30 April 1969: Turi Widerøe made her first scheduled flight as the first officer of a Scandinavian Airlines System (SAS) Convair 440 Metroliner. She was the first woman to fly for a Western airline.
Captain Widerøe earned her commercial pilot certificate in 1965 and flew the Noorduyn Norseman and de Havilland Otter for Widerøe's Flyveselskap A/S, a regional air service founded by her father, Viggo Widerøe. In 1968 she joined SAS and completed the company flight academy in 1969, qualified as a first officer. She later was promoted to captain, and flew the Caravelle and Douglas DC-9 jet airliners.
Turi Widerøe left SAS in the late 1970s following the birth of her second child. Her airline officer's uniform is on display at the Smithsonian Institution National Air and Space Museum.
Turi Widerøe was born 23 November 1937 at Oslo, Norway. She is the daughter of Viggo Widerøe and Solveig Agnes Schrøder. She studied at the Statens håndverks- og kunstindustriskole (the Norwegian National Academy of Arts and Craft Industry), graduating in 1958. She worked as a book designer and magazine editor, then as assistant manager of a mine in Troms.
Ms. Widerøe qualified for a private pilot license in 1962. After earning a commercial pilot license, she went to work for Flyveselskap A/S, though her father was initially opposed to her career change.
After leaving SAS, Ms. Widerøe went to work for NRK, the national radio and television broadcast service of Norwaay, as a program director.
In 1972, Ms. Widerøe married Karl Erik Harr, and artist. They divorced in 1975.
She earned a master's degree in history from the University of Oslo in 1998, and a second master's from the University of Tromsø in 2006.
30 April 1962: The Chief Research Test Pilot at NASA's High Speed Flight Station, Joseph Albert Walker, flew the first North American Aviation X-15 hypersonic research aircraft, 56-6670, on its twenty-seventh flight. This was Flight 52 of the NASA X-15 Hypersonic Research Program. The purpose of this test flight was to explore aerodynamic heating and stability at very high altitudes.
At an altitude of approximately 45,000 feet (13,716 meters) over Mud Lake, Nevada, the X-15 was released from Balls 8, the NB-52B drop ship, at 10:23:20.0 a.m., Pacific Daylight Savings Time.
Walker started the Reaction Motors XLR99-RM-1 rocket engine. The planned burn time was 81.0 seconds, but the engine ran slightly longer: 81.6 seconds. Even with the longer burn, the X-15 undershot the planned speed of Mach 5.35 and peak altitude of 255,000 feet (77,724 meters). The actual maximum speed for this flight was Mach 4.94, and maximum altitude, 246,700 feet (75,194 meters). Walker landed on Rogers Dry Lake. The total duration of Flight 52 was 9 minutes, 46.2 seconds.
30 April 1962: Though it had been airborne briefly just a few days earlier, "Article 121", the first Lockheed A-12, serial number 60-6924, took off from a Top Secret facility at Groom Lake, Nevada, on its "official" first flight. Lockheed test pilot Louis Wellington ("Lou") Schalk, Jr. was in the cockpit.
The 72,000-pound (32,659 kilogram) airplane lifted off the 8,000-foot (2,438 meters) runway at 170 knots (196 miles per hour, 315 kilometers per hour).
During the 59-minute test flight, Schalk kept the airspeed to just 340 knots (391 miles per hour, 630 kilometers per hour), but climbed to 30,000 feet (9.144 meters) while he tested systems and handling characteristics. He described the airplane as very stable and extremely responsive.
The A-12 could fly faster than Mach 3 and higher than 80,000 feet—so fast and so high that no missile could reach it. By the time missile site radar locked on to an A-12 and a missile was prepared to fire, the Oxcart had already flown beyond the missile's range.
The Lockheed A-12 was a single-place, twin-engine hypersonic reconnaisance aircraft. It was 101.6 feet (30.97 meters) long, with a wingspan of 55.62 feet (16.95 meters) and overall height of 18.45 feet (5.62 meters). It had an empty weight of 54,600 pounds (24,766 kilograms) and maximum gross weight of 124,600 pounds (57,878 kilograms).
