text:
The following information is provided as reference information for application of Chapter 56 and IC 22-11-14. The information provided in Section 1 is excerpted from federal regulations in 49 CFR, Parts 171-173. A discussion of the new regulations is also provided.
Table A-VI-F-5 is reprinted with permission of the Institute of Makers of Explosives with the provision that the entire table, complete with all explanatory footnotes, is printed. Table A-VI-F-5 is used for magazines containing high explosives or a combination of high explosives and low explosives, and for magazines containing blasting agents.
TABLE A-VI-F-2 - DEFINITIONS FOR DIVISIONS OF CLASS 1 (EXPLOSIVE) MATERIALS
DIVISION DEFINITION
1.1 Explosives that have a mass hazard explosion. A mass explosion is one that affects almost the entire load instantaneously. (Examples include dynamite, cap-sensitive water gels, slurries, emulsions, and cast boosters.)
1.2 Explosives that have a projection hazard but not a mass explosion hazard. (Examples include ammunition, projectiles, and bombs.)
1.3 Explosives that have a fire hazard and either a minor blast hazard or a minor projection hazard or both, but not a mass explosion hazard. (Examples include some propellants, some fireworks, and flares.)
1.4 Explosive devices that present a minor explosion hazard. External fire must not cause virtually instantaneous explosion of almost the entire contents of the package. (Examples include some detonators and detonating cords, safety fuse, electric squibs, igniters, igniting cord, and some fireworks.)
1.5 Very insensitive explosives. This division is comprised of substances that have a mass explosion hazard but are so insensitive that there is very little probability of initiation or of transition from burning to detonation under normal conditions of transport. (Examples include blasting agents.)
1.6 Extremely incentive articles that do not have a mass explosion hazard. This division is comprised of articles that contain only extremely insensitive detonation substances and that demonstrate a negligible probability of accidental initiation or propagation. (This division is not commonly used for commercial explosives.)
TABLE A-VI-F-3 - COMPARISON OF OLD TO CURRENT EXPLOSIVES CLASSIFICATIONS
CLASS A EXPLOSIVES May be either DIVISION 1.1 or 1.2 depending on the material
CLASS B EXPLOSIVES May be either DIVISION 1.2 or 1.3 depending on the material
CLASS C EXPLOSIVES DIVISION 1.4
BLASTING AGENTS DIVISION 1.5
(NO APPLICABLE CLASS) DIVISION 1.6
TABLE A-VI-F-4 - EXPLOSIVES COMPATIBILITY GROUPS
DESCRIPTION OF SUBSTANCES OR ARTICLE TO BE CLASSIFIED COMPATIBILITY GROUP CLASSIFICATION CODE
Primary explosive substance. A 1.1A
Article containing a primary explosive substance and not containing two or more effective protective substances. B 1.1B, 1.2B, 1.4B
Propellant explosive substance or other deflagrating explosive substance or article containing such explosive substance. C 1.1C, 1.2C, 1.3C, 1.4C
Secondary detonating explosive substance or black powder or article containing a secondary detonating explosive substance, in each case without means of initiation and without a propelling charge, or article containing a primary explosive substance and containing two or more effective protective features. D 1.1D, 1.2D, 1.4D, 1.5D
Article containing a secondary detonating explosive substance, without means of initiation, with a propelling charge (other than one containing flammable liquid or hypergolic liquid). E 1.1E, 1.2E, 1.4E
Article containing a secondary detonating explosive substance with its means of initiation, with a propelling charge (other than one containing flammable liquid or hypergolic liquid) or without a propelling charge. F 1.1F, 1.2F, 1.3F, 1.4F
Pyrotechnic substance or article containing a pyrotechnic substance, or article containing both an explosive substance and an illuminating, incendiary, tear-producing or smoke-producing substance (other than a water-activated article or one containing white phosphorus, phosphide, or flammable liquid or gel or hypergolic liquid). G 1.1G, 1.2G, 1.3G, 1.4G
Article containing both an explosive substance and white phosphorus. H 1.2H,1.3H
Article containing both an explosive substance and flammable liquid or gel. J 1.1J, 1.2J, 1.3J
Article containing both an explosive substance and a toxic chemical agent. K 1.2K, 1.3K
Explosive substance or article containing an explosive substance and presenting a special risk (e.g., due to water-activation or presence of hypergolic liquids, phosphides, or pyrophoric substances) needing isolation of each type. L 1.1L, 1.2L, 1.3L
Articles containing only extremely insensitive detonating substances. N 1.6N
Substance or article so packed or designed that any hazardous effects arising from accidental functioning are limited to the extent that they do not significantly hinder or prohibit firefighting or other emergency response efforts in the immediate vicinity of the package. S 1.4S
TABLE A-VI-F-5 - AMERICAN TABLE OF DISTANCES FOR STORAGE OF EXPLOSIVE MATERIALS
As Revised and Approved by the Institute of Makers of Explosives - June 199114
QUANTITY OF EXPLOSIVE MATERIALS1 2 3 4 15 DISTANCES IN FEET
x 304.8 Per mm
Inhabited Buildings9
Public Highways with Traffic Volume of less than 3,000 Vehicles per Day Passenger Railways - Public Highways with Traffic Volume of more than 3,000 Vehicles/Day10 11 Separation of Magazines5 12
Pounds Over Pounds Not Over Barricaded6 7 8 Unbarricaded Barricaded6 7 8 Unbarricaded Barricaded6 7 8 Unbarricaded Barricaded6 7 8 Unbarricaded
x 0.454 Per kg
0 5 70 140 30 60 51 102 6 12
5 10 90 180 35 70 64 128 8 16
10 20 110 220 45 90 81 162 10 20
20 30 125 250 50 100 93 186 11 22
30 40 140 280 55 110 103 206 12 24
75 100 190 380 75 150 139 278 16 32
100 125 200 400 80 160 150 300 18 36
200 250 255 510 105 210 189 378 23 46
900 1,000 400 800 160 320 300 600 36 72
1,000 1,200 425 850 165 330 318 636 39 78
1,800 2,000 505 1,010 185 370 378 756 45 90
2,500 3,000 580 1,160 195 390 432 864 52 104
4,000 5,000 685 1,370 225 450 513 1,026 61 122
9,000 10,000 865 1,730 260 520 645 1,290 78 156
10,000 12,000 875 1,750 270 520 687 1,374 82 164
20,000 25,000 1,055 2,000 315 630 876 1,752 105 210
35,000 40,000 1,275 2,000 380 760 1,026 2,000 124 248
70,000 75,000 1,655 2,000 500 1,000 1,263 2,000 160 320
95,000 100,000 1,815 2,000 545 1,090 1,392 2,000 185 370
100,000 110,000 1,835 2,000 550 1,100 1,437 2,000 195 390
275,000 300,00013 2,275 2,000 690 1,380 2,000 2,000 385 770
1 "Explosive materials" means explosives, blasting agents and detonators.
2 "Explosives" means any chemical compound, mixture, or device, the primary or common purpose of which is to function by explosion. A list of explosives determined to be within the coverage of 18 U.S.C. Chapter 40, Importation, Manufacturer, Distribution and Storage of Explosive Materials, is issued at least annually by the director of the Bureau of Alcohol, Tobacco and Firearms of the Department of the Treasury. For quantity and distance purposes, detonating cord of 50 grains per foot (10.7g/m) should be calculated as equivalent to 8 pounds (3.6 kg) of high explosives per 1,000 feet (304.8 m). Heavier or lighter core loads should be rated proportionately.
3 "Blasting agents" means any material or mixture, consisting of fuel and oxidizer, intended for blasting, not otherwise defined as an explosive, provided that the finished product, as mixed for use or shipment, cannot be detonated by means of a No. 8 test blasting cap when unconfined.
4 "Detonator" means any device containing any initiating or primary explosive that is used for initiating detonation. A detonator may not contain more than 10 grams of total explosives by weight, excluding ignition or delay charges. The term includes, but is not limited to, electric blasting caps of instantaneous and delay types, blasting caps for use within safety fuses, detonating cord delay connectors, and non-electric instantaneous and delay blasting caps which use detonating cord, shock tube or any other replacement for electric leg wires. All types of detonators in strengths through No. 8 cap should be rated at 1 1/2 pounds (0.68 kg) of explosives per 1,000 caps. For strengths higher than No. 8 cap, consult the manufacturer.
5 "Magazine" means any building, structure, or container, other than an explosives manufacturing building, approved for the storage of explosive materials.
6 "Natural barricade" means natural features of the ground such as hills, or timber of sufficient density that the surrounding exposure which require protection cannot be seen from the magazine when the trees are bare of leaves.
7 "Artificial barricade" means an artificial mound or riveted wall of earth of a minimum thickness of 3 feet (914.4 mm).
8 "Barricaded" means the effective screening of a building containing explosive materials from the magazine or other building, railway or highway by a natural.
9 "Inhabited building" means a building regularly occupied in whole or part as a habitation for human beings, or any church, schoolhouse, railroad station, store, or other structure where people are accustomed to assemble, except any building or structure occupied in connection with the manufacture, transportation, storage, or use of explosive materials.
10 "Railway" means any steam, electric, or other railroad or railway that carries passengers for hire.
11 "Highway" means any public street, public alley, or public road.
12 When two or more storage magazines are located on the same property, each magazine must comply with the minimum distances specified from inhabited buildings, railways, and highways, and in addition, they should be separated from each other by not less than the distances shown for "Separation of Magazines", except that the quantity of explosive materials contained in detonator magazines shall govern in regard to the spacing of said detonator magazines from magazines containing other explosive materials. If any two or more magazines are separated from each other by less than the specified "Separation of Magazines" distances, then such two or more magazines, as a group, must be considered as one magazine, and the total quantity of explosive materials stored in such group must be treated as if stored in a single magazine located on the site of any magazine of the group and must comply with the minimum of distances specified from other magazines, inhabited buildings, railways, and highways.
13 Storage in excess of 300,000 pounds (136,077.6 kg) of explosive materials in one magazine is generally not required for commercial enterprises.
14 This table applies only to the manufacture and permanent storage of commercial explosive materials. It is not applicable to transportation of explosives or any handling or temporary storage necessary or incidental thereto. It is not intended to apply to bombs, projectiles, or other heavily encased explosives.
15 When a manufacturing building on an explosive materials plant site is designed to contain explosive materials, such building shall be located from inhabited buildings, public highways, and passenger railways in accordance with Table A-VI-F-5 based on the maximum quantity of explosive materials permitted to be in the building at one time.
NOTE: The American Table of Distances (Table A-VI-F-5) is reprinted by permission of the Institute of Makers of Explosives with the provision that the entire table, complete with all explanatory footnotes, be printed.
TABLE A-VI-F-6 - TABLE OF RECOMMENDED SEPARATION DISTANCES OF AMMONIUM
NITRATE AND BLASTING AGENTS FROM EXPLOSIVES OR BLASTING AGENTS1 6
DONOR WEIGHT MINIMUM SEPARATION DISTANCE OF ACCEPTOR WHEN BARRICADED2 (feet) MINIMUM THICKNESS OF ARTIFICIAL BARRICADES5 (inches)
Pounds Over Pounds Not Over X 304.8 Per mm
X 0.484 Per kg Ammonium Nitrate3 Blasting Agent4 X 25.4 Per mm
100 300 4 14 12
600 1,000 6 22 12
1,000 1,600 7 25 12
3,000 4,000 10 36 15
8,000 10,000 13 47 20
10,000 12,000 14 50 20
70,000 80,000 28 101 40
90,000 100,000 32 115 40
100,000 120,000 34 122 50
1 Recommended separation distances to prevent explosion of ammonium nitrate and ammonium nitrate-based agents by propagation from nearby stores of high explosives or blasting agents referred to in Table A-VI-F-6 as the "donor." Ammonium nitrate, by itself, is not considered to be a donor when applying Table A-1 Recommended separation distances to prevent explosion of ammonium nitrate and ammonium nitrate-based agents by propagation from nearby stores of high explosives or blasting agents referred to in Table A-VI-F-6 as the "donor." Ammonium nitrate, by itself, is not considered to be a donor when applying Table A-VI-F-6, Ammonium nitrate, ammonium nitrate-fuel oil, or combination thereof are acceptors. If stores of ammonium nitrate are located within the sympathetic detonation distance of explosives or blasting agents, one-half the mass of the ammonium nitrate should be included in the mass of the donor.
2 When the ammonium nitrate or blasting agent is not barricaded, the distances shown in Table A-VI-F-6 shall be multiplied by six. These distances allow for the possibility of high velocity metal fragments from mixers, hoppers, truck bodies, sheet metal structures, metal containers, and the like that may enclose the "donor." Where storage is in bullet resistant magazines recommended for explosives or where the storage is protected by a bullet resistant wall, distances and barricade thicknesses in excess of those prescribed in Table A-VI-F-5, Footnote 7, are not required. For construction of bullet resistant magazines, see Article 77.
3 The distances in Table A-VI-F-6 apply to ammonium nitrate that passes the insensitivity test prescribed in the definition of ammonium nitrate fertilizer promulgated by the Fertilizer Institute (Definitions and Test Procedure for Ammonium Nitrate Fertilizer, Fertilizer Institute 1964); and ammonium nitrate failing to pass said test shall be stored at separation distances determined by competent persons and approved by the authority having jurisdiction.
4 These distances apply to blasting agents which pass the insensitivity test prescribed in regulations of the United States Department of Transportation and the United States Department of the Treasury, Bureau of Alcohol, Tobacco and Firearms.
5 Earth, or sand dikes, or enclosures filled with the prescribed minimum thickness of earth or sand are acceptable artificial barricades. Natural barricades, such as hills or timber of sufficient density that the surrounding exposure which requires protection cannot be seen from the "donor" when the trees are bare of leaves, are also acceptable.
6 For determining the distances to be maintained from inhabited buildings, passenger railways, and public highways, see Table A-VI-F-5 (High Explosives and Blasting Agents) or Table A-VI-F-7 (Low Explosives).
TABLE A-VI-F-7
TABLE OF DISTANCES FOR STORAGE OF LOW EXPLOSIVES
LOW EXPLOSIVES (pounds) FROM INHABITED BUILDING DISTANCE (feet) FROM PUBLIC RAILROAD AND HIGHWAY DISTANCE (feet) FROM ABOVEGROUND MAGAZINE (feet)
Over Not Over × 304.3 per cm
0 1,000 75 75 60
1,000 5,000 115 115 75
5,000 10,000 130 130 100
10,000 20,000 180 180 125
90,000 100,000 350 350 200
100,000 200,000 375 375 250
TABLE A-VI-F-8 - DISTANCES FOR THE OPEN BURNING OF EXPLOSIVES1
QUANTITY OF EXPLOSIVES2 3 4 5 (Not Over)
MINIMUM DISTANCE IN FEET
× 304.8 Per mm
Inhabited Buildings9 Public Highways with Traffic Volume of less than 3,000 Vehicles per Day Passenger Railways and Public Highways with Traffic Volumes more than 3,000 Vehicles per Day10 11 Separation From Other Open Burning Units
Pounds No Missile Hazard Missile Hazard Without Barricade6 7 8 No Missile Hazard Missile Hazard Without Barricade No Missile Hazard Missile Hazard Without Barricade
10 90 180 35 70 64 128 8
20 110 220 45 90 81 162 10
50 150 300 60 120 110 220 14
100 190 380 75 150 139 278 16
250 255 510 105 210 189 378 23
1,000 400 800 160 320 300 600 36
2,000 505 1,010 185 370 378 756 45
5,000 685 1,370 225 450 513 1,026 61
10,000 865 1,730 260 520 645 1,290 78
1 This table is intended only for application of open burning of commercial explosive materials. The distances stated in this table should be measured from the center of the unit, except for separations from other open-burning units, which are measured from the edge of the unit.
2 "Explosive materials" means any explosive, slurry, emulsion, detonating cord, blasting agents, and detonators.
3 "Explosives" means any chemical compound, mixture, or device, the primary or common purpose of which is to function by explosion. A list of explosives determined to be within the coverage of 18 U.S.C. Chapter 40, Importation, Manufacture, Distribution and Storage of Explosive Material, is issued at least annually by the director of the Bureau of Alcohol, Tobacco, and Firearms of the Department of the Treasury. For quantity and distance purposes, detonating cord of 50 grains per foot (10.7 g/m) should be calculated as equivalent to 8 pounds (3.6 kg) of high explosives per 1,000 feet (304.8 m). Heavier or lighter core loads should be rated proportionally.
4 "Blasting agents" means any material or mixture, consisting of fuel and oxidizer, intended for blasting, not otherwise defined as an explosive, provided the finished product, as mixed for use or shipment, cannot be detonated by means of a No. 8 test blasting cap when unconfined.
5 "Detonator" means any device containing any initiating or primary explosive that is used for initiating detonation. A detonator may not contain more than 10 grams of total explosives by weight, excluding ignition or delay charges. The term includes, but is not limited to, electric blasting caps of instantaneous and delay blasting caps that use detonating cord, shock tube, or any other replacement for electric wires. All types of detonators in strengths through No. 8 cap should be rated at 1 1/2 pounds (0.68 kg) of explosives per 1,000 caps. For strengths higher than No. 8 cap, consult the manufacturer.
6 "Natural barricade" means natural features of the ground, such as hills, or timber of sufficient density that the surrounding exposures that require protection cannot be seen from the magazine when the trees are bare of leaves.
8 "Barricaded" means the effective screening of a building containing explosive materials from the magazine or other building, OB/OD site, railway, or highway by a natural or an artificial barrier. A straight line from the top of any sidewall of the building containing explosive materials to the eave line of any magazine or other building or to a point 12 feet (3,657.6 mm) above the center of a railway or highway shall pass through such a barrier.
9 "Inhabited building" means a building, regularly occupied in whole or part as a habitation for human beings, or any church, schoolhouse, railroad station, store, or other structure where people are accustomed to assemble. This does not mean any office, warehouse, production, laboratory, or other buildings that are a part of the facility where the open burning or open detonation sites are located.
TABLE A-VI-F-9 - DISTANCES FOR THE OPEN DETONATION OF EXPLOSIVES1
QUANTITY OF EXPLOSIVES2 3 4 5 (Not Over) MINIMUM DISTANCE IN FEET
Inhabited Buildings9 Public Highways with Traffic Volume of less than 3,000 Vehicles per Day Passenger Railways and Public Highways with Traffic Volumes more than 3,000 Vehicles per Day10 11 Separation From Other Open Detonation Units
Pounds No Missile Hazard Missile Hazard Without Barricade6 7 8 No Missile Hazard Missile Hazard Without Barricade6 7 8 No Missile Hazard Missile Hazard Without Barricade6 7 8 No Missile Hazard Missile Hazard Without Barricade6 7 8
1 730 730 325 325 480 480 6 12
5 1,250 1,250 550 550 820 820 6 12
10 1,600 1,600 695 695 1,030 1,030 8 16
20 1,990 1,990 875 875 1,295 1,295 10 20
50 2,700 2,700 1,190 1,190 1,760 1,760 14 28
100 3,400 3,400 1,500 1,500 2,220 2,220 16 32
3 "Explosives" means any chemical compound, mixture or device, the primary or common purpose of which is to function by explosion. A list of explosives determined to be within the coverage of 18 U.S.C. Chapter 40, Importation, Manufacture, Distribution and Storage of Explosive Material, is issued at least annually by the director of the Bureau of Alcohol, Tobacco, and Firearms of the Department of the Treasury. For quantity and distance purposes, detonating cord of 50 grains per foot (10.7 g/m) should be calculated as equivalent to 8 pounds (3.6 kg) of high explosives per 1,000 feet (304.8 m). Heavier or lighter core loads should be rated proportionally.


