rm m}}\frac{-(1+\Gamma(\alpha))\widehat{P}}{\alpha^4 - \left(1 + \Gamma(\alpha)\right)\alpha_{\rm eig}^4}.
\ee
and the amplitude of the oscillations is
\be
\label{amp_sol}
|\widehat{Y}|=
 \frac{18 l \Rey A}{l_{\rm u}l_{\rm m}}\sqrt{\frac{\left(1+\Re[\Gamma(\alpha)]\right)^2 +\Im[\Gamma(\alpha)]^2}{\left(\alpha^4 - \left(1+\Re[\Gamma(\alpha)]\right)\alpha_{\rm eig}^4\right)^2 + \left(\alpha_{\rm eig}^4\Im[\Gamma(\alpha)]\right)^2}},
\ee
where $\Re[\Gamma(\alpha)]$ and $\Im[\Gamma(\alpha)]$ denote the real
and the imaginary parts of $\Gamma(\alpha)$, respectively, and $\widehat{P} =
-12 \ l \ A \ \Rey \ {\rm i}$ (cf.\ equation (2) in the paper). The
frequency $\alpha^2_{\rm max}$ at which the system has its maximum
response is found by maximizing equation~\eqref{amp_sol} with respect to
$\alpha^2$, which must be done numerically.

Differentiating equation~\eqref{conti} with respect to time and inserting
$\partial u_{\rm u/d}/\partial t$
from \eqref{mom} yields equation (9)
in the paper
\be
\label{eq9paper}
\frac{2}{3}l_{\rm m} \frac{{\rm d}^2 Y}{{\rm d}t^2} +
k \frac{l_{\rm u} + l_{\rm d}}{l_{\rm u} l_{\rm d}} \ Y
+ \left.
\left( \frac{\partial u_{\rm d}}{\partial y} -
       \frac{\partial u_{\rm u}}{\partial y} \right)
\right|_{y=0}^1 = \frac{p_{\rm in}(t)}{l_{\rm u}},
\ee
where
\[
\left. \left(\frac{\partial u_{\rm d}}{\partial y} - \frac{\partial u_{\rm u}}{\partial y}\right) \right|_{y=0}^1 = \Gamma(\alpha) \left(\frac{\widehat{P}}{l_{\rm u}} -k \frac{l_{\rm u} + l_{\rm d}}{l_{\rm u} l_{\rm d}}\widehat{Y} \right)\exp({\rm i}\alpha^2 t).
\]
This shows that the factor $\Gamma(\alpha)$ arises solely due to the viscous shear stresses {on the channel walls.} In the absence of viscous shear stresses the collapsible channel responds as an undamped forced harmonic oscillator (see also equation~\eqref{amp_sol}). The viscous effects can be decomposed into three distinct (frequency-depending) contributions:
\begin{enumerate}
\item The $\Gamma(\alpha)\widehat{P}$-term modifies the effective amplitude and phase of the forcing;
\item The real part of the $\Gamma(\alpha)\widehat{Y}$-term contributes to the spring stiffness;
\item The imaginary part of the $\Gamma(\alpha)\widehat{Y}$-term provides the viscous damping.
\end{enumerate}
We thus refer to the effect of the viscous shear stress term as non-conventional damping.

\subsection*{Physical interpretation}

{
Noting that $p_{\mathrm m}=kY(t)$ is the pressure in the central section, with a little
re-arrangement, equation (9) in the paper can be rewritten as
\begin{equation}
\frac{2}{3}l_{\mathrm m} \frac{\mathrm{d}^2 Y}{\mathrm{d} t^2} =
\left[\frac{1}{l_{\mathrm u}} (p_\mathrm{in} - kY) -
  \left.\frac{\mathrm{d}u_{\mathrm d}}{\mathrm{d}y} \right\vert_0^1 \right] -
\left[\frac{1}{l_{\mathrm d}} (kY-0) -
  \left.\frac{\mathrm{d}u_{\mathrm u}}{\mathrm{d}y}\right|_0^1\right].
\end{equation}
This shows that the difference in the pressure gradients in the upstream and downstream segments
drives an acceleration in the net flow away from the centre, which
must be balanced by the change in volume of the elastic section.
}