The A-12 was powered by two Pratt & Whitney JT11D-20 (J58-P-4) turbo-ramjet engines, rated at 25,000 pounds of thrust (111.21 kilonewtons) and 34,000 pounds of thrust (151.24 kilonewtons) with afterburner. The exhaust gas temperature is approximately 3,400 °F. (1,870 °C.). The J58 is a single-spool, axial-flow engine which uses a 9-stage compressor section and 2-stage turbine. The J58 is 17 feet, 10 inches (7.436 meters) long and 4 feet, 9 inches (1.448 meters) in diameter. It weighs approximately 6,000 pounds (2,722 kilograms).
Today, the first Lockheed A-12 is on display at Blackbird Airpark, an annex of the Air Force Flight Test Museum, Edwards Air Force Base, California. It has made 322 flight and accumulated a total of 418.2 flight hours.
30 April 1952, the first North American Aviation F-86H Sabre fighter bomber, YF-86H-1-NA 52-1975, made its first flight with test pilot Joseph A. Lynch, Jr., in the cockpit. It was flown from the Inglewood, California, factory to Edwards Air Force Base for evaluation and testing.
While the F-86A, E and F Sabres were air superiority fighters and the F-86D and L were all-weather interceptors, the F-86H was a fighter bomber, designed to attack targets on the ground with guns bombs and rockets. Larger and with a maximum gross weight nearly 4,000 pounds (1,814 kilograms) heavier than an F-86F, the H model's J73 engine provided almost 40% more thrust. Though it's top speed was only marginally faster, the F-86H could take off in a shorter distance and climb faster with a higher service ceiling than the earlier models.
The two pre-production aircraft were built at Inglewood, California, but all production airplanes were built at Columbus, Ohio. The serial numbers of those F-86H Sabres have the suffix -NH.
The North American Aviation F-86H Sabre was 38 feet, 10 inches (11.836 meters) long with a wingspan of 39 feet, 1 inch (11.913 meters) and overall height of 14 feet, 11 inches (4.547 meters). Empty weight was 13,836 pounds (6,276 kilograms) and gross weight was 24,296 pounds (11,021 kilograms).
The F-86H was powered by a General Electric J73-GE-3D or -3E engine, a single-spool, axial-flow, turbojet engine, which used a 12-stage compressor section with variable inlet vanes, 10 combustion chambers and 2-stage turbine section. It produced 8,920 pounds of thrust (39.68 kilonewtons) at 7,950 r.p.m. The J73 was 16 feet, 8 inches (5.08 meters) long, 3 feet, 3.5 inches (1.03 meters) in diameter and weighed 3,650 pounds (1,656 kilograms).
The F-86H had a maximum speed of 692 miles per hour (1,114 kilometers per hour) at Sea Level and 617 miles per hour (993 kilometers) at 30,000 feet (9,144 meters). The fighter bomber had an initial rate of climb of 12,900 feet per minute (65.53 meters per second) and it could reach 30,000 feet in 5.7 minutes. The service ceiling was 50,800 feet (15,484 meters). With bombs, the F-86H had a combat radius of 403 miles (649 kilometers) at 552 miles per hour (888 kilometers per hour). The maximum ferry range was 1,810 miles (2,913 kilometers).
The two pre-production YF-86Hs were unarmed. The first ten production airplanes were built with six .50 caliber Browning machine guns, the same as the F-86F Sabre, but the remaining F-86H Sabres were armed with four M-39 20 mm autocannon with 600 rounds of ammunition. In ground attack configuration, they could carry rockets and bombs or "Special Store" that would be delivered by "toss bombing." 473 F-86H Sabres were built before production ended.
The F-86H Sabre became operational in 1954, but by 1958 all that remained in the U.S. Air Force Inventory were reassigned to the Air National Guard. The last one was retired in 1972.


Singular in purpose, patrol missions work in support of larger missions of the army. Patrolling soldiers conduct raids, gather information, and safeguard areas. Their successful return from patrolling gives the military advantages in other missions such as combat or counterterrorism. Take a ride... read more with soldiers on patrol in our thrilling title for reluctant readers!


Our mission is to provide our guests with a truly unique and expertly guided Vermont experience. Please call to speak with a tour organizer or contact your hotel concierge to reserve one of our select summer tours.
For custom designed tours that meet the specific interests and requirements of your group, please call or email, and one of our tour organizers will be happy to work with you.