text:
Adam Wainwright sets MLB record with Yadier Molina as he continues to share Christ's love
By Jon Ackerman Sep 15, 2022
St. Louis Cardinals starting pitcher Adam Wainwright, Sept. 14, 2022, in St. Louis. (AP Photo/Joe Puetz)
Wednesday night's start was No. 387 for Cardinals pitcher Adam Wainwright in his 17-year MLB career. But for the 325th time, catcher Yadier Molina was behind the plate. No pitcher-catcher duo has ever started so many games together.
The battery eclipsed the regular-season mark of 324 by Mickey Lolich and Bill Freehan of the Detroit Tigers from 1963-1975.
"It's probably cooler for me than Yadi," Wainwright said after he also picked up the win over the Milwaukee Brewers. "He has so many cool things. Next to the Roberto Clemente award, this is probably the coolest thing of my career."
Added Molina: "Such a great feeling, just to reach that number. To be at the top of that list. Such a great feeling."
A first pitch strike!#STLCards x @SIRIUSXM pic.twitter.com/HATyeXUe5S
— St. Louis Cardinals (@Cardinals) September 15, 2022
It also marked their 213th win together, also an MLB record. That brings Wainwright's season record to 11-9, and the Cardinals' record to 84-59. They hold an eight-game lead in their division and are trying to chase down the 89-55 New York Mets for the No. 2 spot in the NL playoffs.
"It was a lot to manage, early on," Wainwright said about Wednesday's start. "The crowd was so awesome, making me get constant chills and tearing up. Was trying to manage my adrenaline because it wanted to go through the roof."
School is back, and class is in session!#Yadios pic.twitter.com/SgZYE4JYBE
Wainwright and Molina made their first start together on April 6, 2007, in Houston. According to ESPN, Wainwright has thrown 2,136 of his 2,548 innings (83.8 percent) to Molina, and they have teamed up to record 1,812 strikeouts.
"A lot has taken place in that time span, and that's why I think this record is pretty darn cool," St. Louis manager Oliver Marmol said. "I don't see anyone coming close to ever reaching it again."
This is expected to be the final season for Molina, 40, but Wainwright, who turned 41 on Aug. 30, has yet to make an announcement on his future. Last September, he released a video with his family saying he'd be back for another year. Soon thereafter, he signed a one-year, $17.5 million contract after one of the best years of his career — 17 wins (second in MLB), a .708 winning percentage (second-best of his career), 206.1 innings pitched (third in MLB), and a 3.05 ERA (his best since 2013).
In 2022, Wainwright is still showing he's one of the best pitchers in the game. He's tied for the MLB lead in games started (29), he's sixth in innings pitched (178.0), and his 3.29 ERA is tops among Cardinals pitchers with 20 or more starts.
So if his wife, Jenny, and their five kids OK it once again, Wainwright could be back for yet another season in 2023. There's no doubt his family will play a large role in making that decision.
"I want to make sure that I'm not being just self-absorbed in that decision," Wainwright told Sports Spectrum Magazine for a Spring 2022 feature. "Our family is really important to me, our family dynamic. I grew up without a father at home and I don't want to be the guy who's never at home. I don't want to be the guy that misses everything for all my kids growing up. … I love what I do. I really enjoy what I'm doing, but I'm getting to a point now where I'm ready to cheer them on, rather than them always cheer me on."
He'll also turn to prayer. He's been walking with the Lord since he gave his life to Christ at a Pro Athletes Outreach conference in 2002. Twenty years later, he's still attending the annual conferences and regularly brings teammates with him. In the fall of 2018, Wainwright thought his career might be done after he struggled through an injury-riddled season. But he wanted to keep playing largely because he wanted to continue to pour into the faith journeys of younger teammates.
"We are looked up to as leaders, and naturally we have an 'in' with the younger players simply because we have the knowledge and experience that they want to learn from," Wainwright told Sports Spectrum. "When we can also speak into their lives on deeper matters — on things besides baseball — it provides a huge opportunity for us to share Christ's love with those who are eager to hear what we have to say."
He's also helped fans and social media followers in their relationships with God. In 2020, Wainwright led 22,000 people through the Bible in a year, then continued in 2021. It was a big time commitment, but well worth using the platform he'd established as a MLB pitcher to spread God's Word.
"The first week of that, I remember saying, 'I did not know what I was getting myself into,'" Wainwright told Sports Spectrum. "I said, 'Jenny, you're going to have to help me through this because I feel like this might be the most important thing I've ever done.'"
— MAGAZINE: Pitcher Adam Wainwright & Wife Jenny Are All About Family Matters
— SS PODCAST: Cardinals' Adam Wainwright, wife Jenny on baseball, marriage, Jesus
— Friends, teammates honor Adam Wainwright by investing in Water Mission project
— 'Family first' pitcher Adam Wainwright went on IL to help wife, kids through COVID
— Adam Wainwright receives Roberto Clemente Award for work with many organizations
Adam Wainwright,
Christ's love,
leaders,
St. Louis Cardinals,