\subsection*{Additional physical mechanisms}

{
In our numerical computations and analytical model, we assume that the membrane is massless.
The incorporation of membrane mass would have two additional effects.
\begin{description}
  \item[(i)] It would provide ``added mass'' to the inertia that
is currently provided exclusively by the fluid; this would change
(lower) the natural frequencies of the system, see e.g.~[21].
\item[(ii)] It would
allow the membrane to perform oscillations with its ``own'' natural
frequency, even without the presence of the fluid. These
purely solid-based oscillations would be modified by the presence
of the fluid (which would now provide ``added mass'' to the solid) and
add further resonances and the potential for flutter-like
instabilities to the system, see e.g.~[22].
\end{description}
}

\pagebreak

\definecolor{aqua}{rgb}{0.0, 1.0, 1.0}
{\renewcommand{\arraystretch}{1.25}
	\begin{table}[htb]
		\centering
		\begin{tabular}{l l l l|l l l| c}
			\toprule
			$\sigma_0$ & $T$ & $Re$ & $h$ & $l_\textrm{u}$ & $l_\textrm{m}$ & $l_\textrm{d}$ & symbol \\
			\hline
			$10^3$ & $2.5\times10^6-2\times10^9$ & $0.25-200$ & $0.01$ & $5$ & $10$ & $10$ &  {\LARGE\textcolor{Orange}{$\bullet$}} \\
			$10^3$ & $10^7-2\times10^{10}$ & $1-200$ & $0.01$ & $5$ & $10$ & $10$ &  \textcolor{aqua}{$\filledmedtriangleleft$}  \\
			$10^3$ & $5\times10^5-10^9$ & $0.10-200$ & $0.01$ & $5$ & $10$ & $10$ &  \textcolor{blue}{$\filledmedtriangleup$}  \\
			$10^3$ & $5\times10^7-10^{10}$ & $1-200$ & $0.01$ & $5$ & $10$ & $10$ & \textcolor{green}{$\filledmedtriangledown$} \\

			$10^3$ & $10^{10}$ & $100$ & $0.01$ & $5$ & $10$ & $10$ & \textcolor{Black}{$\filledmedtriangleright$}  \\
			$10^4$ & $10^{10}$ & $100$ & $0.01$ & $5$ & $10$ & $10$ & \textcolor{Black}{$\filledmedtriangleleft$}   \\
			$10^3$ & $10^{11}$ & $100$ & $0.01$ & $5$ & $10$ & $10$ &  \textcolor{Black}{$\filledmedtriangleright$}   \\
			$10^4$ & $10^{11}$ & $100$ & $0.01$ & $5$ & $10$ & $10$ &  \textcolor{Black}{$\filledmedtriangleleft$}  \\
			\hline
			$10^3$ & $10^{9}$ & $100$ & $0.005$ & $5$ & $10$ & $10$ &  {\LARGE\textcolor{Black}{$\bullet$}}   \\
			$10^3$ & $10^{9}$ & $100$ & $0.02$ & $5$ & $10$ & $10$ &  {\LARGE\textcolor{Black}{$\circ$}}   \\
			$10^3$ & $10^{9}$ & $100$ & $0.01$ & $5$ & $5$ & $10$ & \textcolor{Red}{$\filledmedsquare$} \\
			$10^3$ & $10^{9}$ & $100$ & $0.01$ & $5$ & $8$ & $10$ & \textcolor{Green}{$\filledmedtriangleup$} \\
			$10^3$ & $10^{9}$ & $100$ & $0.01$ & $5$ & $10$ & $10$ &  {\LARGE\textcolor{aqua}{$\bullet$}} \\
			$10^3$ & $10^{9}$ & $100$ & $0.01$ & $10$ & $10$ & $10$ &  \textcolor{blue}{$\filledmedtriangledown$} \\
			$10^3$ & $10^{9}$ & $100$ & $0.01$ & $5$ & $10$ & $15$ &  \textcolor{VioletRed}{$\filledmedtriangleright$} \\
			$10^3$ & $10^{9}$ & $100$ & $0.01$ & $10$ & $10$ & $15$ &  {\textcolor{Orange}{$\filledmedtriangleleft$}} \\
			\bottomrule
		\end{tabular}