LEAF ROLL virus is a vine disease caused by any one or some combination of nine known virus strains. The disease is chronic, but not fatal to the vine. Infected vineyards decline in fruit quality and quantity, the results of delayed and uneven fruit maturation with reduced sugar content and color and subnormal berry and cluster size, hence lowered crop yields.
The symptoms are leaves that curl downward from the shoot and leaf edges that curl under with color becoming red (black grape varieties) or yellow (white varieties) between the veins. Symptoms display from mid-to-late season and often seem more apparent in red than in white varieties. Not all infected vines show symptoms to the same degree, which may be somewhat dependent upon rootstock, variety, clone and other factors. The majority of infections in Cabernet Franc, Pinot Noir, and Chardonnay, for example, show classic symptoms; very few infections show obviously in Riesling; one or more rootstocks may be immune.
Most leaf roll viruses are introduced by humans propagating infected vine cuttings, but infected nursery stock has also shown to be a problem. Some of the nine virus types can also spread through vineyards by species of mealy bug, which can migrate on clothing, tools, equipment, and birds. Other insect species are also possible carriers.
The spread of LRV through many California vineyards seems to be accelerating in recent years, for any number of possible reasons, including increased traffic and mechanization in vineyards, low priority and attention to mealy bug eradication, and possible recent infection of stocks of plant material formerly thought to be clean. Chances are that improved testing for viruses that can now be completed in a matter of days, rather than weeks or months, has revealed more widespread infection than was previously thought to exist.
The sole method known to rid existing nursery stocks of virus infection is by "shoot tip culture". The growing shoot tip (meristem) has a distinct tendency to be virus-free, even in otherwise infected plants. A tiny bit of the shoot tip material is removed and cultured to re-grow new vines, but this process is both time-consuming and costly. Plants grown from this material continue to be quarantined and repeatedly tested for viral infections until certified free and clean.
Heat treating the vines can shorten the process somewhat by producing more culture material. Viruses become inactive or dramatically slowed in vines that are grown in temperature conditions of 100-105°F. The vine essentially "outgrows" the virus, so more of the the shoot tip is theoretically "safer". Some viticulturists suspect that heat treating causes genetic mutation and variation from the original plants, so extended testing to ensure genetic stability and quality, ironically, can add more time and expense to this treatment.


The work presented here is presented by players of folktek and not the artists. If you have something you want to post, please feel free, and we may add it to our blog in the future as well. If you'd like to post an audio track, please load it elsewhere (soundcloud for example) and use your embed code to post it up here. Feel free to post anything as it pertains to folktek - video, photos, publications, comments, sounds recorded with folktek works or the VST collection, etc. Your email address won't be viewed or shared and only the name you enter will be seen by the public. Enjoy!


A vessel's drive train is typically defined as the components between the engine transmission coupling and the "bitter end" of the propeller shaft. For traditional drive trains, this includes the propeller, shaft, cutlass bearing and packing gland, although the list could also be expanded to encompass ancillary items such as the rudder, engine mounts, and engine bedworks. Here's a look at two major drive train components you should know and what to look for when inspecting each. Next month we'll look at the components inside the boat—stuffing box, shaft, and coupler.
This off-center shaft indicates that the cutless bearing is clearly worn. An obvious wiggle or audible thunk also suggests its time for a new bearing.
Start your drive train inspection where the metal meets the water - your propeller. Look for nicks, dings, cracks, and corrosion, while also keeping an eye out for rolled tips or bent blades. Blades that are distorted or even slightly out of true due to "soft damage" (a result of running through silt or sand for example) can decrease performance and cause vibration. Worse still, as blade damage in such cases is rarely uniform, imbalance vibrations can cause additional damage to engines, drives and transmissions. Props with worn blades can also allow an engine to accelerate beyond recommended RPM, possibly causing engine damage.
The good news is that damaged propellers can often be repaired (many times in place while hauled) or pulled for reconditioning by a prop shop, often for a lot less than the cost of a new prop.
Minor nicks and dings on the blade edges can be carefully tapped back into shape using a small hammer and steel backing block (those sold for auto body fender repairs work well for this). Repaired edges can then be smoothed by carefully using a fine grade hand file.
Small cracks and damage along the outer edge of the blades can typically be welded or repaired, but propellers missing more than a third of a blade or showing cracks at the root or base of the propeller are likely candidates for replacement. The same is true for those suffering from severe corrosion.