redpajama_set_name: RedPajamaCommonCrawl


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Opiate addiction is an issue that is currently plaguing the United States, and many people need opiate addiction treatment Houston can provide. There are many different reasons as to why people develop an addiction to opiates, but they have the same result. Becoming addicted to opiates can destroy a person's life mentally, physically and socially. With the help of an addiction treatment facility, you can learn how to live a life free from your addiction to this dangerous substance.
Who Needs Opiate Addiction Treatment?
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To learn more about Serenity Light Recovery and opiate addiction treatment, reach out today at 855-658-6109. We're ready to be the beacon of light and hope you need to reach lasting recovery.


text:
namespace EncounterGen.Domain.Tables
{
    internal static class TableNameConstants
    {
        public const string AverageChallengeRatings = "AverageChallengeRatings";
        public const string AverageEncounterLevels = "AverageEncounterLevels";
        public const string CreatureGroups = "CreatureGroups";
        public const string EncounterGroups = "EncounterGroups";
        public const string EncounterLevelModifiers = "EncounterLevelModifiers";
        public const string TreasureRates = "TreasureRates";
        public const string TreasureGroups = "TreasureGroups";
    }
}

redpajama_set_name: RedPajamaGithub


Los Angeles, Calif. – Marking the first bridge delivery milestone for the I-405 Sepulveda Pass Improvements Project, the Los Angeles County Metropolitan Transportation Authority (Metro) and its contractor, Kiewit Infrastructure West, have officially completed major reconstruction work on the Sunset Bridge over the I-405 in West Los Angeles, and today reinstated all traffic lanes to motorists.
The new Sunset Bridge is higher, longer and significantly wider at 120 feet — approximately 30 feet wider than before. It features two additional traffic lanes and higher capacity on- and off-ramps to improve area traffic flows and reduce congestion on local streets. Motorists will now enjoy dedicated turn lanes to access freeway ramps, and motorists traveling east/west through the bridge will be able to do so more quickly.
A gateway to UCLA to the east and Brentwood and Santa Monica to the west, the Sunset Bridge typically accommodates between 18,000 and 22,000 motorists on an average weekday. It is a critical, freeway-accessible segment of Sunset, a major east/west arterial for the Westside. The reopening is anticipated to bring much-needed relief to local residents and commuters who have endured approximately two years of construction-related traffic impacts.
During reconstruction, the new bridge's columns were repositioned to accommodate the additional freeway lane created by the project.
Other major bridge improvements and features include seismic upgrades, wider shoulders, and sidewalks. The new bridge also contains a new water line, underground power lines and other utility improvements. Construction work continues to build a brand new freeway on-ramp to the I-405, which is expected to be complete next year.
Demolition and subsequent reconstruction of the Sunset Bridge occurred in two phases beginning in July 2010. The bridge is the first of three bridges to be demolished and rebuilt as part of the project. The other two bridges are the Skirball and Mulholland Bridges, which are in various stages of demolition and reconstruction. Final demolition of the Mulholland Bridge and resulting bi-directional freeway closure, popularly known as "Carmageddon II" is scheduled for September 29-30.
Sunset Bridge reconstruction is part of Metro's $1 billion I-405 freeway improvements project now under construction between the I-10 and U.S. 101. A joint partnership between Metro and Caltrans, the project will create a 10-mile carpool lane on the northbound I-405. The project will add capacity to this portion of the nation's busiest freeway and make it safer. Other project enhancements include the improvement of supporting freeway infrastructure and capacity improvements at key interchanges such as Sunset and Wilshire Boulevards.
For latest updates visit the project web site at www.metro.net/405 or follow the project on twitter: twitter.com/I_405 and Facebook at facebook.com/405project.
New and improved Sunset Boulevard Bridge over 405 fully reopens Monday morning!


I'm excited to link up with the ladies at The Sequin Notebook today for their monthly cocktail link up. Whenever I think of fall drinks (or fall anything), I feel like the norm is to go from apple to pumpkin to cranberry this time of year. To me, the one that's always left out is pear. One of my favorite desserts this time of year is Mike's family's pear mousse. You can find the recipe here, and it's so delicious!
I especially love Bartlett pears for this cocktail recipe; they're juicy without being too sweet, something I love for cocktails. When you're looking for the right Bartlett pears, keep in mind that they are picked green and turn yellow as they ripen. I like to use a pretty ripe pear to make the muddling easy. This recipe makes one low-ball cocktail.
Peel and dice 1/3 of a pear and place in a cup with a small squeeze of honey and 1 ounce of bourbon. Muddle together, then add in 1 ounce of vodka and a glass full of ice. Shake well and pour into a low-ball glass. Top off with ginger beer and garnish with a thin slice of pear.
Now, if you really want to go above and beyond, my favorite way to garnish this drink is also with a sprig of sugared rosemary. It's pretty easy to make and serves a great dual purpose as a festive stirrer.
Dip sprigs of rosemary in water, shake off the excess water, roll in sugar to coat, and place on a paper towel-lined plate for 24 hours to dry.
This looks so good! I love the added rosemary, sounds delicious!
never would have thought vodka and bourbon but pear - yes! this looks so yummy!
Pear is one of my favorite fruits and I agree it gets lost in the mix of other holiday fruits. This definitely sounds yummy!!
That sounds really good and I'm not much of a "drinker"... Yummy pear!
YUM! These are some of my very favorite flavors, and it looks so festive with the rosemary! Thanks for linking up!
Pear anything is my favorite, so this sounds delicious! I think we have everything already- aside from the pears!
Yum! This sounds (and looks) so delicious!
Sounds good, not a huge bourbon fan but maybe with everything mixed in, it would be good?
This is such a pretty drink, haha! Love the sugared rosemary on the side...it looks perfect for winter!
Oh my, this drink is right up my alley. It sounds amazing!
Looks really good. I never make anything with ginger beer but I love how it tastes.
I love the idea of using Pear! I'll be making this tonight!
I am a big fan of pear. This sounds so good, love the sugared Rosemary for garnish.
Mmmmmm! Sounds sweet and refreshing!