		\caption{\label{tab:parameter}
		Simulation parameters for the data points displayed in figure~\ref{fig:geometry}. In all cases the amplitude is $A=1$, the external pressure is {$p_{\rm ext}=10^{-4}$ (except for the cases  with $\sigma=10^4$, where $p_{\rm ext}=10^{-5}$)} and the dimensionless frequency is in the range $0.05\leqslant\alpha^2\leqslant 2250$. The first eight rows show the parameters corresponding to the data points displayed in figure~5(b) of the paper (in which the dimensions of the channel are kept fixed). }
	\end{table}

\newpage

\begin{figure}
	\centering \includegraphics[width=0.6\linewidth, trim={0cm 0cm 0cm 0cm}, clip]{figS1.eps}
	\caption{\label{fig:geometry} Frequency $\alpha^2_{\text{max}}$  at which the system has its maximum the maximum as a function of $h\,T (l^{\text{[eff]}}_{\rm u}+l^{\text{[eff]}}_{\rm d})/(l^{\text{[eff]}}_{\rm u}l^{\text{[eff]}}_{\rm d} l_{\rm m}^3)$. The symbols show the results of our numerical simulations (the parameter values are listed in {Table}~\ref{tab:parameter}). The red solid line denotes $\alpha^2_{\rm eig}$ from the model prediction, and the green dotted line corresponds to the real part of the (complex) viscous eigenfrequency $\alpha^2_{\rm eig,viscous}$, which is obtained by numerically solving the viscous eigenvalue problem given by equation~(9) with $p_{\rm in}=0$.}
\end{figure}

\clearpage
\newpage

\begin{figure}
	\centering \includegraphics[width=0.85\linewidth, trim={0cm 0cm 0cm 0cm}, clip]{figS2ab.eps}\\
	\centering \includegraphics[width=0.85\linewidth, trim={0cm 0cm 0cm 0cm}, clip]{figS2cd.eps}
	\caption{\label{fig:pulsation_amplitude}  Influence of amplitude of the pressure pulsation ($A$) on the membrane oscillation at $\alpha^2=148$, $T=10^9$, {$p_\text{ext}=10^{-5}$,} $\sigma_0=10^3$, $l_\textrm{u}=5$, $l_\textrm{m}=10$, $l_\textrm{d}=10$  and $h=0.01$. (a) Time trace of the membrane mid-point $y(t)$ for $Re=100, A=0.5$ and $Re=50, A=1$. (b) The same data of (a) after subtracting the time-averaged displacement. (c) Time trace of the membrane mid-point $y(t)$ for $Re=100, A=2$ and $Re=200, A=1$. (d) The same data of (c) after subtracting the time-averaged displacement. }
\end{figure}

\bibliographystyle{plain}
\nobibliography{FSI}

\end{document}

redpajama_set_name: RedPajamaArXiv


Glory to Jesus Christ! Welcome to the Saints Cyril and Methodius Seminary website.
This website is your doorway to learning the Byzantine Catholic Tradition of prayer and worship of Jesus Christ through classes at the seminary or classes on the internet.
I am Metropolitan Archbishop William Skurla who, beside being President of Saints Cyril and Methodius I am leader of both the Byzantine Archeparchy (or Diocese) of Pittsburgh and Metropolitan of the Byzantine Catholic Church in the United States.
As Archbishop I have the task of listening to the needs and ideas of faithful members and then responding by providing spiritual services and programs for our people.
As you explore the website, I hope you will find courses of interest. Click to register for one of our upcoming courses, our online lectures and accredited Master of Divinity and Master of Arts in Theology programs, beginning online in January of 2015.
We pray the Lord will guide your studies and enrich your spiritual life.
Click to play Metropolitan William's Welcome Message.


