THERE WAS A TIME when, as they say, I wouldn't have wrapped fish in a grand piano under five feet long. The short cases of these pianos place severe constraints on string length and soundboard design, and often result in instruments with poor tone. Given these pianos' lack of musical qualities, most buyers have been understandably more interested in them as pieces of furniture than as musical instruments. To compete at this end of the market, manufacturers have traditionally needed to make and sell such pianos as inexpensively as possible, sometimes skimping on materials until the pianos just barely hold together. The smallest of these instruments made by American manufacturers in the 1980s were referred to derisively by piano technicians as "piano-shaped objects."
Times have changed. While much of the above is still true to some extent, great strides have been made in the intelligent design and construction of small pianos. Piano-scaling software, advances in soundboard design, globalization, and the computerization of manufacturing have all contributed to the ability to produce grand pianos that are compact and inexpensive, yet still fully functional and satisfying to play. This was brought home to me recently when, at a trade show, I heard from some distance a piano that sounded exceptionally lovely. Drawing near to find out what it was, I was amazed to discover that it was only 4' 10" long. I decided it was time to take another look at these instruments. Of course, some are better than others, and some guidance in listening to and choosing one is advisable.
The place to begin is with the strings in the low bass. Normally among the longest in a piano, these copper-wrapped strings must be made thicker than normal to compensate for the length that the piano's small size makes impossible. The extra thickness makes them stiffer, causing the harmonics they produce to deviate from their theoretical frequencies, in a phenomenon known as inharmonicity. (This happens to some extent with all pianos; it's just much worse in small ones.) The problem here is that the fundamental frequency of a bass string is weak in comparison to its harmonics, and the ear "hears" the pitch of the note largely by listening to the harmonics and inferring from them which fundamental would have produced them. When the inharmonicity is extreme, however, each harmonic suggests a different fundamental, thus confusing the ear, which hears an indistinct pitch. So when trying out a small piano, play each note in the bass to see how low you can go before the pitch becomes unclear. (If you can no longer hum the note, the pitch is probably not clear enough to discern.) If this point on the keyboard is well within the normal range of the music you play, the piano may not give you the musical enjoyment you're looking for. Another area to pay attention to is the transition between the tenor and bass; here, the lowest unwrapped treble strings can sometimes give off an indistinct or otherworldly-sounding pitch much different from the wrapped strings just below.
Quite apart from the distinctness of the pitch, the bass tone can be deficient in other ways. Unless carefully designed, the soundboard of a small piano can be much stiffer than that of a larger one due to its smaller surface area, and its vibrations are more easily stifled by careless bridge placement. For the low frequencies of bass notes to be properly produced in a piano, however, greater soundboard flexibility is required, so traditionally there has been a tendency in small pianos for the bass tone to be dull and thumpy, with short sustain. When testing a piano, then, listen for resonance and sustain in the bass notes, and reject instruments that sound stifled and dull.
Modern piano designers are beginning to make progress in mitigating the problems inherent in the very small piano. Ironically, one of the biggest obstacles to this progress comes from the manufacturers' own marketing departments. The dull, thumpy sound of the typical small grand is the inevitable result of several common and widely promoted, but ill-advised, design characteristics, perhaps chief among them the quest for the maximum possible speaking length (string length). While it's true, in a very broad sense, that longer strings give off a better tone due to their lower inharmonicity, among very small pianos, a slightly shorterbass-string speaking length allows the bass bridge to be positioned more optimally on the soundboard, the resulting enhanced resonance and sustain more than making up for the slightly greater inharmonicity. So when the salesperson tries to persuade you that his or her very small piano is better than the competition because of a longer speaking length, politely offer your thanks . . . and seek out the competition — it may well be a better-sounding instrument.
Interestingly, regardless of the quality of a small piano's bass, its treble will often sound quite lovely. The reason lies in the fact that the strings in the highest three octaves of any piano are naturally fairly short, and so are relatively unaffected by the piano's size; and because soundboard stiffness, while a detriment to the bass tone, actually enhances the higher frequencies.
The "feel" of the action and keyboard depends to some extent on the length of the keys — specifically, the distance between the front of the keys and their balance point, the latter hidden inside the piano behind the fallboard (key cover). When this distance is short, as it might be in a very small grand, there can be a pronounced difference in touch weight between playing at the front of the key and playing at the point just in front of the fallboard — both are common hand positions — making sensitive control of the keyboard difficult to maintain. Manufacturers vary in how they divide the total length of the piano between the front end (keyboard and action) and the back end (strings and soundboard), a decision that can affect a small grand's playability. While this is unlikely to present problems for the beginner or casual player, more advanced pianists should pay careful attention to whether the keys and action of a very small grand will provide the desired degree of control.
Aside from the aspects of quality related to a piano's size, it's perfectly possible to make smaller pianos to standards that are just as high as those to which larger instruments are built, and several manufacturers do that in the five-feet-plus range. Smaller pianos built to those standards cost almost as much to make as do larger ones, and so sell for nearly as much. But in the below-five-feet range, the competition tends toward the least expensive, which sometimes requires skimping on materials and simplifying design; the results may compromise only the piano's appearance, or may affect its functionality and sound. Occasionally, skimping on structural materials results in tuning instability — something you can't see by inspecting a piano, and won't find out about until it's too late — though this is encountered less frequently today than in the past. Other areas to consider: Has the construction of the pedal lyre been cheapened to the point that it moves and twists when the pedals are pressed? Are the legs so weak that the piano sways excessively under hard playing? Are the music desk and rack sufficiently movable, adjustable, and robust for your needs?
Today, new grand pianos less than five feet long are made in some three dozen models under more than two dozen brand names. To see how these instruments measure up, I recruited four volunteer pianists from the Piano World online community to test them. The group included both professional pianists and experienced amateurs, and two were also part-time piano technicians. The brands tested, 13 in all, were those available at dealerships in the cities where the reviewers resided: New York, Chicago, Houston, and Denver. Permission to audition the pianos was requested from the dealers, who were given the opportunity to prepare the pianos to show their best. The volunteers were given little direction other than a checklist of important things to look for. Their responses ranged from rough notes to eloquent prose, so my presentations of their findings vary in style and length.
First up is the 4' 11" Yamaha GB1K, Yamaha's only Indonesian-made grand sold in the U.S. It was reviewed in the Chicago area by Kevin A. Brown. Brown found the treble tone on this instrument to be typically Yamaha: bright, crisp, and pleasant, but a bit generic and lacking in tonal color. As one descended into the tenor range, the tone, at first pleasant, gradually became muddier; then, after a rather rough transition not unlike what one might find in a small vertical piano, the bass turned both tubby and thin, lacking in resonance. The action was consistently smooth and controllable, though a bit "spongy" in the bass. Brown noted, "A pianist could play most types of music with some degree of control, but a pianist more skilled than I would not find playing this piano for any length of time satisfying," in part because of the limited tonal color. The cabinet style is simple and functional, and has a slow-close fallboard, a nice feature designed to protect fingers. On the negative side, however, the music desk is fixed in place — it can be removed for tuning the piano, but cannot slide fore and aft. Despite the criticisms, Brown says that "it was a nice little piano, and seems like a suitable choice for budget-conscious shoppers looking for a small grand for children to learn on. However," he cautions, "I question the decision to install a fixed-position music desk. Players may not find a comfortable position."
Brown also reviewed the 4' 9" Hallet, Davis & Co. H-146C, made in China by the former Dongbei Piano Company, now owned by Baldwin (in turn owned by Gibson Guitar), and which currently makes most Baldwin grands. Brown liked the sound of this instrument, finding all registers to be bright, crisp, and surprisingly clean, without any harshness; the transition between the tenor and bass ranges was not particularly noticeable. The bass "had a purity that I did not expect in a piano of this size," and "the tonal quality was quite consistent from mezzo piano to forte. Playing octave chords in the lowest bass range revealed the piano's tonal limitations, but they were not so great that most players in this market would find the sound objectionable." Brown also found the action to feel smooth, consistent, moderately firm, and controllable. "The piano played like a larger instrument. The action provided just enough resistance to achieve a variety of dynamics, and enabled greater musical expression than I had expected. My impression was that a pianist of late-intermediate to early-advanced skills would find the action suitable for playing most types of music requiring a wide range of musical expression." Brown was also impressed with some of the cabinet features and with the overall attention to detail, such as the slow-close fallboard, the natural wood veneer on the inner rim, and a number of smaller cabinet details. "The piano had a quality look and feel, and most important, the tone and action were quite good for a small grand. Skilled pianists would be able to play the instrument with a relatively high level of musical expression."
Finally, Brown reviewed the 4' 8" Hobart M. Cable GH-42D, made in China by Sejung. Substantially similar pianos are also made under the George Steck and Falcone labels. In general, Brown found this piano's tone to sound a bit "woody" when played from piano to mezzo forte — like, he said, an old upright piano — but to become a bit more harsh or metallic when played more forcefully. The treble sounded somewhat subdued, but inconsistent, which "could prove frustrating for a player looking for a pure, crisp, clean tone for certain types of music, such as baroque and early classical." Brown went on to say, "Initially, I kind of liked the somewhat subdued, woody quality to the sound, but the more I played it, the more I thought the woodiness bordered on metallic. This sound could become tiresome with certain types of music." Brown also found the bass to be somewhat harsh and "thuddy," significantly deteriorating at about F9; however, the transition from tenor to bass was not too distracting. Brown found the action too light and difficult to control. "Players more advanced than I would probably find that the action was not very satisfying because controlling the tone would be difficult. Even at my skill level, I had trouble bringing out the kind of sound I wanted." Although he noted that the key surfaces had a particularly nice feel, Brown described the action as "clickety" in fast repetitions. "An advanced pianist would find this characteristic annoying," he said. The instrument Brown tested was finished in a polished wood veneer, appeared to be free of blemishes, and had a slow-close fallboard. However, Brown described the finish as having a "plastic feel," and that, in general, the cabinet lacked attention to detail and appeared cheaply made.
Houston reviewer Tom Gruenert tried out two models made by the Brodmann Piano Company, a firm started by two former Bösendorfer executives who desired to combine European design and components with Chinese manufacturing to produce an excellent piano at a lower price. Following several years of success with the Brodmann line, this year the company introduced its budget line of Taylor pianos. Gruenert had this to say about the 4' 9" Taylor TG 145: "The tone was nicer than I expected from a very small grand, but not great. Sustain was fair. The two octaves on either side of middle C were pleasing, but the tone in the treble tended to thin and get brighter and more brittle as one proceeded up the keyboard. The bass tone was more than adequate, but inharmonicity really became noticeable at G11; below that, the wound strings were noticeably guttural and not pleasing. The action was far better than I would have expected." The cabinet was simple but nice. However, the wood music desk, mounted at the center of a metal frame that's exposed on both sides, was "either tacky or modern, depending on your taste" (the reviewer thought it tacky). Overall, Gruenert says, "I would recommend this piano to the budget-conscious or space-limited customer. However, I would have to say that the same money (asking price: $7,999) spent on an upright would probably net the purchaser a better piano experience, though not necessarily as nice a piece of furniture. Was it a joy to play? Not really. But certainly not a disappointment either."
Gruenert also tested the 4' 11" Brodmann PE 150: "This was a noticeable upgrade from the Taylor, at a considerably higher price (asking price: $12,999). As soon as I hit the first chord, I knew that the tone and action were really of a very nice standard." Gruenert found the tone to be good in all registers: "A very nice, round tone. Not a sophisticated tone with a lot of harmonics, but sweet in the treble and forceful enough in the bass, with a clearly-defined pitch and tone much lower in the bass than the Taylor had." About the cabinet: "Interestingly, they had the Brodmann logo on the side of the case, like a concert grand. Struck me as perhaps something that the purchaser looking foremost for a nice piece of furniture might not like." Overall, however, Gruenert was impressed: "This is a piano one would do well to purchase instead of a larger, 10- to 20-year-old Yamaha or Kawai. It was very enjoyable to play. The action was nice by anyone's standard, the tone very even and subtle across the scale. Using my 'would I enjoy sitting here and playing this all day?' standard, this was a keeper. And, in contrast to the Taylor, I can't imagine getting more piano for the buck by purchasing a good upright with the same money."
Glen Rosenthal, in Denver, reviewed a couple of Indonesian-made models that are part of the Samick family of brands. About the 4' 8" Pramberger LG-145, he wrote: "I had played a variety of Prambergers over the years, but had never seen this model. The instrument I tried out was finished in high-gloss mahogany, and it looked beautiful! The first thing I noticed when I sat down to play was how much the bass resonated and sustained, sounding as if it had recently been voiced — it was amazing, really. Below F9, the lowest note with clearly identifiable pitch, it didn't sound musical, but wasn't tubby either. The bass notes were all quite lively, the middle register was melodious, and the upper register, while not bell-like, was very clean and complemented the midrange of the piano quite well. There was almost no change of tonal character across the bass/tenor break. The action was a little light for my taste, but it provided good feedback from pianissimo to fortissimo and allowed for speedy scale sequences. This Pramberger exceeded my expectations. If I were in the market for a mini-grand, I'd most certainly take this model for a test drive."
Rosenthal also tried out the 4' 8" Kohler & Campbell KIG-48, also made by Samick. His comments about the tone and action of this model were very similar to those about the Pramberger, except that in the Kohler & Campbell, both bass and treble, though still pleasing, sounded a little darker, with the bass sounding musical beginning at note G11. This model also exceeded the reviewer's expectations, though not as much as did the Pramberger.
My sources tell me that, unlike the larger sizes of Pramberger, whose designs are based on the work of the late piano engineer Joseph Pramberger, this small Pramberger grand is a stock Samick design in use for many years under a variety of names, and that these particular Pramberger and Kohler & Campbell models are, in fact, identical instruments with different names. Therefore, any differences between the Pramberger and Kohler & Campbell in this model must be attributable less to differences in design than to manufacturing variations, to differing amounts of preparation at the factory or by the dealer, or some combination of these.
"Both the Young Chang and Weber models I played feature very nice cabinets, legs, lyres, and music desks, and slow-close fallboards that worked perfectly. The Y150 I tested had an interior case veneer that looked exotic, like something one might find on a more expensive piano.
"In both pianos, the copper-wrapped (bass) string scaling extends upward to note F#34 — a much higher position than a wrapped string would normally appear in a longer grand. This means that the highest wrapped strings on both the Young Chang and Weber are within the temperament zone, an area where the piano technician establishes the basic tuning pattern for the piano. Because of the large amount of inharmonicity often present in this section, and the difficulty of scaling wrapped bass strings to blend well with unwrapped, plain-wire strings, the presence of wrapped strings in the temperament section is often a serious challenge for the tuner, and sometimes it's hard to set a temperament pattern that sounds good. Yet in the case of both of these pianos, I was pleasantly surprised to be able to tune a great temperament that seemed unaffected by the presence of the wrapped strings. I was also astonished at the smoothness of the break (bass/tenor transition) on these two pianos. Of all the instruments I tried in my short-grand survey, both the Young Chang Y150 and Weber W150 had the least noticeable break; its smoothness rivals or even exceeds that found on much longer (and much more expensive) pianos.
"The bass section on both instruments sounded full, round, and complete. I felt that the tone was excellent all the way down to C4 on the Young Chang, and down to B3 on the Weber. Perhaps the lowest two or three notes didn't sound all that great, but isn't that most often the case, even with longer grands? The actions on both pianos felt even and extremely controllable, and I had no trouble playing any kind of music, including some Bach inventions played at a fast clip. Both instruments also had admirable sustain properties across their entire range, and if I had any criticism at all about tonal balance, it might be that I had to work a bit harder to get the treble to 'sing' melodies above the volume of the midrange and bass. Yet this is also a bit of a compliment, in that the bass and tenor sections are capable of putting out serious amounts of tone, volume, and sustain. However, this is where the similarities between these two pianos ended.
"Scale design involves the engineering of certain specifications for the plate, bridges, and strings, and the Y150 and W150 share the same specs for their plates and bridges. However, their string-tension properties were engineered differently; thicker plain-wire diameters were incorporated into the Young Chang's stringing scale, resulting in higher tension for that model. This difference, along with the use of contrasting styles of hammers, has resulted in two unique-sounding pianos that I found fascinating to compare. The Young Chang's tone seemed lighter, brighter, and possibly a little thinner, yet pleasant and certainly musical. The Weber had a much darker and 'bloomier' sound that I found quite appealing, and I felt like I could extract more shades of color within a slightly larger dynamic range. I also felt that the treble in the Weber held its own against the bass/midrange a little better than it did in the Young Chang, especially when playing melodies against left-hand accompaniment. But, as piano tone is very subjective, I urge the reader to try both instruments; some pianists might well prefer the brighter sound of the Young Chang."
"I didn't care much for the 4' 7" Pearl River GP-142, due to its thin sound, noticeable break, and an action that felt strange (I suspect short keys as the culprit), but the 4' 11" Pearl River GP-150 was basically the opposite: an excellent action, combined with an appealing tone that was especially effective in the treble section from middle C up. The overall quality of the bass sound was slightly less impressive than what I'd heard from the Young Chang and Weber, with clear-pitched bass notes beginning only at D6. I also felt that the break between bass and tenor was not as refined as on the Young Chang and Weber. Still, I was attracted to this model's sound and playability, and found the balance between registers to be possibly more evenly matched than on any of the other instruments. Another notable feature of the Pearl River GP-150 is the presence of both front and rear duplex scales from C#53 up, which may contribute to the nice qualities of the treble sound in this piano.
"Pearl River also makes pianos under the Ritmüller label, the company's upper-level brand, whose models were recently redesigned by renowned German piano designer Lothar Thomma. I tested the 4' 10" Ritmüller GH-148R, which I found lovely overall. The keyboard and action on this piano, complete with real ebony-wood sharps, was my favorite of all the instruments I played, with a refined feel and excellent controllability. The top three octaves of the GH-148R have a front and rear duplex scale, and the workmanship of the plate finishing, bridges, tuning pins, and stringing resembles that found on much more expensive instruments. The very high quality of the bass tone extended all the way down to note A1, a trait I rarely encounter on pianos of any length. The amount of fundamental tone present in the lowest bass notes was really surprising and admirable, although the overall bass sound throughout the entire range of wrapped strings was just slightly less impressive than that found on the Weber and Young Chang. The break on the Ritmüller was also perhaps a bit more noticeable than on those two pianos, but this comparison shows just how difficult it is to get everything perfect in a single instrument. I really loved the way this piano sounded and performed; it was easy to forget that I was playing a short grand.
"My last instrument was the Chinese-made 4' 11½" Hailun 151, which I found as impressive as the others. As with some of the other pianos I examined, the beautiful veneer on the inside of the case, as well as the nice plate finishing, looked like something normally obtainable only at a higher price point. This piano had a dark tonal quality similar to what I heard in the Weber, yet with its own musical personality. In fact, the tone seemed to have an interesting mix of fundamental and harmonics that resulted in a very pleasing overall tone, complete with a thoughtful and effective balance of bass, low tenor, and treble. The transition between tenor and bass was not as smooth as on some of the other models, but the bass section sounded very good all the way down to B3, and I noticed some other design features that may be the reason for the interesting and complex tone in the treble: a front and rear duplex scale starting at D#55, with a rear duplex that appears to be tunable. The action and keyboard felt great, and it was easy to play a variety of music with complete control and dynamic range.
"The casework on all six instruments I surveyed ranged from good to high quality, and all had sturdy legs, pedal lyres, and slow-close fallboards. The pedals on some models made a few squeaks that could probably be easily eliminated by the store technician."
"While no one is ever going to claim that a 4' 11" grand can match the tonal palette, power, and control offered by a large grand, these pianos seem poised to fill a niche with genuine elegance. I hope that this successful retooling of the short grand will also inspire the improvement of scale designs for pianos of all sizes and price points."
*Prices are for models in polished ebony with slow-close fallboard.
MSRP = Manufacturer's Suggested Retail Price (not all manufacturers use them). SMP = Suggested Maximum Price. Most sales take place at a discount to the SMP. See Model & Pricing Guide for more information about prices.
Kevin A. Brown ([email protected]) has more than 20 years' experience as an amateur pianist, including accompanying for a community chorus and playing at church. By profession he works at a national laboratory as a technical communicator, and lives in the Chicago area.
Tom Gruenert ([email protected]) studied piano seriously through his second year of music school (a long time ago), when, he says, he fell in love and quit practicing. He has played blues, jazz, and standards professionally, and has taught piano at various times. Currently an attorney by profession, Gruenert lives in Houston, studies jazz, and enjoys playing the piano every day.
Glen Rosenthal ([email protected]) has been a piano enthusiast since a teenager. He plays classical music, jazz, and freeform, and has been learning to tune pianos for the past year. By profession a product engineer for a large telecommunications firm, Rosenthal lives in Denver.
James Carney (www.jamescarney.net) is an award-winning keyboardist and composer who lives, performs, and teaches in New York City. He has released five albums of original music, was a winner of the Thelonious Monk International Composers Award, and curates a weekly jazz series at Korzo Restaurant in Brooklyn. Carney also works part-time as a piano technician.