Faith, Glad to hear of another cleaner-upper! Your inner tube idea sounds like a good one. Maybe a small round laundry basket secured to the tube? I hope to paddle "into the Mystic" very soon. Best of luck with your new boat!


text:
Toivo KUULA (1883-1918)
Complete Works for Solo Piano
Satukuvia Op.19 (1912) [15:11]
Three Piano Pieces Op.3b [13:05]
Juhlamarssi Op.13b [9:24]
Lampaan Polska [4:14]
Air Varié in E minor [2:12], Schottis [3:26]
Six Piano Pieces Op.26 [23:34]
Two Song Transcriptions Op.37 [5:21]
Vanha Syyslaulu Op.24 No.3 [1:39]
Invention (C.1905) [1:19]
Adam Johnson (piano)
rec. 2017, South Creake, UK
GRAND PIANO GP780 [80:17]
Before the arrival of this disk I had just one other CD of Toivo Kuula's music - Dutton's excellent recording of his orchestral music and songs, enthusiastically reviewed by Rob Barnett. I therefore welcomed the opportunity to listen to this very well filled CD. It contains his entire oeuvre for piano, which was far from being his main musical activity. He is, in fact, best known for his vocal and choral output. Unfortunately, he died at the age of thirty-five from wounds sustained in a shooting incident following a political quarrel, so hardly had the time to develop fully as a composer.
He studied under Sibelius from 1906 to 1908 and, as far the piano was concerned, he was entirely self-taught, an astonishing accomplishment which was not without its problems, as evinced by his saying "I will whip that piano until I succeed".
Born in Finland, he died there as the country was on the brink of establishing its independence from Russia – it had been a Russian Grand Duchy. He was particularly active as a Fennoman, a group of Finnish Nationalists devoted to establishing the Finnish language as co-equal with Swedish, which was spoken in Finland by the majority. The booklet has a striking photo of him on its back cover, and it strongly reminds me of one of Sibelius at the same sort of age.
Much of his piano music still only exists in unclear manuscript, and a significant proportion of the music presented here is played from these. In fact, the pianist, Adam Johnson spent a year researching the source.
In his introductory contribution to the booklet notes, Mr.Johnson points out that Kuula's harmony is coloured by an early Debussian palette together with the darker late-Romantic progressions of Wagner. Some of the piano writing is highly virtuosic.
I have gradually become more and more appreciative of the music, particularly the Six Piano Pieces Op.26. The fourth of these, a Nocturne formerly known as 'Christmas Night', is particularly impressive, and although no description of its musical imagery is given, I can easily convince myself that it represents the slowly increasing clangour of Church Bells as the midnight hour approaches. The final piece of the set is simply entitled 'Funeral March', and was composed to honour a churchman who had been important to Kuula in his early years. It is a sonorous and impressive, its motto theme rising to forte within one minute, then continuing in a solemn quietness, with its theme reappearing a couple of minutes before the end, briefly rising to a thunderous climax before ending quietly by descending to the depths.
Kuula composed many songs, some for solo voice and others for chorus, and he transcribed some of them for solo piano, three of which appear here. The second, a Barcarolle, has what is probably the most instantly memorable tune on the disk.
Having said that, the Häämarssi I (No.2 of Piano Pieces Op.3b) is widely used in Finland today as a Wedding March, and it has a solemn memorability.
The disk starts with the Satukuvia (Folk-Tale Pictures) of 1912, each piece of which has its origin in a folk-tale. As might be expected, they are melodic in attempting to use piano music to describe firstly a young hare leaving the burrow for the first time, then the plains of Ostrobothnia and finally a lily-of-the-valley on a lonely rocky island. Kuula is neither more nor less successful than others would have been in trying to describe such abstract images, which have no obvious natural sounds associated with them. They can be listened to and enjoyed for their music alone.
Apart from a short introduction by the pianist, the informative booklet notes, in English and Finnish, are written by Tero Tommila, of the Toivo Kuula Society, and his references to the pieces are notated by the CD track numbers. The recording is first-rate, with the lower reaches of the keyboard being presented vividly and the top notes with a pleasing 'ping'. The virtuoso pianist Adam Johnson is fully equal to the range of the music and I have enjoyed this CD very much; it contains a lot of memorable music, and I welcome its appearance.
Jim Westhead
Previous review: Rob Barnett


text:
Robson Green: Extreme Fisherman
Robson heads to Japan's southern islands, home to some of the most beautiful and powerful fish in the ocean, where he meets the lethal black-banded sea snake.
Robson Green: Extreme Fisherman - Season 1
Robson's in South America to attempt sport fishing's greatest challenge: catching 3 different types of billfish. Then, he comes face to face with a 20 tonne whale shark.
Robson heads to Japan's southern islands, home to some of the most beautiful and powerful fish in the ocean, where he meets the lethal black-banded sea snake.
Robson's in the South Pacific in search of a speed freak that head-butts its prey, an ambush predator with a vicious bite, and the powerful Bandeng.
Robson heads to the biggest landlocked country in the world to tackle the huge, ferocious Taimen. He enlists the help of a local Shaman for some spiritual assistance.
Robson travels to Madagascar, where his first target is a Jobfish, a reef predator with powerful jaws. He then teams up with local fishermen to spear an octopus.
Robson travels to one of the most biologically diverse landscapes known to man. He teams up with Borneo's top anglers to catch a deep sea monster that can become invisible.
Robson travels to Central America to catch the fastest fish on the planet. Along the way he teams up with the Garifuna people to cook sharp toothed Sierra Mackerel.
Robson travels to Ecuador to target one voracious carnivore: the Grouper. Later, when he isn't using grubs as bait he eats them - barbequed.
Who Was Sasaki Kojiro and What Happened at Ganryu Island?
How Tyres are Made
The Biggest Pyramid in the World
The Highest Mountains in North America