The cutless bearing supports the propeller shaft of your vessel while allowing it to turn freely without damage. Cutless bearings are typically made of brass with an interior rubber lining, which contains grooves running the length of the bearing. These grooves allow water to enter the cutless bearing to keep everything cool and lubricated while the shaft rotates within. Problems occur when the bearing lining (and grooves) wear down, which both reduces the flow of cooling water and introduces looseness or play in the bearing.
To determine if your cutless bearing needs replacing, look for signs of wear or deterioration at both ends of the bearing. Rapid or unusual wear patterns (i.e. top wear on one end of the bearing, bottom wear on the other) are indications of significant shaft misalignment issues and should be addressed immediately.
Next, simply grab the prop or shaft and give it a couple of good, firm shakes to detect shaft looseness within the bearing. Slight movement (say 1/16" or so) is borderline, but if you can produce visible shaft wiggle or an audible "thunk" when shaking the prop, the bearing is definitely due for replacement.
Capt. Frank Lanier is an accredited marine surveyor with over 30 years of experience in the marine industry. His website is www.captfklanier.com.
With reference to jacklines, there is one factor that I have experienced.
Yachts and even power boats have become more and more capable of high speed. I remember making 8 knots and we considered that to be high speed. Multihulls frequently exceed 20 plus knots.
I have been in a situation wearing a full harness. The yacht was surfing down a wave at about 18 knots; I was working on deck with my back to ward the Bow. The Bow picked up a large amount of water, which came down the deck at high speed and hit me in the back.
My harness had two lines and carbine hooks. However neither of them were attached at short scope to a an eye or the equivalent. The wave was able to push me at high speed down the deck. fortunately I was brought up short just before the cockpit/stern with a consequence of bruised rigs etc.
The problem was that the wave accelerated me until I hit the stops!
I like the flat tape as jack-lines, but I think it would be beneficial to have your sail maker stitch into the jack-lines loops every 10 ft plus strategic loops where deck work will generally be performed.
Note the carbine hooks do not hang up on the loops as you either move forward or aft to the cockpit. But you are never far away from a safe hold.


text:
The Magnes Zionist
Self-Criticism from an Israeli, American, and Orthodox Jewish Perspective
Response to Prof. Halbertal's Article on the Goldstone Report – From Eight of His Former Students
Last week I received a copy of a letter addressed to Moshe Halbertal by eight of his former students, most of whom are junior faculty in philosophy or philosophy doctoral candidates in Israel and the US. The letter, a long response to Halbertal's article attacking the Goldstone Report in the New Republic, was sent me by a colleague, who received it from an email distribution list. (The letter had been intended to be private, but it was leaked to somebody who sent it on the list.) After making inquiries I learned that Halbertal had invited the authors to discuss the matter with him, and that there indeed was a meeting. I do not know whether Prof. Halbertal plans to write a response.
In the meantime, I have received permission to make public parts of the letter. Since it is long, I will try to paraphrase the gist of the argument. This may seem unfair and one-sided, and it is certainly no substitute for an accurate translation. I also have no doubt that Prof. Halbertal's response would be an important contribution to the debate. But the original letter stands on its own, and so I communicate its contents here.
The "Letter to Moshe Halbertal" begins as follows;
Your article in the New Republic, an attack on the Goldstone Report, surprised and disturbed us. We feel obligated to lay before you our objections and our criticism in a direct manner. The immediate subject of the article is the Goldstone Report, which is portrayed as biased and fundamentally flawed. But it is difficult to escape the impression that in doing so you justify, after the fact, the pretext for the Gaza war, as well as its manner of conduct, without the qualifications that we consider vital.
The authors first comment on Halbertal's discussion of the transformation in Israel's defense strategy wrought by asymmetric warfare. That discussion emphasizes the difficulties and limitations that a conventional army has in fighting "terrorists", a move that strikes the authors as an attempt to diminish the real military advantage that the IDF possesses and to play upon the feelings of victimhood among Israelis. Such claims tend to ignore the connection between the asymmetry of conditions of warfare and the asymmetry in the power relations. Would it be a fairer, more symmetric, fight if Hamas had tanks and aircraft? The article accuses Hamas of not distinguishing between civilians and soldiers. Yet most of the IDF's chief military installations are located in the midst of civilian areas, including the Central Command in Tel-Aviv. Would that justify Hamas firing rockets on urban areas? The same article mentions Hamas attacks on buses and cafes, but what does that have to do with Cast Lead, since most of these attacks did not originate in Gaza, had ceased for years before the Gaza campaign and were cliaimed by nobody to be the cause of the campaign?