The summer season is quickly fading and fall is just around the corner in the Gunnison Valley. The National Park Service and Colorado Parks and Wildlife have been busy protecting Blue Mesa Reservoir from harmful aquatic invasive species this summer and look forward to the quieter fall season.
—Through the end of the day on Monday, September 1 (Labor Day) all inspection station and ramp hours are 5:30 a.m. to 9 p.m. at Lake Fork, Elk Creek, Iola and Stevens Creek sites. Ponderosa's inspection station and ramp hours are 8 a.m. to 4:30 p.m., Thursday through Monday.
—Ponderosa and Stevens Creek inspection station and ramps will close for the season at the end of the day on Monday, September 1 (Labor Day). The Iola inspection station and ramp will close at the end of the day Monday, October 13. The Elk Creek and Lake Fork inspection station and ramps will remain open until ice forces them to close.
From September 2 to September 30, hours for Elk Creek and Lake Fork inspection stations will be 6:30 a.m. to 7 p.m. October hours will be 7 a.m. to 4:30 p.m. Boaters are reminded that it is their responsibility to be off the reservoir before the ramps close for the day.
Many boats will exit Lake Fork and Elk Creek in the month of September due to marina slip closures. Boaters should plan for possible delays due to inspection and decontamination stations being busy with multiple vessels. Remember: boats that are cleaned, drained and dry, with plugs pulled, move through inspection more rapidly. Any boat that is dirty, crusty or slimy below the waterline; large and complex and/or has standing water in any section of the vessel will require a high-risk inspection and possibly decontamination.
If you have any questions, please visit the park website at go.nps.gov/mussel or call (970) 641-2337, ext. 215.