text:
This week's issue - Take 4
Post by Al » 07 Oct 2013, 21:15
Another new thread. Please keep it on topic people.
dennisboy
Contact dennisboy
Re: This week's issue - Take 4
Post by dennisboy » 09 Oct 2013, 21:30
Just reading the issue. Looks great so far, I love the Dennis story and Billy Whizz and the mini's are on form as usual. I loved Ball Boy this week.
Reading comics comes naturally to me.
Post by Digifiend » 10 Oct 2013, 01:01
The Bash Street Kids aren't at school this week, and no Teacher in sight. Would've been ideal to run in August, during the summer holidays.
Post by Gilly » 10 Oct 2013, 11:03
Very true but it was an interesting change of pace seeing The Bash Street Kids out of school. I wonder if there'll be more strips like this as I don't think it has been done too often.
Here's my review of the issue.
Page 1 - Front Cover - Nigel Parkinson
Page 2 - Mr. Bonkers' Joke-Telling Cheese Plant - Jamie Smart
PG 3: What's Inside?
Page 4 -6 - Dennis the Menace and Gnasher - 6.5/10 - A slightly weaker story this week, I actually found it rather boring. The artwork and overall story was good but something was missing this week for me.
Page 7 - Dennis and Gnasher's Gnawsome Giveaways!
Page 8 - Bash Street Burp - 6/10 - The whole thing was a bit predictable, and the usually-intentionally-scrappy artwork looked even more scrappier than usual. Not bad, though.
Page 9 - Billy Whizz - 4/10 - I've changed my mind about this. The whole script seemed unappealing and lazy, and I hated the "mum" joke. The artwork's fine, but the rest wasn't great for me.
Page 10 - Ball Boy - 9.5/10 - Now this is more like it from Ball Boy! I loved the whole scene of it, I loved the Alex Ferguson reference, and even though Ant & Dec were referenced in it I still adored the whole thing. Brilliant artwork, brilliant everything!
Page 11 - Funsize Funnies
Ninja Nuns - 5/10 - A respectable start. The artwork wasn't on top form as we usually see from Andy but I liked the script.
The Incredible Skunk - 3/10 - I thought last week that the Incredible Skunk was too dependent on fart jokes. Still, lots of toilet humour, very reliant. Anything else we're seeing in the strip, the artwork etc..., isn't improving. As a matter of fact, it's getting worse.
Angel Face - 7.5/10 - WizzKid was confused, I was slightly as well, although admittedly only after he mentioned the paint plot hole. The artwork is good though and so was the plot.
I Pity the School - 8.5/10 - I remember this one from the 2012 Dandy, loved it then, love it now. Great artwork, except for the man in panel one, which was the only thing which stopped me from giving it a 10. Great plot as well.
Page 12 - Beano Jokes Advert
Page 13 - Mega Mega Mootants - 7/10 - This has so much potential...great artwork and plot. However, I agree with WizzKid, it needs at least two pages.
Page 14 - 15 - The Numskulls - 3/10 - I found this Darth Vader plot boring, badly drawn and it was very tempting for me to just turn the page. Disappointing.
Page 16 - The Castle Rock - 4.5/10 - I wasn't sure if this should have an extra page or not. The cliffhanger was good, but this wasn't particularly well drawn, amongst other things. It has lots of potential, though.
Page 17 - Celebrity Twins
Page 18 - 19 - The Bash Street Kids - 6.5/10 - I liked the jokes and the artwork, but the thing that stopped me from giving a higher score was that there was no school involved this week, and the story suffered from it. I'm just not into all the "Bash Street Kids play stunts on their bike." As others have said though, Spotty is getting his Mike Pearse personality back.
Page 20 - Funkids Radio Page
Page 21 - Funsize Funnies 2
Fatty's Kitchen Nightmares - 4/10 - Can I just say how great it is to have the wonderful Mike Pearse back? He needs more space. The joke and script was quite weak this week. I hope Mike Pearse doesn't write this (of course he doesn't).
The Great Beanotown Face-off - 4/10 - I liked the artwork, but the plot is tired and I didn't get the joke.
Jessie's J - 9/10 - Brilliant. The artwork suits the strip, and I loved the plot and story. The end joke was weird in a great way.
Penguin Club - 4.5/10 - I didn't get the joke, but the artwork is good, with weird teeth. Not great.
Page 22 - 24 - Wallace and Gromit - 4/10 - The artwork is good, but I feel that the jokes and puns are very forced. This strip has lots of potential, though. It needs to use it next month.
Page 25 - Wallace and Gromit's Cracking Contraptions Manual
Page 26 - 27 - Bananaman - 3.5/10 - Contrary to what WizzKid's opinion was, I thought the strip had marginally inproved this week, the plot suited it better and that showed. Still, the lines in the artwork are still very clunky, the rest of it, particularly in drawing's of Bananaman was squatty, but it did improve this week.
Page 28 - Super Menaces
Page 29 - Minnie the Minx - 9/10 - Probably one of the best of the week. Great artwork, plot, at times a bit rushed (maybe two pages would suit it better), but great.
Page 30 - Subscription Deal
Smiffy's Top Tips! - 4.5/10 - The joke was weak. The artwork by Paul Palmer is good, though.
Not So Horrible Histories with Terry Deary - 8.5/10 - Love it. Great, gory artwork, the paint though didn't look great. But I really, really liked this.
Man VS Food (Wood) - 3/10 - Strange. First of all, the strip is called ''Man VS Wood'', but the title printed it as "Man VS Food". As WizzKid said, why did Adam win? The joke at the end was ok, but nothing else is good.
The Fresh Prince of Buckingham Palace - 7.5/10 - This is good, the plot is good, the jokes are good, The artwork was ok, but it seemed a bit ametur-ish. Its unsteady. The rest was brilliant.
Page 32 - 33 - Roger the Dodger - 9.5/10 - I thought this was extraordinary. The artwork by Jamie Smart was brilliant, the 2nd and 3rd panels were a bit weak, but perfect other than that. So funny!
Page 34 - Wrap Up - Nigel Parkinson and Craig Graham - 9/10 - Great. Great artwork and joke. Other characters in the story would have been nice but otherwise great.
Page 35 - Next Week Preview and Funkids Advert
Page 36 - Calamity James - 9/10 - The artwork is great, the plot and joke in this were great too! The end joke was funny, but James seemingly fainting was a bit forced. Great, though.
Here's the leaderboard.
=1st - Ball Boy - 9.5/10
=1st - Roger the Dodger - 9.5/10
=3rd - Minnie the Minx - 9/10
=3rd - Jessie's J - 9/10
=3rd - Wrap Up - 9/10
=3rd - Calamity James - 9/10
=7th - I Pity the School - 8.5/10
=7th - Not so Horrible Histories with Terry Deary - 8.5/10
=9th - Angel Face - 7.5/10
=9th - The Fresh Prince of Buckingham Palace - 7.5/10
11th - Mega Mega Mootants - 7/10
=12th - Dennis the Menace and Gnasher - 6.5/10
=12th - The Bash Street Kids - 6.5/10
14th - The Bash Street Burp - 6/10
15th - Ninja Nuns - 5/10
=16th - The Castle Rock - 4.5/10
=16th - Penguin Club - 4.5/10
=16th - Smiffy's Top Tips! - 4.5/10
=19th - Billy Whizz - 4/10
=19th - Fatty's Kitchen Nightmares - 4/10
=19th - The Great Beanotown Face-off - 4/10
=19th - Wallace and Gromit - 4/10
22nd - Bananaman - 3.5/10
=23rd - The Incredible Skunk - 3/10
=23rd - The Numskulls - 3/10
=23rd - Man VS Food (Wood) - 3/10
Average: 6.2/10
Overall Comment: A good-ish issue overall. The standout's for me were, as it suggests on the leaderboard, Roger the Dodger and (especially) Ball Boy. The worst were the bottom three.
You didn't like BSK this week? I thought it was good, my only complaint was that they should've done that storyline in August. I know you can say it was the weekend, but all of August's strips were set in school, and in real life of course, children were on summer holidays.
As for Ball Boy, don't knock the Ant and Dec reference, it's a simple case of mistaken identity, which given the design of the caricatures, is perfectly understandable! Since the joke wouldn't have worked without referencing them, I can't see the problem. It fits BB's personality anyway, he thinks he's a better footballer and a bigger football fan than he really is. He's always been deluded and Alexander Matthews just went with that and took it to the extreme.
The Numskulls, well, think about it, the second Brainy was supposed to be Anakin Skywalker. Yes, Nigel Auchterlounie depicted Darth Vader as having split personality disorder due to having two Brainy Numskulls. They were fighting for control of his body. As for the artwork, it was no different to usual. Are you just not a Star Wars fan?
I've never seen Star Wars. I'm at risk of going off-topic so no more on this.
Nigel Auchterlounie
Post by Nigel Auchterlounie » 11 Oct 2013, 12:32
dennisboy wrote: I've never seen Star Wars.
If I hadn't seen a star wars I would have read this weeks Numskulls and thought "What's this Garbage!?!"
Get them watched dennisboy, especially the original three which are episodes 4 to 6.
I found it funny Nigel, also Dennis was brilliant as usual.
diegotheterrible
Location: SCL
Contact diegotheterrible
Post by diegotheterrible » 11 Oct 2013, 19:21
Is The Great Beanotown Face-off a mini-strip i illustrated? Could anyone post a pic here? Thnx!
Yes it is... so it wasn't named when you drew it then?
Kid Robson
Post by Kid Robson » 11 Oct 2013, 21:11
Had a look at this week's issue in WHS, put it back on the shelf. Any comic that insults my intelligence by wasting space with a contents page is asking for my contempt, to be frank. I remember feeling the same way when The Dandy did the same thing back around 2004 and my opinion hasn't changed. Too many pages these days just seem like 'filler' material to me.
So you judged an entire issue on one page?
Digifiend wrote: You didn't like BSK this week? I thought it was good, my only complaint was that they should've done that storyline in August. I know you can say it was the weekend, but all of August's strips were set in school, and in real life of course, children were on summer holidays.
I did like it, just not as much as I usually do.
dennisboy wrote: So you judged an entire issue on one page?
No, I decided against perusing an entire issue on two pages - 2 & 3, which were mere filler-material. I made no pronouncement on the quality (or otherwise) of any other pages.


text:
Publishers & Journalists
Back to newzgroup.com
Why journalism in your own community deserves your attention, perhaps more than national media.
Anne Rogers; Newz Group
While at a sports media conference in February, I attended a session headed by Buster Olney, one of the Major League Baseball beat reporters at ESPN. In this session, he talked about advanced beat reporting and the tools and resources he uses as he attempts to navigate all 30 MLB teams and the hundreds of story lines that could be written.
The very first thing Olney talked about was his reliance on local sports reporters for information, stories and statistics. He says he gets many of his story ideas from them, he pays attention to their breaking news and he credits them in every way for making his job a lot easier.
For example, the St. Louis Cardinals received a punishment from the MLB in regard to the hacking scandal from a few years ago. Derrick Goold, the Cardinals beat reporter for the St. Louis Post Dispatch, wrote a story that outlined everything happening as it progressed. Olney referred to this story in all of his later stories on the scandal. Goold did an excellent job of relaying the complicated information and making it readable to his audience, Olney said.
This dynamic relationship between national and local journalists got me thinking.
The idea of relying on local media for important information can be broadened to the entire scope of journalism.
Community knowledge is transmitted through the local newspaper, TV station, radio channel or magazine. National media would not have nearly as much information to base stories around if local media did not do its part to break news and get the real story first.
Although somewhat dated, this Poynter article has great commentary about why local media matters. All the main points are hit. Local media is able to revisit a big story multiple times, whereas national media swoops in for a few minutes and then is on to the next big thing (AKA parachute journalism). Local media helps members of the community get to know each other better; local media follows a story until its end, and much, much more.
One of my favorite points, though, was: Local media drives conversations, serves as public record and covers the news happening in your own backyard.
Local media does drive conversation. It keeps the community informed about even the littlest of things. A small story today could be one of the biggest stories tomorrow and local media is there to cover it before any one else.
Keeping media local means the entire community can be involved, and the entire community can be heard. There is no national medium that listens to its readers like a small-town newspaper does. Without local media, we lose so much of what is going on in our own backyard.
Small papers and broadcasting outlets can have community forums that delve into the issues that really matter to the community. How many national outlets do that? It is not even possible. But local media tailors to you. It wants to know what you care about, and it wants to investigate that. You cannot find a national outlet that cares about its audience as much as local media. As soon as the story sputters out, national media is on to the next big thing. Local journalists are there until the end.
Another one of my favorites: Local community media is produced by the people who live in the community and it introduces people to creating media.
Those that produce local media are in your community. They are stakeholders. They know what is going on and they are affected by it, just like you are. Local journalists have assets in the stories they write and the news they uncover. And they often provide insightful analysis, because not only are they experts, but they know how you feel. They are community members, too.
What might be the greatest blessing of local journalists is their ability to take a national-level problem (healthcare, poverty, incarceration, etc.) and relate it to their community, their audiences and their lives. National media has the massive job of relaying the news to everyone in the nation, and then analyzing that news to best enhance the average audience.
Some communities might not be average, though. There are poorer communities, and there are wealthier communities. There are diverse communities, and there are places where diversity is not the norm. It differs with every city and town even within neighborhoods.
Here is where local media steps in.
Our community journalists can hear what the national news is and apply it to the specific city, town or neighborhood they serve.
How does the news affect that audience?
What can that audience do about it?
When can the audience expect a change?
All of these are questions that local journalists, after learning of national news, try to answer to tailor stories to their audiences.
Local media can also put faces to that national news. This is something the national media struggles with; stories should connect with the nation, but how do you find someone who relates to 318.9 million people?
It is a whole lot easier to go local. Local journalists can find a member of the community, perhaps someone that many people know, and share their story and how that story is impacted by the news of the day.
Local news enlightens audiences to an entirely different degree. When you can physically see, or visualize through words or audio, how a national problem affects someone in your own community, you start to care much more. And you start to think about things you can do about it.
I am in no means saying national media does not provide us with insightful journalism. I'm grateful for national media when it comes to covering the big idea themes and for things going on in our nation as a whole. I deeply respect the hard work they put into providing us with news about the federal government and things impacting our nation.
Without national outlets that really focus on holding the government and big corporations accountable, we would be in a much worse and less uninformed place.
But when it comes to my community, I'm reading local. You should too. It matters.
© 2021 Copyright - Newz Blog | Newz Group
5 Tips for the Modern Journalist What is Big Data & How is it Used?