The article claims that one has two alternatives when confronting assymmetric warfare: either to refuse to defend oneself against terrorist attacks or to fight without limitations against the enemy's populace. But that, according to the authors of the letter, is a false dilemma. Most of those who opposed the Gaza campaign are not pacifists, and do not deny Israel's right to self-defense. What they deny is the justification of all military activity in the name of security, and the separation of the war on terror from the broader political context; they question whether there were alternatives to military action. "Rejecting both extremes for the sake of pursuing a policy that is both militarily necessary and exceedingly cautious with respect to civlian life is still quite far from justifying a military offensive like Operation Cast Lead.
According to Halbertal, "Israel's goal in its struggle with Hamas and Hezbollah is to reverse their attempt to strengthen themselves politically by means of their morally bankrupt strategy. Rather than being drawn into a war of all against all and everywhere, Israel has sought to isolate the militants from their environment: to mark them and "clothe" them with a uniform, and to force them to a definite front." The authors note that this description of isolating the militants from their environment bears no resemblance at all to what is known about the Operation Cast Lead, or the IDF's methods in Gaza in the last few years, which include the widespread destruction of infrastructure, houses, the siege and the limitations on imports, and the deliberate attempts to frighten the civilian population. To say that the former is the goal according to which the IDF operated, and to write off the collective punishment of the siege on Gaza as "ethically problematic and strategically unproductive" appears at the very least insufficient.
The second part of the article deals with the principles of just war and how they are reflected in the IDF Ethical Code. The first principle is that of military necessity, which holds that the use of force should be only as much as is militarily necessary. Halbertal admits in the article that the application of this principle in the case of assymmetric warfare is "problematic," but that does not excuse him from examining every military mission, including those cited in the report. It seems to the authors that this principle was violated more than once during the campaign, and if that is the case, then the criticism of the IDF in the Goldstone report is justified.
The second principle is that of the distinction between combatants and non-combatants. This too is difficult, but not only for the IDF. A large number of the soldiers are civilians who may be called up to fight. Does that justify attacking them in their homes (as the terrorists claim)? Or when they are on military leave? And what about the IDF's attack on the Hamas policemen? Contrary to what Halbertal writes, the Goldstone report did not consider them to be non-combatants, but rather that they were not part of the Hamas fighting organization against Israel. The Goldstone report mentions the IDF's claim to the contrary, but no evidence has been provided for that claim. What should the Goldstone panel have done; accepted the IDF spokesperson's word on the issue? After all, the IDF spokesperson has a credibility gap, considering the performance over the last few years.
The third principle is proportionateness. Here Halbertal cites Moshe Yaalon's claim that had the IDF known that Salah Shahadeh was surrounded by civilians, they would not have bombed his house. He does not cite Dan Halutz's defense of the bombing, or Yaalon's praise of the bombers ("You did good work; you can sleep at ease during the night.") He does not cite the more recent case of Nizar Riyan, who was killed together with fifteen civilians, members of his family, and which was justified by the IDF on the grounds that they were warned. So this gave the IDF a license to kill them?
The article criticizes the Goldstone Report criticism of "roof knocking," but misses the point that the warning was useless since the residents had no where safe to flee to. In order to refute the criticism, Halbertal should have cited cases where the roof-knocking was effective and not dangerous. But in any event, merely warning the civilians did not excuse the IDF from adhering to the principle of distinction. A non-combatant does not lose his status because he has not fled his house.
The article justifies the shelling of houses in order to minimize casualties to the IDF. But the cases described in the report included those in which there were no danger to the IDF. In some of those cases, the IDF issued contradictory statements. Halbertal completely ignores the statements of IDF generals and Israeli politicians that said that disproportionate damage was an aim of the war in order to teach Hamas and the population a lesson. One cannot examine the question of proportionality without understanding th goals of the mission. If one of the goals was to destroy the motivation of the Hamas fighters and their supporters, then the search for proportionality is a fruitless one.