text:
Why Chris Janson Travels With His Wife + Kids: 'That's What Families Are Supposed to Do'
"I'm just at the best place in my life, folks -- musically, physically, spiritually, emotionally, everything," Chris Janson told The Boot and other outlets just before taking the Nissan Stadium stage during CMA Fest 2019.
It was the last day of the four-day music festival, and not only was Janson part of the closing night's lineup, but it was also his second consecutive night playing a stadium. The day before, Janson had supported headliner George Strait during the Buckeye Country Superfest at Columbus, Ohio's Ohio Stadium, part of a roster of opening acts that also included Blake Shelton, Midland and RaeLynn.
"It was gigantic," Janson said of that show. "This was my first time ever having two stadium shows back-to-back, and it's a huge blessing."
Looking ahead to the second of those back-to-back performances, the singer added that the opportunity to play CMA Fest came to him at a time when everything else in his career also seemed to be going well. "I just feel like things are really going our way," he went on to say. "It's good to be back up here on the big stage. It's good to be playing a full set. I'm proud of it."
In his personal life, too, Janson has much to be proud of: The singer married his wife, Kelly Lynn Janson, in 2010, and the two are parents to four children, two they had together, and two from Kelly's previous marriage, whom Janson often refers to as his "bonus kids." Kelly also serves as Janson's manager, and the couple works hard to make sure all six family members can be together as much as possible, despite Janson's hectic touring schedule.
"I would not wanna do it without them, to be honest with you," Janson explains, adding that these days, the whole family often joins him on tour. "I don't feel comfortable traveling without Kelly. And I don't feel comfortable working without Kelly; therefore, she is my manager."
Still, the singer and his wife try not to force their children into anything. "I think we don't ever try to impress what we do upon them. It just is kind of a lifestyle," he relates. "They can go if they want to, and they don't have to go if they don't want to, that kind of thing. But we travel as a unit because we're a family, and that's what families are supposed to do. They're supposed to spend time with one another."
Plus, Janson says, his kids are too strong-willed to go along passively with a plan they don't like. "I can assure you, our kids are so individualistic that they raise us just as much as, if not more than, we raise them," he jokes. "They're pretty awesome kids."
More Country Artists Who Have Brought Their Kids to Work
NEXT: Country Stars and Their Famous Relatives
Filed Under: Chris Janson, Editor's Picks