Showing results for tags 'fossilid'.
Hello kind folks of the fossil forum, I recently had the opportunity to take photos of some of the more rare/unknown fossils found in the fiddlers green member of the Bertie group. All these fossils came from Lang's quarry in Ilion, New York and are not Eurypterids. I was given permission from Al Lang himself to post these photos. These are from his personal collection. He does like his privacy and doesn't like people showing up out of the blue. I'm lucky to have met him and received an invitation. I'll stress this was a huge stroke of luck and he doesn't often have or want visitors. He was kind enough to let me show these photos, so let's appreciate this opportunity together. Some of these fossils have been seen by very few people. I was also allowed to take photos of his Dolichopterous specimens which are also exceedingly rare but they will go under a different category on the forum at another time. Now some of these can be found in ontario at the ridgemount quarry but keep in mind these are from a different layer than the Eurypterids found in central New York. The stratigraphy is slightly different across the state. Either way, at least some of these may be described....some maybe not? Photos to come. im going to post the pics together with 2-3 grouped together if they are the same and I'll separate photos if they are loners. This will make it easier for people to quote photos.
Hello everyone hope everyone had a great Thanksgiving! My father got to work yesterday and found this during their construction job. He said it was 9ft underground and says that the black sphere is heavy like metal and popped right out of the rock. Is this a fossil? Thanks for any tips!
My father just found this today in North Texas at his job site, is this also an ammonite? It's pretty big. It was dug up 9ft under ground.
Hello! i am new to this forum and will use this opportunity to introduce myself. I am from. NYC and made my first visit to Big Brook in Monmouth County NJ because my two children (4&6) are very interested in ancient sharks and reptiles. We were so excited to learn how easy it is to find fossils locally. Could anyone assist us in identifying the tooth shown below next to the goblin shark tooth? I just realized I didn't include a scale reference, but I know that the goblin shark tooth is slightly longer than 1". I apologize if I haven't followed certain board etiquette. Please let me know and I will be sure to adhere in the future. Thanks!
My dad claims this is a dinosaur egg. I'm just wondering if his claims are true! Says a general in China "re appropriated a couple" from Henan Province when they dug up a bunch! Much Thanks :D.
Hey Ammonite Scholars- need a little assistance here!
Hello fellow fossil friends, I guess I should formally introduce myself- I'm David- a long time fossil forum lurker and a first time poster. I'm a geology student at the College of Charleston (where I have some of the best paleo professors in the world might I add) and I have a specimen question. I evacuated the beautiful low country because of our uninvited friend Matthew- which thankfully also gave me the opportunity to stop in my favorite rock shop in Helen, GA. I have bought some pretty cool crinoid and belemnite plates from these folks at a very reasonable price. They are some of my favorite fossils in my growing (college debt be darned) collection. I came across this ammonite lying hidden in the back corner of a table outside. It is from Morocco, an area I know to be notorious for poor fossil samples. I paid by the pound, so I know I probably overpaid- but no mind-you don't run across ammonites in rural Georgia often. Anyways- enough of that. I took a look at the sutures (visible in one picture) and the distinct oak leaf shape pattern led me to believe it was originally a Cleoniceras. However the septal surface has more texture (ie the defined "bumps" on the main body) than the Cleoniceras. I'm beginning to think it could be a Mammites Nodosoides or a Choffaticeras. Even if I overpaid I am going to make an attempt to prepare the fossil as my first major project in prep in my free time. How much of a problem is the calcite vein running through the upper portion of the shell- and is there any reason I shouldn't be set on preparing it? (This thing could be a fake for all I know- but it seems to not be complete and has a fair amount of weathering and unevenness for someone to go through the trouble of faking an unprepared fossil to sit on a table on the side of a country backroad- but hey you never know!) I understand this is a lengthy post for one simple question but I felt an introduction was in order. I also did as much research as I could before asking for help (emailed the pictures to the fine instructors at the college already). Any assistance is greatly appreciated. Thanks for your time!
Hi Guys A few days ago, (25 of January) I found this teanopteris looking leaf. It was found at The Skillion (Terrigal Headland), NSW Australia. It is my first cycad! It is well preserved, and… HUGE. If it is a teanopteris, which is what i'm hoping one of you guys can tell me Thanks.


text:
Q: I have a task file of GULP for compile js file with JSX code using babelify, but not work it I have a project with react, I have already installed babelify, also gulp, when I use the gulp command, it works perfectly and generates my output file, however if I add JSX code to my app.js file, send me the following error:
> events.js:160
>> throw er; // Unhandled 'error'
> SyntaxError C:/xxxxx/xxxxx/xxxx/myProject/source/app.js: Unexpected token (4:18)

As if I had not installed babelify, but it is already installed with npm

npm install --save-dev babelify

and gulp with

npm install --global gulp

my app.js file has the following code:
var React = require('react');
var ReactDOM = require('react-dom');

var listOfItems =

Item 1

Item 2

Item 3

;
ReactDOM.render(listOfItems, document.getElementById('react-application'));

and my gulp file is the next...
var gulp = require('gulp');
var browserify = require('browserify');
var babelify = require('babelify');
var source = require('vinyl-source-stream');

gulp.task('default', function(){
  return browserify({entries: './source/app.js', debug: true})
    .transform(babelify)
    .bundle()
    .pipe(source('snapterest.js'))
    .pipe(gulp.dest('./build/'));
});

thank you very much for your help!

A: Can you make the following changes in your gulp file
.transform(babelify, {presets: ["es2015", "react"]})

Then
npm install --save-dev babel-preset-es2015 babel-preset-react

Then run gulp.. it should work

redpajama_set_name: RedPajamaStackExchange


blacklabelsociety.net is a website that ranks 693,224 in Alexa. blacklabelsociety.net is ranked 709,152 on statisy and has 1,884 backlinks according to Alexa. The Site was launched at Jun 04 2001 and its old. The hostname or fully qualified domain name (FQDN) blacklabelsociety.net is identical to the domain name blacklabelsociety.net. The domain is registered under the domain suffix net and is named blacklabelsociety. The blacklabelsociety.net Server is hosted by Infinitum Technologies Inc. and is located in United States (Florida). blacklabelsociety.net is not listed in the dmoz open directory project. After analyzing blacklabelsociety.net's demographics we have determined that blacklabelsociety.net average users are 35-44 years old, with Some College. We also have determined that blacklabelsociety.net's average user earns $100K+ a year and is most likely Male. Oh wait it seems like we know a little bit more about blacklabelsociety.net's average user, they have Children and browse from Home and are Caucasian.