The authors then echo my criticism of Halbertal's view that had the Goldstone report focused just on Gaza, the IDF would have had to respond. In fact, the IDF condemned and dismissed every human rights report on Gaza, including the one by the veterans' group, Breaking the Silence.
Halbertal criticized the report's decision to include the background to the Gaza campaign, and considered that presentation slanted. But Halbertals' presentation is no less slanted. Is the only purpose of the wall snaking through Palestinian territory Israeli security? Even the Israeli High Court rejected that claim, when it said that the route was determined in part in order to absorb territory for West Bank settlements. And while Halbertal criticizes this part of the Goldstone report as biased and irrelevant, he provides his own background which is no less biased: Sharon withdrew from Gaza, Olmert wished to continue the withdrawal; all this was spoiled by the Kassam rockets. This completely ignores the fact that the peace process and the disengagement was accompanied with an incessant deepening of the Occupation by all Israeli governments. Is it possible to detach Operation Cast Lead from the continual expansion of settlements and outposts, the theft of Palestinian land, the expulsion of people from their homes, the destructions of homes, the targeted assassination, detentions without trial, restrictions on freedom of the prevention of movement, the unfair allotment of water, prevention of the right to be education. All these abuses have been well-documented by Israel human rights NGOs. If Goldstone's presentation is slanted, then Halbertal's is no less so – including his decision to start the historical narrative from the disengagement from Gaza. Why choose this date? The answer in the article is that from that time Gaza was no longer occupied is unacceptable; yet according to many experts and organizations this is not the case. Why didn't Halbertal cite the remark of Dove Weisglass who said that the purpose of the disengagement was to prevent the establishment of a Palestinian state. Most astonishing is the failure to mention all the other IDF campaigns in Gaza after the disengagement: "First Rain," "Southern Arrow" "Summer Rains", etc., etc. and the fact that the IDF killed 1273 Gazans, among whom 522 uninvolved civilians (236 minors) , between the disengagement of Gaza and the onset of Cast Iron. Failure to mention the above creates the false impression that Israel adopted a hands-off policy of military restraint in the face of Kassam rocket fire from the disengagement to Cast Iron, and that the Hamas chose to fire rockets only because of an implacable and inexplicable hatred. And even if that were true, how can one explain Israel's separation of the West Bank from Gaza despite its commitments to the contrary.
In this context it is also surprising that the article fails to discuss the question of the necessity of going to war. Even if the article focuses on the Goldstone Report (which did not question Israel's decision to go to war), anybody who writes as an Israeli should discuss the legitimacy of the goals of the war (unclear to this very day), and of the means taken to achieve them. According to some Israeli leaders, the goal of the war was to eliminate Hamas. Wat this a legitimate goal. And the goal was to stop the Kassam rockets, were any less-deadly alternative courses of action feasible or possible? Isn't it necessary to mention the cease-fire that had redyced the firing of rockets to a trickle, until Israel unilaterally violated it by killing ten Hamas men in one weekend? Is the South genuinely safer now because of the campaign, and if so, for how long?
The article characterizes Goldstone's claim that Israel deliberately targeted civilians as false and slanderous. But it ignores entirely the evidence, including the statements by Israeli politicians, that the Goldstone Report adduces to support the claim. Is it sufficient just to reject Goldstone's evidence and conclusions out of hand? And what of the number of civilians killed.
On the latter point the article raises one of its strangest claims: "Since the relation of soldiers to civilians in Gaza was one to 150, then any larger relation in terms of soldiers to fatalities indicates that there was no intention to deliberately harm civilians. In other words, any action which was more careful than random shooting would be justified. But will we absolve the Hamas from responsibility if it can be shown that the relation between soldiers that killed and their victims is greater than the relation of civilians to soldiers in Israel?
The last part of the article treats some of the abuses documented in the report as isolated incidents that should be investigated, and not as well-documented abuses that were part of a systematic war policy. Halbertal is convinced that there was no such policy, although he never gives any reason why he is convinced, nor does he rebut the Goldstone report's evidence to the contrary. The many proofs of unnecessary and even criminal brutality – firing on civilians, destruction as a means of collective punishment, the use of illegal weapons, the deliberate frightening of the civilian population – merit at best a skeptical approach, and at worst, avoidance. Halbertal's call to investigate completely ignores the fact that the IDF has ceased investigating Palestinian claims against soldiers since 2000. The call to investigate isolated cases avoids confronting the possibility of their being instances of broader policies.