Allentown City Council agreed last night to allocate $15,000 to cover unanticipated expenses during the Memorial Day weekend observance of Mayfair.
On the other hand, it delayed action on requests for additional funds for the Allentown Art Museum and Pennsylvania Playhouse.
Jeff Gordon, president of the Mayfair board of directors, said the organization had expenses of $32,000 above its $350,000 budget. He said the deficit was for unanticipated high costs of liability insurance and the cost of providing electricity to Cedar Beach.
He said the deficit will be made up with the city appropriation and with grants still due before the end of the year. He said members will have to raise money to pay expenses for the balance of the summer and for next year's Mayfair celebration.
"It is important to have a balanced budget," Gordon said. "We do not anticipate coming back next year asking for more money (to make up a deficit)."
Councilman Mark Van Horn introduced an amendment which would have called for the city to provide $7,500 of the $15,000 - with a stipulation that Mayfair raise an equal amount. Council voted 5-1 against theamendment.
Councilwoman Barbara Irvine voted against the matching fund proposal, saying: "We're playing games at this point."
"Mayfair was an exciting, thrilling experience," she said. "It is probably the best thing we've done to promote our city."
Budget Administrator Gary Nace said the city provided nearly $50,000 in in-kind services toward the four-day event.
Councilman John Harry said he had no problem with "bailing out" Mayfair, but recommended that the city look at the budgetary impact in in-kind services - time and manpower by city employees.
Resolutions dealing with requests for $12,000 by the stage company and $25,000 by the art museum were sent to council's administration committee.
Meanwhile, council rejected a resolution that would have authorized having the $37,000 to cover the requests come from the city's general fund.
The money would have been part of $450,000 received in the capital fund from the sale of excess sewage treatment plant capacity to the Lehigh County Authority. Council members said they wanted to consider expenditures from the fund as a total package, not piecemeal allocations.
Harry recalled that the money from the sale of excess capacity was to be used explicitly for economic development.
Nace said that in a month, a plan will be presented for the proposed use of the $450,000 for economic development purposes. He noted that the city administration is asking that the museum and playhouse requests be considered as part of economic development.
Council President Watson Skinner agreed that the two organizations are part of the thrust of economic development, "but we are going to have a logical way of disbursement of the funds."
Council agreed to accept an $18,300 grant from the state Health Department and a $15,000 stipend from the Lehigh Valley Hospital Center toward the cost of the city health bureau's AIDS prevention and education services.
Health Director Gary L. Gurian said the funds will be used to identify and counsel individuals considered high risks for contracting AIDS - homosexuals, prostitutes and intravenous drug users. He said plans are to hire an outreach worker to persuade them to be tested for the AIDS virus.
Gurian said patrons of prostitutes must be warned of the high infection rate among prostitutes.
"They're really playing with fire," he said. "There is a lot safer way to spend your money in Allentown."
The appointment of Dr. David A. Tilly to the Board of Health was approved. He will fill the unexpired term of Dr. Michael Vigilante, which extends until January 1991.
Frederick Nikitscher was approved as the Redevelopment Authority's representative on the Vacant Property Review Board, succeeding John V. Cooney, who resigned.
Council canceled its July 1 meeting. Its only meeting next month will be July 15.
A bill calling for vacations of portions of Albright Avenue between Cedar and Whitehall streets was adopted. Another vacation that was approved is along W. Susquehanna Street between Delaware and Hall streets.
The Redevelopment Authority was authorized to sell property at 502-20 Union St. to the Allentown Catholic Diocese for the expansion of the rectory and parking at St. Stephen's Hungarian Church. Harry noted that the transaction began in 1964 under the Little Lehigh Urban Renewal Plan.
The authority was given permission to apply for a $192,500 grant from the state Department of Community Affairs to be used for acquiring and rehabilitating deteriorated vacant dwellings and reselling them to low- and moderate-income families. The city would match the grant amount from its Community Development Block Grant budget.
Council also authorized an application for $154,000 in federal funds for a program to rehabilitate rental properties inhabited by low-income families. Owners would be entitled to up to $5,000 per unit in deferred payment loans if they match the amount.
Councilwoman Emma Tropiano voted against the city's participation, saying, "I feel we have enough low-income units." She also pointed out that most of them are in the center city.
Debra Laubach, block-grant coordinator, said the target area has been spread more widely in the past three years to enable more properties to be upgraded.


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All the World's a Set
Literary reviews; movie reviews; play reviews; travel experiences; museum exhibition reviews
Symbolism in Blackbird: A Review
Posted on April 26, 2016 by Deirdre M. DeLoatch
Full of carnality and temptation, Blackbird's symbolic eighty minute long production is neither entertaining nor pleasurable; it's disturbing in its imagery and in its content as it shines a spotlight on pedophilia. Inspired by a sex offender's crimes, David Harrower wrote Blackbird which premiered at the Edinburgh International Festival. Cabaret's Michelle Williams stars in this production along with Jeff Daniels. Blackbird directed by Joe Mantello is the story of a woman, Una, who confronts her childhood sexual abuser, Ray, a man considerably older than she. At the time of the abuse, Una was twelve years old and Ray was forty. Una tracks Ray down (he changed his name) after recognizing him in a photograph; she then visits him, unannounced, many years after his criminal conviction. She recounts to him the impact that the abuse had on her life as she tries to understand their relationship and he relays to her the consequences that he suffered as a result of the investigation and subsequent conviction. I wish that I could say that this play ends on a positive note, but I cannot. Furthermore, I wish that I could say that Ray ceases his pedophilia, but I cannot. Lastly, I wish that the abused held no sexual desire for her abuser, but once again I cannot. This play holds true to all of the evil that pedophiles exhibit and the impact of their behavior on the abused. It makes one gasp in horror at the end. (You must see it. No spoiler). Michelle Williams's acting is stellar, and it helps drive the thematic content and the horrors of the abuse. The creative team's use of props and its stage design symbolize both the carnality and sexual temptation that a blackbird represents, and the lack of freedom that Una has despite and because of the representation of blackbird. She, unfortunately, is not able to fly away.
Symbolism drives this play. Firstly, the action takes place in an office break-room with blinds drawn throughout the room. No one can see inside or outside of the room. The blinds represent secrecy. Secondly, there is an overflowing trash can. It represents the messiness of their lives. No custodian cleans up the mess. Perhaps people see the mess, but no one is willing to do anything about it. At one point Una suggests that Ray must be the office custodian. He says to her that he is not the custodian. Of course he is not the custodian because he is unable to clean up his own mess! During one scene of the play, trash is spread all over the office. It's on the table, on the floor. The dirt is not contained to one spot. It impacts the entire room. The door to the office is kept closed, adding more to the symbolism of secrecy. She wants it open, he wants it closed so that no one will question why she is there. A fire extinguisher and a first aid kit hang on the wall. Ironically, no safety equipment could have saved Una from her molester. Primarily a two-person play, its casting also is indicative of secrecy. Often when molestation takes place, few people are around. Despite other people at the office, no one sees either character. Ray, however, constantly worries that someone will see Una and that he will be exposed (he has a new life and no one knows about his conviction). After everyone in the office has left, someone comes to see Ray. At that point the conflict of emotions become preeminent.
Michelle Williams's portrayal of Una as a victim of abuse is extraordinary. The cadence of her voice epitomizes someone with nervous rapid speech trying to have her voice heard. She needs to tell her story before forces impede or try to stop her. Although she is a grown woman, she has a childlike nature as she struggles to understand her attraction to him (She is still emotionally drawn to Ray). Una's emotional ties to Ray become apparent as Williams's gesticulations and close contact with Ray increase with intensity as she pleads for a rekindling of their relationship. Jeff Daniels as Ray strongly tries to get Una to understand the impact of his conviction and his actions. Daniel's performance is strong as he mimics the behavior of an abuser who vehemently denies his proclivity toward sexual abuse. His performance is superb, for the average theater-goer may feel disgust as if he were a real-life abuser.
Michelle Williams and Jeff Daniels
The characters in Blackbird have no last names; they can represent any abuser or abused person. All of us have either heard of someone abused or we have known someone personally who has suffered at the hands of an abuser. Blackbird is worth the money and one's time. Although it is not a fun night or afternoon out, it shines a bright light on a problem that never seems to go away. If you see something, say something. It is playing for seven more weeks at the Belasco Theatre.
Posted in Play Review	Tagged Blackbird, Blackbird and sexual abuse, David Harrower, Jeff Daniels, Joe Mantello, Michelle Williams
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One thought on "Symbolism in Blackbird: A Review"
Domenick Danza says:
Great write up! I did not see all that symbolism in the show when I saw it, but I agree with everything you wrote.
The Awakening: Literacy Unbound July 9, 2016
Christianity Loves: The Antidote to Hate June 13, 2016
The Unraveling of Blanche Dubois May 30, 2016
Oh What a Long Night May 3, 2016
Symbolism in Blackbird: A Review April 26, 2016
Ron Hoeflinger on The Memorialization of Walt Wh…
Davide on The Use of the "N'…
Domenick Danza on The Unraveling of Blanche…
Domenick Danza on Symbolism in Blackbird: A…
Deirdre M. DeLoatch on Crowning Achievement in Shakes…
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La stagione 2010 dell'All-Japan Formula 3 è stata la 32ª del campionato giapponese di Formula 3. Iniziò il 17 aprile e terminò il 17 ottobre. Il campionato è stato deciso nella gara tenuta a Okayama a settembre, con Yuji Kunimoto capace di assicurarsi il titolo con cinque gare d'anticipo. Kunimoto ha vinto le prime dieci gare del campionato, prima di giungere secondo dietro a Rafael Suzuki in gara 11. La TOM's si è aggiudicata il titolo per le scuderie e quello per i motoristi.

Piloti e team
Una lista di partecipanti venne pubblicata il 10 marzo 2010.

Tutte le vetture sono Dallara.

Risultati e classifiche

Risultati

Tutte le corse sono disputate in Giappone.