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redpajama_set_name: RedPajamaGithub


text:
Wingspread Ezine for Dec. 1, 2014
November 28, 2014 Ezineshurdjp
Wingspread: A new Ezine dedicated to faith, flying, and coming of age in a complex world.
People can subscribe to Wingspread (free) at: http://jimhurd.com. You will receive a free article for subscribing. I hope to publish Wingspread about twice a month, direct to your email inbox.
Buy the book: Wingspread: Of faith and flying at jimhurd.com, or Barnes and Noble, or Amazon.com. Please share this URL with interested friends.
Read more about Wingspread: of faith and flying: http://jimhurd.com
See pics related to Wingspread: of faith and flying: http://www.pinterest.com/hurd1149/wingspread-of-faith-and-flying/
The Middle Passage: A story about coming of age—Read it at : https://jimhurd.com/2014/11/06/the-middle-passage/
Tips on protecting your passwords! Watch this video:
http://www.nytimes.com/video/technology/personaltech/100000003216464/how-to-create-a-secure-password.html?emc=edit_th_20141106&nl=todaysheadlines&nlid=48256846
Follow James Hurd on Facebook: https://www.facebook.com/james.hurd
Follow James Hurd on Twitter: hurdjp
If you wish to unsubscribe from Wingspread, send a note to hurd@usfamily.net and say in the subject line: unsubscribe. Thanks.
On Writing: "But, how do I start my story?"
November 26, 2014 Uncategorizedhurdjp
James Hurd, November, 2014
This is the first article in a series on writing. The next articles will be: 2. Revising, 3. Editing, 4. Layout, 5. Getting your story out to others.
New book: Wingspread: Memoirs of Faith and Flying. Review it and buy it at: http://booklocker.com/books/7785.html
Wingspread site: http://jimhurd.com
You don't have a choice, you know—you must write your stories. Only you can tell them from your unique viewpoint. You owe these stories to your friends and family. You have something important to say. We all must write, even if's a few pages in a looseleaf notebook. Do it, and give it to your kids, or to your friends.
Why must you write? 1. To find out what you know, what you remember. 2. To organize your scattered thoughts. 3. To discover, perhaps for the first time, the meanings of your own life.
Just start!
The best advice: just start! This will free you. Planning at this point can stifle you. Freewriting means getting a sheet of paper and just writing. If you don't know what to write, just write this: "I wonder what I'll write about…" Force yourself to write continuously, without stopping, for fifteen minutes. Save the agonizing and revising for later.
If you must, just create a list of topics and write on the best one:
Firsts in my life (first day of school, of marriage, of a job, of a new home)
The most, the greatest (surprise, gift, sorrow, challenge, friend, event)
What happened when I (lied, broke up, had my first period, moved, had a fight)
My greatest fear; my greatest joy…
My strongest conviction is…
The strangest, most interesting character I ever met…
The first thing I remember is…
The house where I grew up was…
My deepest spiritual experience was when…
Many other topics
How do I tell my story?
Not many things are true across all world cultures, but one thing is true: Everybody loves a story. So tell stories. Story means narrative—moving things along. What happens first? Then what?
You don't have to make it all about you. You don't even have to use the word "I." But you are the video camera, you are the lens through which you let people see your world. What makes a good story? Writing about people, in some detail. Good descriptions of places, descriptions of events. Lots of good dialogue, people talking to each other. Your readers might skip over many things, but few people can skip over dialogue. But most of all, keep telling the story.
Brenda Ueland gives some advice: "If you want to be a better writer, you need to become a better person." Who knew? But she's actually talking about transparency, vulnerability, honesty. You might write about your grandmother's wearing a dress she didn't wear. That's OK. But never have her doing something you know she'd never do. Keep true to her, and to your memory of her. So, be honest. Write what you really think and believe. Don't invent a style you think a reader might like. Write first of all for yourself, and be honest.
Focus, focus, focus
Anne Lamott says, "Tell your story looking through a one-inch picture window." She means, better to write about a soldier than about the Civil War, your room rather than your house, your first day, rather than your whole time in elementary school, your mother rather than your family. Focus, focus, focus. Sharpen your lens and zero in on one person, one event, one object, one little place. One writer wrote a whole story about a board game he played as a child! Once you have this sharp focus, you can easily weave the other necessary parts around it.
Where to start your story? Where to end?
Don't write an "introduction." You'll probably cut it later anyway. Just jump in! Of course, your story needs some context, some explaining, but you have plenty of time to do this throughout your story. If you must write an introduction, make it the last thing you work on.
Start with the best part of your story, the high point. If you start there, you'll find that you can build all the other things around it. You don't even have to start at the beginning! In fact, I usually wouldn't recommend it. Start at the most interesting part, and you can gently lead your reader backward and forward in time.
Where to end? When you're finished, stop! And leave the reader with a punch, with the most surprising or significant thing. Maybe keep your reader in suspense a little bit and then hit 'em with a powerful ending.
So, what are you waiting for? You're not writing a book, just one story. Start now. J.H.
The Middle Passage
November 6, 2014 Uncategorizedhurdjp
(These stories are in some way connected to Wingspread: Of Faith and Flying: http://booklocker.com/books/7785.html )
I barely survived three years at Orange Middle School. I resent that I had to do puberty at the same time.
When I spread my wings, I discovered that the rest of the world was not Fundamentalist. Indeed, hardly anybody was. And furthermore, some of them were really scary.
My first day, I happened to pass Jimmy Creech in the hall. Creech wasn't the sharpest needle in the pincushion—it would take him two hours to watch 60 minutes. To my eyes he was bereft of grace, a bellowy eighth grader who stood 6'5." But he walked like the Fonz, and had a gaggle of admirers following him.
I must have said something like, "Hey there," or "What's up?"
Creech paused, turned, and addressed my person: "What'd you say?
"Come'ere kid."
I came. He ripped a piece of paper out of my notebook and wrote on it.
"Turn around, kid."
I turned. He scotch-taped the paper sign to my back and said, "You take that off and I'll beat your face in." The sign read "I AM THE SCUM OF THE EARTH." Then he walked away.
I wore the sign the first two hours of middle school. Finally, a teacher saw it, ripped it off, and asked, "Who did this to you?"
"I dunno," I lied. From that day on I realized that I was not the most important person on campus.
At lunchtime, the kids who had money walked across Glassell Street to the high school cafeteria. The rest of us ate our home-packed bag lunches under sheltered tables that stood near the softball field. Most kids ate Fritos, little cans of juice, and candy bars. I wanted the same, but instead, Mom packed me mayonnaise and avocado sandwiches. I would ask, "Anybody wanna trade me for Fritos?" Nobody. That day I learned that not all families are the same.
Some days, if I had money, I would throw Mom's sandwiches in the trash, sneak through an illicit hole in the chain link fence, and buy tamales at the little Mexican restaurant across Sycamore Avenue. A green banana leaf enfolded the moist corn meal. The cook had stuffed the dough with raisins, onions, and succulent pieces of pork and potatoes. I can still taste those tamales.
One lunchtime I turned to the kid next to me and said, "Have you seen our new music teacher? He's an old fossil."
Turned out the "fossil" was standing right behind me. He said nothing, but beginning that day, I became his special project. He inspired me to sing my heart out in his school choir. He was a pilot, and gave me my first airplane ride. I cried the day he left our school because Jack Coleman was a Christian man. I learned from him that there are people in the world who care deeply about you, even if you're a jerk.
After lunch, the boys sort of milled around the playground or huddled in tight little groups. Carl was squat, muscular, a football type of guy. Jerry played first base in our pickup games. Don had a crew-cut with a waxed ducktail. These were the noble ones—they drank from the Source. I always invited them to my birthday parties and miniature golfing at Shady Acres in Long Beach. They never invited me back. I learned that friendship isn't something you can buy.
I got a crash course in fashion when I noticed these boys wearing three-button button-down shirts (you left the back button unbuttoned) and perma-pressed slacks with a little cloth belt buckle on the back. Or they wore Levis. If a kid came to school with a new pair of Levis, they would wrestle him to the ground and tear off the little red "Levi" tag on the back. My parents provided well for us, but we weren't rich, so I didn't wear Levis; I worn unknown-brand jeans. My mom found a second-hand tee-shirt somewhere with "Orange Grammar School" on the front (an obsolete name for Orange Intermediate). I only wore it once.
Gary Noll had punched me in the stomach in elementary school. Now, he saw me as a tempting target and challenged me to a fight. Some of us were shooting baskets after school waiting for coach McKee to come out when Gary Noll walked up and chose me off. It was a brief fight. He put me in a crushing headlock that I thought would rip my ears off.
He said, "Say 'uncle!'"
"Uncle!"
He let me go and walked away. I tried not to let the others see me crying.
I learned more vocabulary from the boys than I did in English class. They would say "Oh, fat," "spas out" (a mockery of spastics, whose gestures they would expertly imitate), or we would call someone "brain" (mocking his stupidity). My linguistic education was bilingual—I learned dirty words in English and also in Spanish–even though I didn't know what they meant.
Playground talk often shifted to the second gender, and soon my hormones began warring against my Fundamentalist morals. All the girls at Orange Intermediate wore dresses or a blouse and skirt. The boys would look at their legs when they walked up the bleacher-like stairsteps to the second floor. Sometimes when a girl leaned down at the drinking fountain, a boy would come up behind and snap her bra strap.
I noticed Sally Gould. When her father hired me to do yard work at her house, I longed to see her coming and going. But she was a princess—above my class. Besides, Mike had the pole position with her. Once when I saw Mike and Sally from a distance, Mike said, "Hey, come over here if you wanna fight." Mike was four inches shorter than me, but what he lacked in bulk he made up in bluster. Plus he wore a button-down shirt and pants with a buckle on the back. I walked away in shame.
Dark-haired Judy Clark was the smartest girl in school—smarter than I was, and better than I was in spelling. Once I tried to stiff Miss Parker on a spelling test. She had marked the word "America" wrong because my "i" wasn't dotted. I then embedded a tiny dot in the line above and turned it back to her. She didn't buy it, and Judy got the higher grade.
Shirley—blonde, beautiful, burgeoning—was the daughter of the owner of a furniture store. When we were in second grade she was my first girlfriend, but I hardly dared speak to her in intermediate school. At graduation she played the piano in a strapless dress.
And there was Bunny—not a beauty queen, but chatty, approachable. When we would ride the fan bus to "away" games, Bunny would issue a general invitation to the boys—"Here, hold my hand—it's no big deal." I felt guilty when I reached out to grasp the moist, promiscuous hand.
The girls at Orange Intermediate were taller, more articulate, more social than the boys, and light years more mature. I assumed they all had high morals and maintained sturdy fences and boundaries. Not true—my friend Helen trafficked in trashy poetry and other girls earned the reputation of being "easy"—but my wrong beliefs protected me from seeking unwarranted liaisons.
At intermediate school I learned about the criminal justice system. The principal was the ultimate threat, the face of justice that was supposed to motivate good behavior.
Once Mr. Hardesty sent me to the principal's office for participating in a chalk fight where pieces of chalk landed in the goldfish bowl. It was a fun time and I thought, It was totally worth it. Another time, Miss Wilson sent a few of us to the principal because, instead of listening, we were sitting in the back of her English class reading the newspaper. The principal said, "Jamie, your citizenship has really slipped." I realized that "citizenship" wasn't something I had ever thought about improving.
Once during lunch hour, some of us were playing handball against the building instead of participating in the required softball game. The principal told the PhyEd coach, Mr. Elmore, to deal with it. Mr. Elmore was a proud man, bronzed, muscular, and serious as a heart attack. He talked as if someone had put sand in his toothpaste. He took three of us to the woodshop where he found the wooden paddle with the holes drilled in it.
He told me, "Grab your ankles." I upended, wondering how hard he would hit.
He hit. The single, hard whack brought tears to my eyes but I refused to sob.
A Fundamentalist in a worldly school
At Orange Intermediate, I just felt weird. Later I learned that "feeling weird" is common for pubescent males, but I was convinced it was because I was a Fundamentalist. A "Fundamentalist" is sort of an Evangelical on steroids.
The kids at school came in only three categories: Unchurched, Catholic, and mainline Modernist (read "worldly"). I didn't fit any of these categories. As far as I knew, I was a group of one, a spiritual orphan.
I would stand mute while my friends discussed the movies they'd seen. Our church was anti-movie, so I never entered Orange Theater. Or when my history teacher talked about early hominids and evolution, I had to tell him, "I don't believe that. The Bible doesn't mention it."
He told me, "I don't believe it either, but we have to teach it."
My Fundamentalist pastor told me I had to separate myself from the contagion of the World. And at intermediate school I saw the world all around me—worldly dress, worldly language, worldly activities. I felt compelled to "witness" about my faith, speaking Jesus-words to my unchurched classmates. I refused to participate in square dancing. At graduation, they were all doing the Bunny Hop in the auditorium while Howard and I sat in the lobby playing chess. Howard, the supreme nerd, once asked our math teacher if she knew how a right triangle is like a frozen dog? (Answer: "perp-in-di-cooler.") I didn't like Howard. I didn't like myself. We were both nerd-heads.
Looking back, I see that I was a prig, a "holier than thou" person. But the kids at Orange Intermediate tried their best to squeeze that out of me.
Pushing puberty
And yet, I felt more than different—I felt insecure, with an unfulfilled passion to conform. But I failed to fit in. (Much later, I discovered that most middle schoolers felt that way.)
One place I wanted to fit in was in the locker room. Coach McKee would say, "Now you boys need to go to the locker room and shower." My palms sweat now, thinking about it. The locker room provided a display case for flowering puberty. Or not—I don't think I was flowering. I had spindly arms and legs, only faint traces of body hair, and a freckle-mottled face. The eighth graders would steal my towel and use it to snap my bare derriere, then make me kneel and beg to get my towel back.
I did not like my body. Looking in the mirror I would think, My eyebrows are too low! I obsessed about that for a while. In the locker room, I discovered a new athletic appliance—the jockstrap. I didn't even know boys needed one, but I self-consciously climbed into it. Other boys were less self-conscious—once Mike pulled his on and stretched one strap over his shoulder. He looked around and asked innocently, "How do you get into this thing, anyway?"
My most vivid memory of the locker room was Billy, a bully who would steal the pennies off a dead man's eyes. One day he turned from the adjacent urinal and peed on me. A little yellow river trickled down my leg and onto the floor.
Looking back, I see that most of my learning at Orange Intermediate took place outside the classroom. I learned how to deal with adversity, how to relate to "worldly" people, how to be "in the world but not of it," how to respect women, how to share faith, and how to have compassion for all people, even Billy, and Jimmy Creech. And most important, I learned something about Christian humility. Indeed, Orange Intermediate taught me that I was not the fourth member of the Trinity.
In search of my lost soldier cousin
[These blogs and stories are unpublished, but all are in some way connected to Wingspread: Of Faith and Flying, Booklocker Press, http://Booklocker.com ]
It's 2011 and Eddie's been dead for over 50 years—I've never even seen his picture. I wonder, Why don't my relatives ever talk about him? Why do I seek his grave today?
Early on, I discovered that our family was strange—a peculiar, small island among our extended family kin. We were Fundamentalists—no one else was. So, I seek Eddie's grave today to learn more about the rest of the family.
Dad told me, "Your Uncle Everett trained in Texas to fly B-29s. One day, he was marching in formation when he saw his cousin Eddie from Minnesota marching right in front of him—he didn't even know he'd enlisted! Everett came home and lived into his 80s, but Eddie was fed as fodder into the military machine, and, when he was 29, German guns cut him down." That was all Dad said. Today, I search for Eddie's grave. Why? I wonder. What will I do if I find him?
During the war, Dad wanted to be an army chaplain, but lacked seminary education, so he turned to carpentering. By the time I was three years old, it was clear the Allies were winning. Dad would call me outside when he'd hear a plane's roar. "Look! That's a B-36 bomber. It has eight engines." I loved to watch the bulbous sub-spotting blimps floating over Newport harbor. They hangared in two 1000-foot-long, wooden structures near Santa Ana. Dad said, "I worked on every rafter in that building." For Dad and me, WWII was a beautiful thing—all patriotic and exciting.
Dad had grown up near Eddie's Minnesota home, but in 1920, Dad's family abandoned Minnesota for California. Dad said, "My dad went west and got rich, but Eddie's dad stayed in Minnesota and got poor." The families rarely contacted each other.
In 1982 I moved back to Minnesota with my own family. I talked on the phone with Dad's cousins, but never met them. Now that they're all gone, I can't heal the breach between our families, but if I find Eddie's grave, perhaps I can at least honor his memory.
Dad never seemed that interested in his Minnesota relatives. Years ago when Dad visited us, we walked the grasses of Winnebago's North cemetery, but didn't find Eddie's grave—in fact, we found no Hurd graves at all. I knew that Eddie's grandparents had died in the "Old Soldier's Home" in Minneapolis. Suddenly it dawned on me—Eddie was in the army; I'll bet he's buried at Ft. Snelling!
Today Barbara and I lurch along the Hiawatha light rail line, get off at the airport stop, then walk a few hundred yards to Ft. Snelling's iron gates. I am briefly overwhelmed. I think of Dante's "I had not thought death had undone so many." It's the size of a city, with identical headstones stretching to the horizon. I see no person—just row upon endless row of stones planted in fresh-mown grass. Two hundred thousand military dead are planted here, and, to avoid digging winter's frozen ground, workers prepare 1000 new graves every fall for the winter's new crop. Today, only the mute stones speak for those who can speak no longer.
We stop a worker roaring by on a small garden tractor. He tells us, "There's a large kiosk at the far end that lists all the burials." We walk about a quarter mile to the kiosk and I browse the records. Most of the Hurds listed were buried since the 90s—I recognize none of the names, and no "Eddie Hurd." Then I remember Edwin, Eddie's grandfather. Was Eddie's name "Edwin?" I find him immediately—"Edwin Kenneth Hurd, Section B-1, Site 360N." I never knew his middle name. But I'm puzzled by the interment date—December 11, 1947, exactly three years after his death.
Ft. Snelling opened in 1939, and the first burials must have been at this end. We walk a short distance and find section B. Stones here date from 1940-44, probably WWII deaths. I had read that the Battle of the Bulge, America's bloodiest battle of the war, lasted from November 11, 1944 to January 25, 1945. Now we're passing many graves from December, 1944. Was Eddie part of December's harvest?
We read the little numbers on the backs of identical stones—362, 361…—and stop before 360N. There it is! I kneel and touch the small, white, granite stone, rounded on top, with a little cross carved inside a circle. I trace the letters with my finger:
Edwin K. Hurd
Staff Sgt Infantry
That is all. He lies under a fragrant cypress tree, one insignificant drop of blood among the 52 million civilians and military who perished in WWII.
I imagine Verna waiting in Minneapolis for her husband's return, searching the papers, looking for any news. But never would she embrace him again. Undoubtedly they buried him where he fell in Belgium (a country his parents had never seen) along with 19,000 other American dead. When did his parents, Nelson and Mary, first receive the death telegram?
It must have taken three three years to ship his body back home. Would the family have traveled up from Winnebago for the interment that bitter December winter? It must have seemed like a second death. His sister Gladys, 25 at the time, would have been there. I almost met her in the 80s, but just as we planned a road trip to Medelia, she died. I wonder how long it's been since anyone visited the grave? Did Eddie's brother or sisters ever come here later? I visualize Verna's wan face as she makes a later, solitary visit, perhaps to offer a Memorial Day bouquet. How soon we forget.
Curious—why do I seek healing here among the dead? I cannot staunch my anger, and my heavy spirit savors the bitter swill of war—this early death, the loss of memory, severed family ties. How make amends? How reconcile? I can't unring the bell.
I hesitate—then, fingering the thin stem, I lean against the stone a penitentiary flower–then we depart.