Finally, it is impossible to avoid providing a more general evaluation of the article and its composition. It seems that political, ethical, and legal questions turn into "dilemmas" that emphasize the soul-searching of the individual soldier who goes out to battle (and the philosopher who serves his spiritual advisor) and blur the consequences of his actions. The historical and political context is brought in accordance with apologetic needs, whereas central facts – the repeated attacks in Gaza after the disengagement, the effective control in a region that has never ceased, the violation of the Cease Fire in the early part of November –are hidden or distorted beyond recognition. The concept of assymmetric warfare provides Halbertal with a sweeping justification of the IDF's actions without mentioning the general context and basic asymmetry that is built into it.
Here is how the letter ends:
Your article only asks how much the IDF ethical code was implemented. You accept without question the necessity of going to war because you accept without question the IDF and the Israeli public's acceptance of the necessity of waging a war on terror. But some questions need to be asked: What led to the breakdown of the cease-fire? Could it not be renewed? Were there legitimate goals beyond revenge and giving the public what it wanted? Even when you argue with the report about context and background, you do not doubt for a moment the establishment's version of the events, in which the operation is portrayed as a defensive move against an aggressive neighbor and is completely removed from its historical context of occupation and control.
Most of all, we speak out against the distortion of the role of the engaged intellectual in your decision to publish this article in this journal at this time. What sorts of things should one cry out against? Can one sit in silence while the IDF has carried out, and continues to carry out, all sorts of injustices in the context of the occupation and its associated activities, and cry out only against somebody who criticizes these actions? If you think that the siege on Gaza is wrong, then why didn't you protest against it in public? If you claim that there are incidents that should be investigated, then why did you wait until the Goldstone report was published, and then in order to defend Israel from it, for you to come out in favor of an investigation?
You know as well as we do that we are not talking merely about a public expression of a position. The actions of the IDF in Gaza would not have occurred without the legal and moral support of publications such as yours. In this regard it is impossible not to protest against the hekhsher that you have given to the killing of the traffic police at the outset of the campaign. The army may still use this "certificate of kashrut" that you have granted them in future campaigns. At a time when the Occupation continues in full force, when civilians are killed and maimed daily, when theft, expulsion, and injustice under the auspices of the state increase daily, we find it hard to believe how you choose to defend the government who is responsible for all this against those who think otherwise.
The letter is signed: Yuval Ayalon, Amir Angel, Jonathan Ya'ari, Oded Neeman, Levi Spector, Avner Inbar, Yoav Kani, Yishai Rosen Tzvi, Assaf Sharon
The above letter should be added to the critiques of Halbertal's original article in the New Republic, which include those by philosopher Jerome Slater at his blog here and here, and by myself here and here
Posted by Jerry Haber at 9:58 PM
Decoding the news said...
This letter comes with an assumption that Hamas is not a terrorist organization intent on killing as many Israelis as possible and lying and doing whatever necessary to accomplish their often stated and well documented goal of eliminating Israel from the map of the Middle East. There is nothing in the letter that refers to Hamas' terrorism, but Israeli conduct is examined under a microscope.
Jerry Haber
Jeremiah (Jerry) Haber is the nom de plume of Charles H. Manekin, an orthodox Jewish studies and philosophy professor, who divides his time between Israel and the US.
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redpajama_set_name: RedPajamaCommonCrawl


Cleon Console – Vanity Mirror Co.
The clean, simple lines of the acrylic Cleon Console adds a special mod of Old Hollywood.
Completely clear and pairing beautifully with its smaller version (pictured), stack layers of glamour or let it sit sleekly on its own.