Classifica Piloti
I punti sono assegnati secondo lo schema seguente:

Classifica Scuderie
I punti sono assegnati secondo lo schema seguente:

Prende punti solo la prima vettura giunta al traguardo.

Classifica Motoristi
I punti sono assegnati secondo lo schema seguente:

Prende punti solo la prima vettura giunta al traguardo.

Note

Altri progetti

Collegamenti esterni

Giappone
 32

redpajama_set_name: RedPajamaWikipedia


Posted on July 17, 2018 by Jennifer Tomasovic	in Advice, Career Advancement, Tips and tagged Featured, InternPLUS, resume.
This is the second installation of a three-part series about how to use the 12 weeks of summer to enhance your career experience and boost your chances of success.
Have you taken the time to volunteer this summer? If you're looking to get ahead in your career, you just might want to try giving back.
In the 2016 Deloitte Impact Survey of 2,506 employers in 13 major U.S. metropolitan areas, 82 percent of respondents said they would be more likely to choose a candidate with volunteer experience on their résumé than one without it.
You already knew that volunteering benefitted your local community. Here's how to make the most of the benefits it offers your career.
Kristin Schrader, associate director of InternPLUS and Military Career Programs at UMUC, suggests starting the process by completing a self-evaluation of your skill set. "Step back and look at yourself objectively," she advises.
Then compare your assessment to the skills required to land the job you want. Ask yourself what strengths you have, and look closely to find areas of opportunity for growth. Then create a list of skills you're like to develop.
Schrader worked with one student with a background in web design who needed experience building websites. He decided to offer his services to local nonprofits to build up his portfolio.
"He used that experience to showcase his work to employers," she explains.
The Deloitte survey reinforces this creative tactic. Its findings revealed that 92 percent of respondents agree that volunteering improves employees' broader professional skill sets, so seize the summertime to volunteer so you can gain resume-boosting, real-work experience.
Since nonprofits typically operate with a tight budget, they're often happy to accept help when it's offered to them. "If you can think of a need, there's probably an organization that will jump at the chance to have somebody working for free to fill it," says Schrader.
Of course, you can find a volunteer project through a personal connection or your professional network, but you there are plenty of online resources to help you locate organizations in need of your services if you need a little help identifying a good match.
Volunteer Match: Choose the causes about which you are passionate, select where you live and this site will list volunteer opportunities that match your interests and location.
Idealist: This site provides job and internship opportunities and volunteer positions for individuals interested in working for nonprofit organizations. Most are located in the U.S., but there are some international and even virtual internship options, as well.
Skills for Change: Complete a short questionnaire about those causes that are important to you, the skills you possess and the amount of time you have, and you will be matched with microvolunteering options.
Microvolunteering Day: April 15 has been designated as "Microvolunteering Day." The website for this event features over 200 microvolunteering options that take 1-30 minutes, and many can be completed virtually.
Learn more about volunteering and other internship opportunities on UMUC's InternPLUS site.


Lightroom can't perform well if the operating system is struggling. While not specific to Lightroom, it's worth running regular computer maintenance and optimizing other software running on your computer. This includes operating system and driver updates, keeping hard drives in good condition, and minimizing the number of other programs running in the background.
Updates to the Windows or Mac OS X operating systems not only fix bugs and add security fixes, but also improve its performance and compatibility with applications. Windows service packs and other updates are available from the Microsoft Windows Update website and Mac OS X updates are downloaded from the App Store.
Windows Update includes some drivers, however these are rarely the latest, so you'll need to visit the component manufacturer's website, or for laptops, the laptop manufacturer's website to get the latest drivers. It's important to keep drivers up to date, especially for the graphics card and input devices such as Wacom tablets and other mice, as older drivers can cause crashes as well as performance issues.
Most Mac OS X driver updates are downloaded from the App Store, but you'll need to check manufacturer's websites for third-party hardware drivers such as Wacom tablets.
In the previous post, we said that it's important to keep enough space available on your hard drives, especially for the boot drive and the drive containing your catalog. Both the operating system and Lightroom need room to work.
You can clear space on your hard drive by emptying the Recycle Bin/Trash, deleting files (be careful!) or moving them to another drive. You can also clear out temporary files and caches to help to free up additional space. Both operating systems include tools to make this easier: Windows 7, 8.1, Windows 10 and Mac.
If you're working with spinning drives on Windows (not SSD's), you also need to defragment/optimize the hard drive from time to time. This moves the data back into contiguous blocks, making it faster to read/write. Microsoft provide instructions for Windows 7, 8.1 & 10.
The Mac operating system automatically defragments small files, so it's not necessary unless you're working with large numbers of huge files (e.g. 1GB videos).
Other programs running in the background also reduce the resources available to Lightroom. To make these resources available to Lightroom, quit other open applications, including those running in the system tray (Windows) / menubar (Mac), and prevent unnecessary programs running on startup. To stop apps opening on startup, try these instructions for Windows and Mac.
Anti-virus/security software running real-time scans also use your computer's resources, so it may be useful to pause the scan while you're working in Lightroom, and exclude specific files such as the catalog and previews.
The same goes for other software that runs automated tasks in the background, such as backup software or cloud sync such as Dropbox. If you're struggling with performance issues, temporarily pausing these tasks can help.
Finally, it's worth rebooting from time to time… yes, even on a Mac!
Just checked my laptop drive and is shows 0% fragmentation and I can't remember when I may have defraged.
Thanks for sharing that tip Larry!
It helps to use Jim Keir's [paid] plug-ins: Backup Cleaner and Preview Cach Manager. The name clearly reflects the function. They can be adjusted to individual needs.
They help to keep the relevant folders clean, tidy and compact. An excellent addition to the inherent 'optimization function' of Lightroom itself.


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Entertaiment, Movies
10 Best Movies About Dinosaurs That You Should Watching Update 01/2023
Posted on January 9, 2022 by [email protected]
Dinosaurs have been a part of the cinema industry since the 1910s, and they've experienced their fair share of highs and lows.
Since their bones were discovered, dinosaurs have been a source of curiosity for humans. They are adored by both children and adults, making them an ideal subject for a film. Animation and thrillers based on the dinosaurs' search for humans are among the flicks. Comedy, horror, and drama are all genres that they fall into.
There is both good and bad news for dinosaur movie fans. The good news is that dinosaurs appear in a plethora of flicks. There is some bad news, though, in that not all of them are well-received, particularly those from the pre-digital age.
1. The Valley Of Gwangi (1969) – 6.3
In terms of the popularity of monster movies at the time, this western fantasy has left a legacy. Some people believe that Jurassic Park duplicated some of the film's scenes. That's a compliment coming from someone who saw Jurassic Park and thought the movie was bad.
The plot revolves around a cowboy who plans to sell an Allosaurus to a Mexican circus for a profit. In a place named the Forbidden Valley, it isn't a fan of becoming a public attraction. Masterful special effects for the late '60s may be found in this film. Although it doesn't have the best reviews on IMDb, this film is considered a cult favorite.
2. Dinosaur (2000) Score – 6.5
Dinosaur is one of many dinosaur movies that are animated and geared toward youngsters. It's about a baby dinosaur who's being nurtured by lemurs. Following the destruction of their house by a meteorite, they find themselves in a herd of dinosaurs.
This film is a first for the Mouse House. Instead of being sugary, it has a more gritty feel to it in terms of graphics, plot, and characters. There aren't any show tunes here; just a bunch of dinosaurs slogging it out in a hard environment.
3. The Good Dinosaur (2015) – 6.7
This film is widely regarded as a failure, at least in the eyes of Pixar fans. However, that's a really high bar to clear. The film has garnered numerous honors for its outstanding aesthetics. In addition, it speculates on what life might be like for dinosaurs if they never went extinct.
If you've never seen Finding Nemo and Toy Story, you're missing out. There are also a few fun Easter Eggs hidden throughout.
4. Ice Age: Dawn Of The Dinosaurs (2009) – 6.9
It's amazing how much worse the Ice Age series has grown since the first picture was released, but it doesn't stop them from making more of them. The highest IMDb rating in the series goes to the first picture, which has a 7.5.
While the third film in the Ice Age series does feature dinosaurs, it does not have a terrible score. In fact, it does better than The Good Dinosaur in the box office. When compared to a standalone story, that's a huge deal for a third installment in a series. You could like this one even if you didn't like the sequel to Ice Ages.
5. Jurassic World (2015) – 7.0
The Jurassic Park series was so popular that it was revived in the form of Jurassic World, a sequel. Jurassic World was a hit with the public, thanks in part to the film's modern take on dinosaur theme park tourism. There are also some new species of dinosaurs that we get to view.
The film's biggest flaw is that the writers and directors felt that the tale required a more powerful and terrifying dinosaur than those seen in prior films. As a result, they began inventing brand-new ones from scratch. Many viewers thought the film's treatment of dinosaurs was over the top, given how dangerous they are in the wild.
6. King Kong (2005) – 7.2
The prehistoric animals in Peter Jackson's epic have never looked better, thanks to a budget that broke all previous records. Of course, the big gorilla takes center stage rather than a prehistoric reptile. Even so, this film is a must-see for dinosaur aficionados. On Skull Island, dinosaurs abound, and each one stands out thanks to the designers' decision to include extra characteristics to suggest that these species originated in a remote location.
7. You Are Umasou Dana (2010) – 7.3
This obscure anime film is a real find. Heart, a Tyrannosaurus raised by herbivores, was the star of the show. A meat-eater who runs away and tries to survive on his own after learning the truth about his identity. Ankylosaurus becomes his new pet. For the duration of the film, we are following Heart as he attempts to determine where he truly belongs. The animation is adorable, and the cast as a whole is endearing.
8. The Land Before Time (1988) – 7.4
IMDb gives The Land Before Time a 7.4 out of 10, although many people who saw it as a kid give it a 10. There have been 13 Land Before Time sequels so far, making Ice Age look like it has self-control. However, despite the several sequels, the brilliance of the original picture remains intact.
Even adults will be moved to tears by the film's poignant scenes, which are interspersed among the abundance of dinosaurs.
In addition to the 2005 remake, there's the 1933 original as well. Despite the restricted technology at the time, the film has a higher IMDb rating. This movie serves as a fantastic example of why more expensive special effects don't automatically equate to a better picture. The dinosaurs in the original King Kong were among the first to appear on the big screen, and as a result, spectators were mesmerized. This may have been the beginning of a lifelong fascination with films featuring prehistoric creatures in general.
10. Jurassic Park (1993) – 8.1
To this day, all subsequent films about dinosaurs are measured against Jurassic Park. In terms of box office receipts, it ranks as one among the all-time greats. It took home three Oscars for technical achievement in 1994, the most notable of which was Best Visual Effects. As a result of its historical importance, the Library of Congress acquired this video in 2018. Not bad for a dinosaur-themed summer blockbuster.
Category: Entertaiment, Movies.
10 Best Movies About Long Distance Relationship Update 01/2023
10 Best Movies About Mayans That You Should Watching Update 01/2023