redpajama_set_name: RedPajamaCommonCrawl


As the number of internet websites is increasing day by day, it becomes difficult for a website to find an appropriate place on the internet to make it visible. A service that allows different websites to become accessible via the internet is called web hosting service. And, the companies that provide these services are known as web hosting providers.
You can find a number of companies on the internet that are offering web hosting services. They come with different plans for satisfying the requirement of clients. But, there are a few things that you should note while choosing a web hosting service provider.
The service provider should not limit its offerings of disk space and bandwidth. It should take care of client's requirements and focus on their great online presence.
These service providers regularly generate space utilization data to check that their clients are utilizing the bandwidth to the fullest or not. If any client exceeds the normal usage, it informs the client through an email and gives some time to bring back their usage within the normal range.
The provider should offer different plans, so that the client can choose the best among them as per his requirements. Apart from these, they should have different software & applications solutions and advance hardware and infrastructure support.
Now, as you are aware about the qualities to look for in a web hosting service provider. It's time to take a look on the different benefits of hiring these companies for assistance.
If your website comes across any trouble, you will get instant support from them for solving the problem. Generally, they take very less time to assist with the solution, because if an issue last for long it can affect the website's performance and ranking.
Good companies provide servers that are fast, new and can work efficiently without crashing. This makes the website fast and improves user experience.
Different companies offer a variety of complementary services to attract users such as free email systems, different guides or tutorials and much more. They also provide a choice of plans from which you can choose the right one to run the online business efficiently.
Overall, web hosting providers can prove to be of great help to a website in providing a significant place on the internet.
Services of web hosting providers are necessary to best utilize your internet presence. Look out for them on the internet, read about the services they are providing and choose the best among them.
Next story HOW DOES THE MOBILE PRICES AFFECT THE INDIAN MOBILE MARKET?