While WFS is known for its challengingn academics, the cornerstone of our model is built upon the notion that our students' quality of character what kind of people they are becoming is as vital as their intellectual growth. Westfield provides a nurturing environment and safe space for students to be creative and independent thinkers. Our emphasis on hands-on learning brings academics to life for children and facilitates the joy of discovery that we feel marks a life-long learner. From Preschool through 8th grade, our highly diverse student body grows in knowledge and is filled with the best qualities of mind and spirit: simplicity, peace, integrity, community, equality, and stewardship.
Our faculty strives to bring out each student's individuality, working to develop creative thinkers, problem solvers, peacemakers, and humanitarians who will contribute responsive and responsible leadership throughout their lives.
As a Friends school, we take the mission of Quaker education seriously. We do not seek to indoctrinate any particular set of religious beliefs, but rather over time, we require each child in our school to carefully examine their whole identity: the intellectual being, the emotional being, the social being, and the spiritual being. Therefore, we do not teach any religious classes. Instead, we have built our curriculum in a manner that allows students to experience academics through the lens of those Quaker values with universal appeal: Simplicity, Peace, Integrity, Community, Equality, and Stewardship.
We've created a warm and nurturing environment that supports academic rigor. Students are truly encouraged to be creative and independent thinkers, whether working together on science projects inspired by Leonardo da Vinci, writing their own plays for presentation to the school and parents, or entering regional and international educational competitions. The curriculum extends beyond the core subjects to include enrichment in social studies, science, languages and the arts. Westfield emphasizes a hands-on-approach to learning that brings academics to life for children, whether third graders are following in the founding fathers` footsteps as they tour Philadelphia, or whether mixed groups of students are planting butterfly and vegetable gardens together.
As well as the focus on education, Westfield works to ensure students are imbued with qualities of responsibility and concern for others and the greater good. Every class has service projects that they deliver and there are many cross-school initiatives that take place every year. These service projects are supported by and participated in by faculty, parents, and students alike. We are a family. Cross grade interaction takes place all yearthe caring connection nurtured between children across the grades is clearly evident to all who visit our school. Parents are involved in nearly all aspects of our daily lives here at Westfield, volunteering their creativity, talent, and time to enhance our programming and teaching.
People that viewed Westfield Friends School also viewed these schools: Our Lady Of Good Counsel School, Friends School Mullica Hill, St Charles Borromeo, Doane Academy and The King's Christian School.
My boys loved Westfield very much! The teachers are so caring and truly knew them throughout their ten years there. My husband and I both loved that they were academically ready for the prep high school they attended once they graduated. We also feel that our boys are confident and kind, which is unique for kids entering their teenage years!
This is an outstanding school with a small population of students. Basically, BAD kids don't attend this school, so your child gets the education you want for them. The teachers both command, and deserve, respect from both the students and the parents - they are THAT GOOD!!!! Our public school and its teachers are just not acceptable to us. That is why our daughter attends Westfield - She is Worth it!!!!!
Our children were at Westfield Frinds School for 8 years before we moved out of state. At WFS your children will recieve a very strong classical education and will be taught respect, responsibility, and fairness. Students leave WFS confident and well equipped for any school they will attend in the future. It's truly a very special place. Our children remember it with great fondness and wish they could have spent more time there. Leaving the school was one of the most difficult things I''ve had to do in my life.


Hope you are all having a fab weekend!!
Today I have another Sugar Nellie DTg card for you using another one of those gorgeous NEW Manga stamps...this one is called 'Strawberry Patch' from Funky Kits, Ive also used some freebie Craftworkcards papers i got from a mag and its also a 'Twisted Easel' card.
Anyhoo here it is...hope you like it!
Background of the image has been chalked but unfortunately you cant hardly see it!!
That is a beautiful card Gemma! Looks so lovely!
love the strawberries:)...very sweet card!!
Oh Gemma another simply scrumptious creation! This card is just beyond adorable, from the gorgeous image to the colour scheme,dp's and layout. Another perfect job with the colouring! Love love love this card.
Hi Gemma. This is so lovely, very cute image and love the cheery colour combo.
Thanks so much for your lovely comments and the hugs ;). Means a lot to know you're thinking of me.
Hi sweetie fabulous card hunni. Love the colour & I love the manga girl I was over there yesterday looking at the new manga's & wondering if I should get them but I have over 20 sugar nellie's that I've not even had chance to ink up yet so I'm gonna try work throught them 1st lol.