Beards have a lot to love. They add masculine sophistication and class, not only to your face, but also to your entire appearance.
You've decided to finally grow a beard, but soon enough you learn that beards have one big drawback, too.
They can be itchy, incredibly itchy.
Beard itchiness is an extremely common problem most guys face when growing a beard.
Even just two weeks of growth can be enough to cause a maddening, irritating itch.
If you have a beard, you've almost certainly experienced beard itch. For many guys, an itchy beard is unbearable to the point where grabbing the nearest safety razor and shaving the beard off entirely seems like the only solution.
DON'T give up. Give beard a chance.
The good news is that beard itch isn't permanent! If your itchy beard is driving you absolutely bonkers, know that there are remedies for that.
How do you stop and prevent an itchy beard?
What specific techniques and products work best for beard care?
I've got all the info you need.
Say goodbye to beard itch and say hello to a smooth, clean beard.
Stop driving yourself crazy scratching!
Here are the six steps to deal with an itchy beard.
In order to stop and treat beard itch, you first need to understand the causes.
There are two main reasons for beard itch and they depend on the growth phase, i.e a beard that has just started to grow and a fully grown beard.
New beards are especially prone to itchiness.
If you've been shaving your entire life, your skin is used to being hair free. Regular shaving leaves a sharp edge to each cut hair. The closer you shave, the sharper the edge.
As long as you're shaving regularly this is fine, the problems start when you stop shaving and start growing a beard.
As the hair grows, the sharp edges of the hair scrape against the edges of the follicle.
That's a recipe for all-over itching. This itch occurs during the stubble phase.
The second reason for itchiness occurs after the beard has grown.
Wiry, poorly conditioned beard hair rubs against dry, caked skin and causes a persistent itch.
Dead skin cells and dry skin are a one-two punch which leads to a beard which is rough, coarse and irritating – and actually gets worse over time.
I'll explain exactly how to keep your beard healthy, moisturized and soft which will stop the itch and will make your beard look great.
I recommend getting a beard care kit that has all the products you need for a healthy, itch free beard. It will save you time and money.
Whether you're just starting to grow your beard or it's already fully grown, itchiness can be an issue.
Fortunately, combating itchiness is actually pretty easy.
Here are the six steps to keep your beard soft, healthy and itch-free. These techniques work on beards of any type, age and length.
The first step to an itch-free free beard is to keep it clean.
Every day we lose many dead skin cells, the beard traps them and prevents them from falling away. Trapped dead skin cells will make your skin itchy and irritated.
On top of that, throughout the day your beard will catch on dirt, left overs from your meals, and other types of debris.
This is why you must wash your beard and keep it clean. But you need to do it correctly.
Beard hair is androgenic. Which means it's affected by testosterone levels. Androgenic hair can't be effectively cleaned in the same way as the hair on your head.
Avoid cleaning your beard with traditional hair shampoos or body soaps. They will strip the natural oils from your facial hair, dry your skin and make it itchy.
I recommend using a beard wash. The good ones are 100% natural and don't contain chemicals.
You can also get good results simply by cleaning your beard with water.
Brush your beard thoroughly to get rid of dead skin cells and other debris. Then rinse your beard with warm water.
Beard wash will keep your beard soft, fresh-smelling and clean. Avoid shampoos & soaps designed for hair care, they will dry your skin and beard.
A beard conditioner performs a similar function to hair conditioner.
The difference is that a beard conditioner uses ingredients designed for facial hair which is different from your hair, your face skin is also much more sensitive then the scalp.
Beard conditioners come in different forms, the most popular forms are balms/butters and in-shower conditioners.
in-shower conditioners: very similar to hair conditioners.
When picking a conditioner, ingredients matter more than a brand. There are many essential / carrier oils and I know it can be confusing. To make it easy on you I recommend to pick a conditioner with either Argan or Jojoba as the primary ingredients.
Argan is an extract of the Argan tree which softens and thickens facial hair. Jojoba is a liquid wax which is similar to your skin's natural oils. Both ingredients will help with reducing tangles and breakage by thickening and strengthening hair.
A good conditioner will soften your beard, reduce the itch, detangle your facial hair, and hydrate & nourish your beard.
Depending on the conditioner you've picked: in-shower or balm. If it's a balm it will be a good idea to apply it before you go out for your day.
Regular use of a beard conditioner will keep your beard hair soft, smooth, tangle-free and itch-free.
While conditioners help nourish your beard, beard oil hydrates the skin underneath your beard, which is just as important!
The skin underneath your beard is susceptible to dandruff, dryness, irritation and more.
It must to be kept moisturized.
If the skin becomes too dry, your body will produce extra oil, which may lead to breakouts and itching.
This is where beard oil comes to play, beard oil is specially designed to nourish, hydrate and help maintaining a healthy looking beard.
You should always remember that the beard grows from the skin, so you want your skin to be healthy. It's very easy to forget about the skin beneath when growing a beard.
too much oil, actually few drops are enough. The perfect amount won't leave your beard looking oily and greasy - so you might need to do some trial & error here.
Don't forget about the skin underneath your beard. The regular use of beard oil helps prevent itchiness while keeping your beard hydrated and healthy.
Regular trimming helps keep your beard looking neat and itch free.
When you first grow out your beard, you'll want to avoid trimming for 8-12 weeks. That will give your beard enough time to develop thickness and fill out any patchy areas.
Beard scissors are great for detail work. Many men find their mustache grows a bit faster than the hair on their cheeks. Trimming the 'stache with scissors is an easy way to create a uniform look across your entire face.
High-grade clippers with adjustable settings let you keep your beard at a set length.
A short, even cut is often a great look for a professional environment. When trimming your beard with clippers, start with a bigger clip number and work down based on personal preference.
Once your beard is fully grown, start trimming it.
When removing hair, always start smaller. You can always cut more hair as necessary.
Not only do they help keep your beard looking great, train it to grow in a single direction, they also promote beard health, reduce itching and scratching.
Plus, brushing your beard often feels fantastic! It's like a massage.
You want a brush with a solid, comfortable wooden handle. You also want the brush to be made from 100% boar's hair. The unique structure of the boar bristle carries sebum from the skin to the end of the hair shaft.
Sebum is a natural oily substance created by the follicle. By spreading the sebum across the entire hair strand, boar bristles repair dry hair and add shine.
a plastic or vinyl one, most guys feel the extra up-front cost is worth it in the long run. Plus, a high-quality brush will usually last a lifetime.
Brush your beard before and after every wash. Brushing before washing loosens up any dirt, grime and other debris. Washing your beard will be much more effective after that.
I recommend brushing your beard after applying beard oil, it will help spreading the oil evenly throughout your beard.
Brush your beard briskly in the direction you want your beard to grow.
Brush your beard before and after each wash. It will keep you beard clean, healthy and tangle free. Brush your beard briskly in the direction you want your beard to grow.
Beard health starts from within. With a healthy body you'll get a healthy beard.
Good overall habits will help your beard achieve a full-bodied, luxurious look.
First, you want a diet rich with Beta-carotene, Vitamin D and Biotin.
Your body converts Beta-Carotene into Vitamin A, which promotes healthy sebum. Vitamin D stimulates new hair growth by creating new hair follicles. Finally, Biotin helps your body create keratin, which is a protein found in hair and nails.
You can find these nutrients in a variety of fruits and vegetables. If you're not big on veggies, there are many supplements and vitamins on the market which will also work well.
Healthy living helps create a healthy beard.
and filled with junk food. Make healthy choices by giving your body plenty of nutrients, hydration and rest.
The steps above can be applied independently to stop and prevent beard itch.
I also want to share with you an easy beard grooming routine that will help you grow and maintain a healthy looking beard (and of course itch-free).
Daily beard maintenance doesn't need to be extensive. Most men get the best results with a no-frills routine of washing and moisturizing.
Simply brushing your beard is an effective way to remove odors, dead skin and other "gunk." Many guys brush their beards first thing in the morning and then again before bed.
The "with the grain" morning brush helps style your beard and also tame it.
A nightly brush gets rid of all the clutter, dust and city debris which can accumulate throughout the day.
At least once a day you'll want to rinse your beard with warm water. As discussed above, avoid harsh soaps. Only use beard wash made specifically for androgenic, testosterone-derived beard hair.
If you're new to the beard world or looking to buy some beard care products together to fight off beard itch or just want to take your beard to a new level, a beard grooming kit is probably what you're looking for.
The Zeus Deluxe Beard Grooming Kit includes beard oil, conditioner, shampoo, and 100% boar bristle brush.
This kit has everything you need for a healthy, itch free, great looking beard.
A beard is more than just a stylish addition to your face.
A beard can be a reflection of your personality. A full grown, well-maintained beard enhances masculinity, displays a commitment to completing goals and showcases your individuality.
Don't let itchiness and irritation keep you from growing the beard you've always wanted.
The six steps above will help the growing process stay comfortable and easy starting from the very first day. Regular washing, moisturizing and conditioning will keep your beard and skin smooth and itch-free.
Growing a beard is a big commitment. But with the right preparation, you can avoid the major problems.
Nice way too long of an article.
thanks a realey good explernation my ladey will be very happy.
to undergo all the above conditions, is it not irksome to go one after another. If any one single oil or cream that serves the above purposes may be recommended. Otherwise, it is better not to grow beard at all.
The best way to avoid beard itching will be not to grow beard at all.
You don't have to go one after another. If you want to grow a beard grow a beard, don't let the itch stop you because it will go away.