LNEYA high and low temperature cycle machine uses mechanical refrigeration to obtain low temperature heating tube heating to obtain high temperature. It is used with various glass reactors and reactors. What should be paid attention to when using it?
High and low temperature cycle machine is suitable for dynamic constant temperature control of high pressure reactor cold and heat source, dynamic constant temperature control of double-layer glass reactor cold and heat source, dynamic constant temperature control of double-layer reactor cold and heat source, thermostat control of microchannel reactor cold and heat source, small Constant temperature control system, steaming system temperature control, material low temperature high temperature aging test, combined chemical cold source heat source constant temperature control, semiconductor equipment cooling and heating, vacuum chamber refrigeration heating constant temperature control and other industries.
When in use, the wooden box needs to be opened first to install the inlet and outlet valve on the inlet port. The upper and lower sides of the machine are marked with inlet and outlet ports, the valve is a shut-off valve, the valve medium flows in a direction, the valve is marked with a flow direction, and the valve and the reaction kettle are used. The hoses are butted, and the inlet and outlet of the reactor should be kept in and out to ensure that the reactor is kept full of liquid. The high and low temperature cycle machine opens the high and low temperature tank to add liquid holes, and the medium is added into the machine to open the machine's circulation switch, so that the liquid circulates throughout the system. Note that the air in the system is to be evacuated.
When using, turn on the power and press the key to enter the working state. The upper window of the display window displays the measured temperature, the lower window displays the current set temperature, press the set button, the upper window displays 5P, with the △▽ addition and subtraction setting The temperature lower window displays the set temperature. Press the heating button, the indicator light next to the heating button lights up, and the heating starts working. Press the cooling button, the indicator next to the cooling button is on, and the refrigeration compressor starts to work. Note: * When the time is *, the compressor is delayed by about 3 minutes.
The performance of the high and low temperature cycle machine is related to the operation of the entire high and low temperature cycle machine. LNEYA high and low temperature cycle machine has spent more effort in design and configuration to help users to run better.


text:
Rune Factory 4 Special now available on Nintendo Switch
News, Nintendo Switch
The Super Saiyan God Super Saiyans arrive
Event, Featured, PC, PlayStation 4, Xbox One
Overcooked: All You Can Eat - Sweet and Savoury
PC, PlayStation 4, Review, Steam, Xbox One
South Park: Phone Destroyer has arrived
App Store, Google Play, News
Ubisoft and South Park Digital Studios have announced that South Park: Phone Destroyer, is now available worldwide on the App Store and Google Play. Developed by Ubisoft studio RedLynx, in collaboration with South Park Digital Studios, the free-to-play game combines real-time strategy and collectible cards in explosive battles.
In South Park: Phone Destroyer, players once again assume the role of the unnamed "New Kid" and team up with iconic South Park characters to play a new game with cowboys, pirates, cyborgs and even almighty gods. Full of fun, action-packed battles, and trademark humour, players build and upgrade an all-powerful team to master the true strength of the cards they acquire.
Featuring more than 80 unique cards, South Park: Phone Destroyer includes a hilarious single-player campaign with 60 story-driven, dialogue-filled levels. Upgrading and learning to use cards strategically will be key to competing at the next level: the real-time Multiplayer mode. Player versus Player combat challenges players' skill and knowledge to defeat opponents in order to rise up the ranks and unlock new cards and loot. Players will also be able to join a team to chat and share cards with their teammates.
The game will be supported and expanded with future updates, continual live operations, and events.
Set in the authentic South Park universe, South Park: Phone Destroyer, brings the most outrageous RPG experience ever to mobile platforms! If this game is even half as good as South Park: The Stick of Truth or South Park: The Fractured But Whole gamers are sure to be in for a treat.
RedLynxSouth ParkSouth Park Digital StudiosSouth Park: Phone DestroyerUbisoft
Batman – The Telltale Series Coming to Nintendo Switch
Speakin' Geek & The 250 chat the DCEU
Welcome to the Wildlands – The companion documentary to Tom Clancy's Ghost Recon Wildlands
February 1st, 2017
Just Dance 2021 brings a dancing fairy tale with new season


text:
Review / Manifold Garden
Rob Beschizza 3:15 am Fri Oct 25, 2019
William Chyr's abyss stares back. It's a good puzzle game, too.
Free of text, of talk, of anyone at all, Manifold Garden's only voice is the sacred geometry of its environment. It challenges the player with puzzles and lures us into an impossible tangle of place and motion.
An echo of brutalist architecture and technical illustration, the garden looks like a haunted, sun-faded polaroid. You'll soon realize you can switch the direction of gravity on a whim and that you'll never die. This is empowering and mind-scrambling. Lurch from wall to ground, from floor to ceiling, only to find that the region of the garden you're in repeats endlessly in all directions—and then, that you can soar between these reflections by turning up into down, opening otherwise inaccessible surfaces to exploration.
Or leap into the void, and land exactly where you started.
Surfaces aligned with gravity's arrow are highlighted a certain color, one for each of the six cardinal directions, a subtle navigational cue. Impeding progress are closed doors, linked to circuits and power sockets. Fortunately, the garden is not quite dead: cubelike fruit grow on cubelike trees, each colored according to the direction of growth, and act as batteries. Most puzzles are solved by placing fruit to power logic gates, to direct water into turbines, or to charge doors and glowing pylons.
Elaborations follow as the journey unfolds. The player must learn to exploit the manifold nature of the space, flying from one instance to the next, over and over. Planting new trees yields more fruit. Puzzle-pieces sail on gravity's wind in maddening games of cosmic Tetris.
But it's the architecture that matters. The player stumbles from plain and claustrophobic puzzle-chambers (which reminded me of early solid-3D puzzlers such as 1988's Total Eclipse) to cathedral halls and on to the demented exteriors, all repeating off into the distance like a hall of mirrors, suggesting both infinity and limitation. Doorways (and corners, to sickening effect) open up to other regions, each with its own architectural character, all with the same patterns of scale and disorientation.
The garden never tells you what it wants, but corruption (and menacing events triggered by solving each region's final puzzle) implies its needs. Poisoned trees are healed, revealing strange artifacts and portals to the garden's hub. The hub is revived and restored with each artifact returned to it, a flowering of … something.
Is the garden alive with anything more than its own elegance? Its design, rolling from M.C. Escher to Damien Gilley by way of Frank Lloyd Wright and Tadao Ando, implies an architect. It is developer William Chyr, of course, but in the garden, is he an absent god or a present devil? Is the garden an inviting ruin or a sadistic maze? Am I exploring or escaping?
The gameplay, interesting and challenging as it is, never approaches these implications. The puzzles are all there is to it. Each breathtaking view offers no reason to linger that you don't bring in with you. This isn't a bad thing; while the garden poses questions that playing the game can't answer, I appreciate not being asked to stay. It's the beauty of the abyss that stares back, after all.
Escape it is, then.
Manifold Garden (official homepage) is available on Windows at the Epic Games Store, iOS and Mac via Apple Arcade, and is forthcoming on PlayStation 4.
noads
william chyr
Tiny Paper Dungeons: pocket-sized, spiral-bound, randomly-generated paper adventures
As soon as I saw the photo of Tiny Paper Dungeons on the Kickstarter page, I signed up. How to play: Gameplay is simple but entertaining: you roll a 6-sided die to determine how far you'll move each turn. Then pick a direction, draw a line, and interact with anything on that line, be it… READ THE REST
2020 web game
2020game.io is a simple side-scrolling platform game, free of charge on the web, that offers a cartoon tour through the horrors of 2020. I'd almost forgotten that Australia burned to a crisp before the Covid pandemic hit! READ THE REST
Review / Colt Canyon
Colt Canyon is a sepia-toned masterpiece of pixel art, chaotic combat, and well-crafted character and weapon designs that deepen its simple but refined gameplay. All the same, its difficulty wall has me throwing my hands up in defeat. It begins with the kidnapping of your partner, establishing a classic western revenge 'n' rescue scenario. Head… READ THE REST
These 10 apps can help you make 2021 the year you learn a new language
Only 20% of American students learn a foreign language. While that's low, it ends up feeling downright pathetic when you consider that more than 9 out of 10 European students are schooled in at least one other tongue. Sure, there are so many languages in Europe that residents there have to learn a few to… READ THE REST
This grooming vacuum will help reduce dog and cat fur around your home
You love your family and friends. You love your spouse. You love your kids. But, even among those things you treasure most in this world, there's still a special kind of love you hold only for your pet. For as much as we shower our love and affection over these furry family members, there isn't… READ THE REST
The SteakMaster Gas Grill turns out steakhouse-quality meals at home in just 2 minutes
We realize it's still frigidly cold in many places, but advanced planning for summer 2021 needs to start happening now. And, even with so much still up in the air about what life will even feel like six months from now, it's time to get the ball rolling today. Of course, the centerpiece of any… READ THE REST