text:
From Sprocket School
Revision as of 20:24, 7 February 2019 by JesseCrooks (talk | contribs) (Changed dead link to reflect article name (film gauges))
A core is a chemically-inert plastic cylinder used in film manufacturing, development, and storage. Cores are available in all standard film gauges: 35mm, 16mm, 70mm, and even Super 8. They are available in several sizes: 4", 3", 2", and 1" for trailers
Raw film stock is supplied to laboratories on a plastic core. After a new print is manufactured, it is also wound onto a plastic core and shipped to the producer in this form. The film must be transferred to a projection reel before it can screened.
Most distributors send films to theaters on shipping reels, though films are sometimes shipped to theaters on cores in exceptional circumstances. A well-stocked booth must be able to accommodate film whether it arrives on a reel or a core. The projectionist must use a split reel to safely transfer film from a core to a projection reel. Film should never be projected from a split reel.
Archives typically store all films on cores, whether they are projection prints or pre-print elements. There are several advantages to storing films in this manner: cores allow for more compact storage and substantially limit the potential for external contamination (e.g., rusty reels). Archives will also occasionally ship prints to exhibitors on cores.
Proper Handling and Potential Pitfalls
Film on a core must always be handled more carefully than film seated on a reel. If the film is not wound tightly enough around its core, it can unspool and create a film spill. To limit the potential for a film spill, projectionists and archivists should always use both hands to brace the film when transferring it to and from its can.
Retrieved from "http://www.sprocketschool.org/w/index.php?title=Core&oldid=2432"
Film prints
Film handling


text:
Nucleotide sequence of the enterotoxin B gene from Staphylococcus aureus
Nucleotide sequence of the enterotoxin B gene from Staphylococcus aureus (English)
C L Jones
S A Khan
Transduction of staphylococcal enterotoxin B synthesis: establishment of the toxin gene in a recombination-deficient mutant.
Purification and partial characterization of a putative precursor to staphylococcal enterotoxin B.
Structural analysis of plasmid pSN2 in Staphylococcus aureus: no involvement in enterotoxin B production.
Nucleotide sequence and functional map of pC194, a plasmid that specifies inducible chloramphenicol resistance
Plasmid-chromosomal transition of genes important in staphylococcal enterotoxin B expression
Mechanism of incorporation of cell envelope proteins in Escherichia coli.
DNA sequence analysis on the IBM-PC.
Nucleotide sequence of the staphylokinase gene from Staphylococcus aureus.
Sequencing end-labeled DNA with base-specific chemical cleavages
Overlapping genes
Translational initiation in prokaryotes.
Staphylococcal enterotoxin A gene is associated with a variable genetic element
Supercoiled circular DNA-protein complex in Escherichia coli: purification and induced conversion to an opern circular DNA form
Molecular cloning of staphylococcal enterotoxin B gene in Escherichia coli and Staphylococcus aureus
Nucleotide sequence of ermA, a macrolide-lincosamide-streptogramin B determinant in Staphylococcus aureus
Improved M13 phage cloning vectors and host strains: nucleotide sequences of the M13mp18 and pUC19 vectors
Isolation and characterization of a plasmid involved with enterotoxin B production in Staphylococcus aureus
Genetics of staphylococcal enterotoxin B in methicillin-resistant isolates of Staphylococcus aureus
7 Synthetic adaptors for cloning DNA
A rapid method for the identification of plasmid desoxyribonucleic acid in bacteria
High frequency transformation of Bacillus subtilis protoplasts by plasmid DNA
Regulatory sequences involved in the promotion and termination of RNA transcription
Cross-reactions between tryptic polypeptides of staphylococcal enterotoxins B and C
The toxic shock syndrome exotoxin structural gene is not detectably transmitted by a prophage.
Unique features in the ribosome binding site sequence of the gram-positive Staphylococcus aureus beta-lactamase gene.
Complete nucleotide sequence of pT181, a tetracycline-resistance plasmid from Staphylococcus aureus.
Complete sequence of the staphylococcal gene encoding protein A. A gene evolved through multiple duplications.
A genetic system for analysis of staphylococcal nuclease.
Abdominal viscera as site of emetic action for staphylococcal enterotoxin in the monkey.
The primary structure of staphylococcal enterotoxin B. 3. The cyanogen bromide peptides of reduced and aminoethylated enterotoxin B, and the complete amino acid sequence
A signal sequence is not sufficient to lead β-galactosidase out of the cytoplasm
The complete amino acid sequence of staphylococcal enterotoxin C1
Chemical and biological properties of reduced and alkylated staphylococcal enterotoxin B
10.1128/JB.166.1.29-33.1986