T-BALL & COACH PITCH BASEBALL LEAGUE!
Teams are organized in divisions based on the age of the child. Teams consist of 6-10 players.
3 - 4 60 - 75 minutes Players will hit off a batting tee.
DIVISIONS AND TEAMS: Players are assigned to teams according to their age/school/size/experience. Your child may play UP in a more advanced age division upon parent request. Simply make a note in the "Special Requests" section of the registration form and we will accommodate when possible. We do NOT put players in a lower age division to ensure the safety of the younger players. Exceptions may be made on a very limited basis in the case where a child is extremely small for his or her age.
FRIEND/COACH REQUESTS: You can request a friend, sibling or coach on your registration and we will make our very best effort to accommodate your request as long as they are in the same division. Simply note any friends you'd like on the same team at the time of registration, in the "buddy request" box. Although they can not always be guaranteed (ie: rosters already set or coaches over requested).
COACHES: These are VOLUNTEERS (usually parents) who have agreed to participate with our program. They will lead weekly practices and administer weekly sportsmanship medals. All coaches undergo a background check to ensure your child's safety.
REFEREES: i9 Sports Certified and undergo a background check. All games will have i9 Official.
ON-SITE COORDINATORS: Always on site for your convenience.
"I like that the activities are organized and that you have i9 personnel on site so we can ask questions."
"My son has had a great experience with i9 Sports. He's excited to go to his games and has gained so much self confidence. He's still very young and doesn't quite understand the game but he enjoys the way his body feels after playing hard."
"they are very organized! They have lesson plans for the coaches and the staff is super helpful and friendly. "
"Very informative as far as details on game times, practice times, etc. Also, doing it all in one day is a big plus. All about fun!"
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The Echo received a tip off that filming was taking place at the GCR's Quorn and Woodhouse Station and the source claims that it is being transformed into Norfolk's North Wootton Station, near Sandringham, for the Netflix series The Crown.
A NEW Netflix series starring former Dr. Who Matt Smith was rumoured to have been filming at the Great Central Railway today (Friday, February 12).
It is described as a "gripping, decades-spanning inside story of Her Majesty Queen Elizabeth II and the Prime Ministers who shaped Britain's post-war destiny".
The cast includes former Dr. Who Matt Smith as Philip Mountbatten, Duke of Edinburgh, John Lithgow of Third Rock from the Sun fame as Sir Winston Churchill, and Claire Foy, who starred in BBC2's Wolf Hall, as Queen Elizabeth II.
The first series of 10 episodes is due to be premiered in 2016.
If the rumours are true, The Crown is by no means the first television series or movie to be filmed at the GCR.
Television shows such as Ripper Street, Casualty, Top Gear and Goodnight Mr Tom have all been filmed there, as well as scenes for films including Cemetery Junction, The Hours and Shadowlands.
After the Echo approached the Great Central Railway, it confirmed that filming was taking place today but could not comment further due to a confidentiality agreement.


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how many kids does chief keef have
( married,single, in relation or divorce): Married: How many children does Chief Keef have ? If you know the answer to this question, please register to join our limited beta program and start the conversation right now! Chief Keef, not known as any way but legally Keith Farrelle Cozart, might even have trouble keeping count of how many there are. How many childrens does chief keef has? Chief Keef revealed he has nine children in total in recent court documents. He hasn't made so much money considering he failed to reach the Interscope deal of selling over 250,000 units by the end of 2013. Unanswered Questions. Posted on July 21, 2014 by KollegeKidd Staff. It is already known Sosa fathered a daughter with Erica Early whom he is currently involved in a heated child support case with.
No Comments on Erica Early: Chief Keef Baby Mama, 43-Years-Old; Chief Keef Baby Mama Erica Early. Facts. Erica and the rapper, whose real name is Keith Cozart have a daughter named Kimora Cozart who … Chief Keef Has Nine Children According to New Court Documents - XXL.
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We need you to answer this question! His second daughter was born in 2013 & the third kid, a son was born in 2014. It has now been revealed that Sosa is the father of his New Jersey ex-girlfriend's daughter. Chief Keef's Baby Mama Posting His Child Support Record For Last Year Is Why I For One Will Not Be A Rapper With Illegitimate Children. A spokesperson for Keef, Owen Phillips, explained in a statement that the name is intended to promote Keef's upcoming record: "Alki David has announced that Chief Keef … And while we don't know EXACTLY how much in child support he's paying on FOUR of his kids – we do know how much he paid for ONE OF THEM.
Chief Keef owns a fleet of cars: a BMW i8 (which was reported repossessed later in the year), a Bentley Continental, a Bentley Roadster, a Bentley Mulsanne, an Audi … The source of Chief Keen net worth figures is the sale of his music and earnings from concert tours.
Classic Antonio Cromartie Hard Knocks situation. Although this figure obviously fluctuates based upon artist popularity, during his peak, Chief Keef was making between $40,000 and $85,000 per show.
(name): 1 Children : Is Chief Keef having any relationship affair ? : No: Is Chief Keef Gay ?
Chief Keef's daughter Kay Kay now has two younger sisters. How much does Chief Keef make per show? Chief Keef net worth is estimated to be around $1 million as of 2020.
He might have plans to get married in the future, though.
MTO – Rapper Chief Keef has FIVE children – by four different women. Chief Keef's 43-year-old baby mama, Erica Early claims that the rapper owes nearly $500,000 in unpaid child support. He is not married at this time but already a father of three children. There were many controversies about his children. However, court documents from December last year show he also admitted to fathering a further four children with another four women.
The Blast reports that Early is one of the rapper's nine baby mamas. Many believed that Sosa was in New York to confront the Brooklyn rapper, however, he was scheduled to be in town for business. While all the madness was going on 6ix9ine wasn't anywhere near NYC, instead, he was trolling away on the Internet from Los Angeles, which is Chief Keef… Chief Keef is a very tall man as he has an amazing height of 6 feet which is around 1.83 meters.
Does vera Lynn have any grandchildren. Keef told the fan that at 21 years of age, he already has FIVE BABY'S MOTHERS. Cozart previously admitted to fathering five children with four different women. No He is not having an affair and does not have a girlfriend at this time. Keef, by the way, is just 23 years old and he already has nine children. How many kids does chief keef have? Chris Spags 1/03/2017 4:00 PM 23. Chief Keef's Strange, Incredible Journey to the American Dream From public enemy number 1 to a bizarre label deal with a Greek billionaire, Chief Keef's strange journey from … His baby's mamas include Erica Early, mother of two of Keef's children; Rashieda Saunders, the mother of his fourth child; and baby mama Simone Patton, who allegedly broke up the two-year marriage of Love & Hip-Hop: Atlanta couple Waka Flocka Flame and Tammy Rivera. Chief Keef Reveals Newborn Daughter Mon'e.
What is Chief Keef marital status ? Chief Keef is the father of four children, but all of them have different mothers. He does also pocket some cash from his record label Glo Gang. At the age of 16, he had his first child, a daughter named Kayden Kash Cozart. He began the process of reproducing at 16 and has been going at a feverish pace ever since.
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According to an article published on BusinessInsider.com, there has been an 812% increase in the cost of College Textbooks since 1978. That's phenomenal, outrunning CPI by a shocking 600% plus. As quoted in the BusinessInsider.com article "Professor Mark Perry of Carpe Diem blog has been following this bubble closely". You can check out Mark's analysis in the full article from BusinessInsider. With the cost of textbooks continuing to rise are they becoming out of reach for the every day student?
We believe that the cost of buying new Textbooks is outrageous and want to help College Students buck the trend and start buying secondhand, renting textbooks and also making their money back using textbook buyback programs. With some textbooks costing over $150 each, we hope that by providing a comparison service for all the options and textbook companies we will save you money and still get you the correct textbook edition, etc.
Let's change the textbook price momentum by switching to cheap textbook options such as rental and buying used textbooks and the publishing companies and book stores will have no option but to reduce their prices to stay in the market. You are in control, make the change now and support the cheap textbook market place, get all the comparison prices here.


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Q: Extracting metadata from comment fields using pandas I need to download and process the Australian Bureaux of Meteorology weather files. So far the following Python works well, it's extracting and cleansing the data exactly as I want
import pandas as pd
df = pd.read_csv("ftp://ftp.bom.gov.au/anon/gen/fwo/IDY02122.dat", comment='#', skiprows=3, na_values=-9999.0, quotechar='"', skipfooter=1, names=['stn', 'per', 'evap', 'amax',   'amin',   'gmin',   'suns',   'rain',   'prob'], header=0, converters={'stn': str})

The issue is the file is overwritten daily, and the metadata which indicates what day and time the forecast was produced on is in the comment fields on the first two lines, i.e. the file contains the following data
# date=20131111
# time=06
[fcst_DB]
stn[7]  , per,   evap,   amax,   amin,   gmin,   suns,   rain,   prob
"001006",   0,-9999.0,   39.9,-9999.0,-9999.0,-9999.0,    4.0,  100.0
"001006",   1,-9999.0,   39.4,   26.5,-9999.0,-9999.0,    6.0,  100.0
"001006",   2,-9999.0,   35.5,   26.2,-9999.0,-9999.0,    7.0,  100.0

Is it possible using pandas to include the first two lines in the result. Ideally by adding a date and time column to the result and using the values 20131111 and 06 for each row in the output.
Regards
Dave

A: Will the first two lines always be a date and time? In that case I'd suggest parsing those separately and handing the rest of the stream off to read_csv.
import urllib2
r = urllib2.urlopen(url)

In [29]: r = urllib2.urlopen(url)

In [30]: date = next(r).strip('# date=').rstrip()

In [31]: time = next(r).strip('# time=').rstrip()

In [32]: stamp = pd.to_datetime(x + ' ' + time)

In [33]: stamp
Out[33]: Timestamp('2013-11-12 00:00:00', tz=None)

Then use your code to read (I changed the skiprows to 1)
In [34]: df = pd.read_csv("ftp://ftp.bom.gov.au/anon/gen/fwo/IDY02122.dat", comment='#',
             skiprows=1, na_values=-9999.0, quotechar='"', skipfooter=1,
             names=['stn', 'per', 'evap', 'amax', 'amin', 'gmin', 'suns',
                    'rain',   'prob'], header=0, converters={'stn': str})

In [43]: df['timestamp'] = stamp

In [44]: df.head()
Out[44]:
      stn  per  evap  amax  amin  gmin  suns  rain   prob           timestamp
0  001006    0   NaN  39.9   NaN   NaN   NaN   2.9  100.0 2013-11-12 00:00:00
1  001006    1   NaN  35.8  25.8   NaN   NaN   7.0  100.0 2013-11-12 00:00:00
2  001006    2   NaN  37.0  25.5   NaN   NaN   4.0   71.4 2013-11-12 00:00:00
3  001006    3   NaN  39.0  26.0   NaN   NaN   1.0   60.0 2013-11-12 00:00:00
4  001006    4   NaN  41.2  26.1   NaN   NaN   0.0   40.0 2013-11-12 00:00:00


In this busy day and age, not everyone will have the time to take care of their relatives. Reasons for this may include time, the lack of expertise or distance. Fortunately, there is a way for you to care for your loved ones even with your absence: Caregiver services from Illinois. For those in Illinois, search no further for Angels Homecare is here to provide you the best care in the state. But what does caregiver services do exactly? Is it limited to merely medical care? Here's a run-through of everything caregiver services can do for you and your loved ones.
A caregiver can be an unpaid or paid person who is to assist another person who has a disability or is unable to care for themselves with their daily activities. It can be done at either a hospital, the patient's home or at an assisted living facility.
Who can go for Caregivers?
Caregiver services, especially from Illinois, are not exclusively for the elderly. In fact, all adults over the age of 18 qualify for it. There exist many people with disabilities who definitely need third ' party assistance, even when it comes to normal, everyday tasks.
What Are the Duties of a Caregiver?
The job of a caregiver is a delicate one, with your patient as the main focus. Before anything else, it is the patient's needs that are your priority. But what does a caregiver do? What are the things he or she must do?
No two cases are the same; some patients may be allergic to nuts, while others have special needs. It's why a thorough interview must be conducted to know what are the special strengths and weaknesses of the patient. The caregiver must also know the full medical history of the patients. Doing both will help the caregiver create a plan that can full accommodate all the needs of the patient.
When it comes to people with illnesses, there are certain ingredients which they cannot eat or must be limited. By creating a food plan, the caregiver is able to know beforehand what must be bought during the grocery run and what must be avoided.
It may sound a bit unusual, but housekeeping is part of the duties and responsibilities of a caregiver. Remember, sometimes a dirty home can worsen the condition of the patient. Basic housekeeping duties include laundry, dishes, waste disposal, and restroom cleaning.
One of the primary reasons why a person becomes a caregiver's charge is due to medical reasons; sometimes a professional is who you need to look after your loved one's special needs. From administering medication to adjusting the IV drip to adjusting machinery settings to your patient's needs, these are just some of the duties a caregiver will have to undertake. Luckily, caregiver services, especially from Illinois, can give you all the medical care you need.
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En mycologie, le stipe, appelé plus communément le pied, est l'organe qui supporte le chapeau chez de nombreux basidiomycètes et quelques ascomycètes. Un champignon qui a un pied est dit stipité. L'ensemble du pied et du chapeau forme le sporophore.

Le stipe peut présenter divers aspects et porter un anneau et/ou une volve, restes de la membrane qui enveloppe le sporophore à l'état jeune. Sa forme, et celle de sa base, sa position par rapport au chapeau, son ornementation, sa texture et sa couleur sont d'importants caractères pour la détermination des champignons. L'identification peut aussi faire appel à des caractères macroscopiques comme la couleur, la dimension et la forme des hyphes, ou à des réactions de la chair du pied lorsqu'on l'expose à l'air et/ou au contact de certains produits chimiques.

Fonction
La principale fonction du stipe est de surélever le chapeau au-dessus du sol pour faciliter la dissémination des spores par le vent.

Caractères macroscopiques
Les principaux caractères du stipe sont sa forme (bulbeux, ventru), la présence d'éventuelles cavités (creux), l'aspect de sa base (marginé, immarginé, radicant ou encore napiforme), son ornementation (réticulé, furfuracé, scrobiculé) sa couleur, sa concrescence.

Forme

Ventru
Un stipe est ventru ou obèse lorsqu'il présente un pied enflé ou pansu. C'est une forme typique des sporophores boletoïdes, de certains Tricholoma et Cortinarius.

Clavé
Le stipe a une forme de massue.

Fusiforme
Le stipe est fusiforme s'il affecte la forme d'un fuseau, c'est-à-dire atténué aux deux extrémités (et non à une seule) comme chez Collybia fusipes.

Position par rapport au chapeau

Cavités et texture
En fait la gamme d'épithètes plus spécialisées précisant la forme d'une cavité est telle que l'adjectif creux paraît souvent désuet.

Cave
Le stipe est caverneux lorsqu'il présente une grande partie du pied entièrement creuse.

Creux
En latin cavi-pes, pied creux. Dans les ascomycètes, le genre morchella, les morilles, verpes et morillons ont typiquement un pied creux. Dans les basidiomycètes, on trouve notamment cette caractéristique chez les genres russula (Russula cavipes) et lactarius ou encore Boletus cavipes.

Caverneux
Le stipe est caverneux lorsqu'il présente, sur les sections qu'on en examine, de grosses lacunes irrégulières. On retrouve cette caractéristique chez les ascomycètes du genre Verpa et chez les basidiomycètes du genre Russula.

Fistuleux
Le stipe est transversalement cloisonné en lacunes successives.

Farci
Le stipe d'un Basidiomycète est farci quand la partie centrale du pied est constituée d'une moelle de structure plus aérifère, ou plus molle, que le cortex.

Tubuleux

Fibreux
Un pied fibreux rendra cette partie du champignon immangeable chez les comestibles, comme chez Kuehneromyces mutabilis, Laccaria laccata, ou encore Armillaria mellea jeune; chez Boletus erythropus, il est plus fibreux en se rapprochant de la base.

Cassant
Chez certains champignons le pied est fragile et va se briser net sous la pression, caractéristique spécifique de beaucoup de Russulaceae.

Base

Avec rhizomorphes
Le stipe se termine par une agglomération de ficelles, de cordonnets.

Bulbilleux

Marginé
Un stipe est marginé lorsqu'il présente une marge à sa base, souvent créée par un reste de volve. Lorsque le bulbe est brusquement limité par un bourrelet anguleux.

Immarginé ou bulbeux
Un stipe est immarginé ou bulbeux lorsqu'il présente un renflement à sa base.

Radicant
Un stipe est radicant lorsque la base du pied se termine comme une racine effilée. On le trouve notamment chez Sparassis crispa, Cortinarius argutus, Boletus radicans, Hebeloma radicosum, Cortinarius duracinus, Polyporus radicatus.

 Napiforme
Un stipe est napiforme si la base de son pied présente une forme de toupie ou d'un navet, comme chez Inocybe napipes.

 Ornementation du stipe
 Réticulé
Un stipe est dit réticulé lorsqu'il présente un maillage fin sur sa surface dont les crêtes peuvent prendre une couleur différente. La réticulation est souvent plus forte et plus colorée au pied du stipe. On trouve cette caractéristique chez les genres Phallus, parmi les ascomycètes, et Boletus, parmi les basidiomycètes, comme par ex. Boletus torosus. Les crêtes du maillage peuvent être concolores comme chez Boletus regius ou plus prononcées au pied du stipe comme chez Boletus reticulatus.

 Scabreux
Un stipe est dit scabreux lorsqu'il présente une surface rude et rabotée : il est couvert de petites saillies rigides qui donnent une texture rugueuse. On trouve cette caractéristique typique chez quelques genres de Boletaceae. Chez les genres Leccinum et Leccinellum le pied est blanc et recouvert de très légères saillies noires.

 Furfuracé
Un stipe est furfuracé lorsqu'il présente une surface recouverte ou composée de petites squames poudreuses, souvent blanches.

On trouve des exemples chez la base du pied de certaines amanites comme chez Amanita cokery et sur les pieds de certaine morilles comme Morchella conica. Sur le pied de Xerula furfuracea elles sont brunes. C'est une caractéristique des Cystoderma.

 Strigueux
Un stipe est strigueux ou hirsute lorsqu'il présente une surface hérissée de poils courts, raides et grossiers. La densité du poil est moindre chez le stipe strigueux. Cette caractéristique se rencontre chez les Mycena Scrobiculé
Un stipe est scrobiculé lorsqu'il présente une surface creusée de petites fossettes irrégulières. On trouve cette particularité chez de nombreux Lactarius, comme Lactarius scrobiculatus, Lactarius deliciosus ou encore Hydnellum scrobiculatum. Les scrobicules (fossettes) prennent une couleur plus foncée. Leur présence est très variable et ne constitue pas un caractère déterminant. Quand ils existent en quantité, ils sont allongés.

 Écailleux
Le stipe écailleux de l'''Hebeloma radicosum présente des écailles.

Stipes coalescents
Les stipes sont coalescents si deux ou plusieurs stipes adhèrent les uns aux autres ; plus courts, ils se ramifient sur un pied commun auquel ils sont soudés. Il ne faut pas confondre avec les sporophores grégaires de type connés, uniquement soudés à la base du stipe ou cespiteux, où plusieurs sporophores sont agglomérés à la base du stipe. On trouve cette forme soudée des pieds chez Hydnellum concrescens ou encore parfois chez Clitocybe nebularis, Calocybe gambosa ou Hydnum repandum. Il ne faut pas non plus confondre avec des chapeaux soudés entre eux qui sont alors dits concrescents. Ces deux caractéristiques peuvent apparaître ensemble, chez les Hydnum par exemple.

Exemple

Couleur du stipe

Concolore
Le pied a la même couleur que le chapeau
Calocybe gambosa ou Hydnum repandum.

Couleurs dégressives
La base du pied présente une couleur différente de celle du haut du pied.

Couleurs variables
Toucher le stipe va modifier sa couleur.

Anneau, voile, jupe

Voile

Jupe

Notes et références

Voir aussi

Articles connexes
 Mycologie
 Champignon
 Sporophore

Liens externes

Bibliographie
 .

Morphologie et anatomie fongiques
Terme de mycologie

ja:キノコの部位#柄

redpajama_set_name: RedPajamaWikipedia


To a lesser extent. Paper Mario: Sticker Star is turn- based Action- Adventure game, for Nintendo 3DS that uses the handheld' s 3D capabilities to bring the visual style of the Paper Mario game franchise to life like never before. You have not yet voted on this site! Brawl designed to make the gameplay more closely resemble that of Super Smash Bros. This game is a re- make of Mario & Luigi: Superstar Saga from the Game Boy Advance with modernized gameplay mechanics updated graphics a. Players must collect purchase create stickers to use in battles to stop Bowser from ruining things.
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The Mario branding was used for the first time in a later arcade game, Mario Bros. , which introduced Mario' s brother, Luigi. The objective of Mario Bros. is to defeat all of the enemies in each phase. Each phase is a series of platforms with four pipes at each corner of the screen, and an object called a " POW" block in the center.
Puzzle & Dragons: Super Mario Bros. Edition is a Mario- themed puzzle game with role- playing elements from the Puzzle & Dragons series released for the Nintendo 3DS. Originally, it was released in Japan on April 29,.
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