Width: 36" Height: 30.4" Depth: 14"
Width: 40" Height: 32" Depth: 14"


text:
African American Studies (41)
Almanacs (1)
American Biography (65)
American State History (213)
Ancient History (12)
Asian History (26)
Australia and the South Pacific (22)
Autograph Letter/Manuscript (20)
Baltimore (265)
Canadian and Polar History (18)
Central and South American History (35)
Ceramics and Glass (39)
Civil War History (31)
Classical Literature (21)
Eastern European History (22)
English Biography (50)
English History (216)
English Monarchy (56)
English Travel (34)
First Edition (338)
Games and Hobbies (10)
German History (57)
German Language (236)
Greek History (33)
H.L. Mencken (58)
Illustrated (226)
Incunabula (12)
Ireland and Scotland (40)
Italian History (54)
Judaic Studies (30)
Literary Biography (14)
Maritime (102)
Medicine/Health (78)
Medieval History (10)
Middle Eastern History (99)
Miniature Books (50)
NEW YORK HISTORY (12)
Occult, Myth, & Magic (29)
Presentation Copy (147)
Presidential History (71)
Publisher's Binding (83)
Railroad (21)
Renaissance History (7)
Roman History (14)
Russian History (105)
Scandinavian History (13)
Signed by the Author (315)
Spanish History (25)
William Morris (85)
World Wars (108)
alphabet book (13)
[Abstract Orange Press] Emeritz, Lauren
Hand Carved Alphabet (Miniature)
Washington DC: Abstract Orange Press, 2016. Number 47 of 300 copies signed and number by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist who founded and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This is a miniature alphabet book printed with letters that were hand carved in wood by the artist. Each letter is a differently designed capital letter printed in orange. Done in an accordion structure and bound in orange cloth boards with gilt title to spine and front cover. Size: 2 x 1.75 inches. [30 pages.]. Fine.	More
[Abstract Orange Press] Emeritz, Lauren, book artist
Hand Carved Alphabet
Washington DC: Abstract Orange Press, 2016. Hardcover. Number 9 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist who founded and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This beautifully designed book is in the special collections at the Library of Congress. It is one of a series of books that Lauren has done using her handmade type to explore letters, numbers, and shapes. In this accordion style book she has printed her hand carved letters of the alphabet in a bold orange. There is one letter to a page. They have been carved our of linoblock, pine, basswood, and plywood. Printed on Lettra 220 paper and bound in orange Mulberry paper with debossed titles in gilded orange on front cover and spine. In fine condition. Measures 5.25 x 7 inches. ARTISTSB/082018. Fine.	More
Washington DC: Abstract Orange Press, 2017. Hardcover. Number 11 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This boldly designed book is one of a series of books that Lauren has done using her handmade wooden type to explore letters, numbers, and shapes. In this accordion style book she has printed her hand carved wood numbers from 1 to 0 in various bright colors either on a single page or on a fold-out page. Bound in dark blue cloth with title in orange on front cover and spine. In fine condition. Measures 5.25 x 7 inches. In a protective stiff plastic case. ARTISTSB/082018. Fine.	More
Washington DC: Abstract Orange Press, 2018. Hardcover. Number 11 of 20 copies signed and numbered by the book artist. Lauren Emeritz is a book artist, letterpress printer and graphic artist and runs the Abstract Orange Press. She creates prints and books by hand using a Vandercook press and wood type, including type she designs and carves herself. Lauren holds a BFA in Graphic Design from the University of Delaware. She is the President and Creative Director of Abstract Orange, a graphic design firm in Washington, DC, and a letterpress associate at Pyramid Atlantic Art Center in Hyattsville, Maryland. This striking book is one of a series of books that Lauren has done using her handmade wooden type to explore letters, numbers, and shapes. This accordion style book juxtaposes a shape as a white space on a blue, grey, or orange background on one page with the shape in that color on a white background on the facing page. Shapes include a circle, square, triangle, arrow, heart, star, and hand. Bound in grey cloth with orange title on front cover and spine. In fine condition. Measures 5.25 x 7 inches. In a protective stiff plastic case. ARTISTSB/082018. Fine.	More
[Abstract Orange] Whitman, Walt; Lauren Emeritz, book artist
Leaves of Grass by Whitman: Abstract Orange Edition
Washington DC: Abstract Orange, 2019. Number 6 of 36 copies signed and numbered by the book artist. The book was published on May 31, 2019 in celebration of Walt Whitman's 200th birthday. The book artist writes: "The book explores ideas central to Walt Whitman's Leaves of Grass including transcendentalism, or the inherent goodness of nature, and realism, depicting familiar things as they are. It captures both the complexity and simplicity of nature by juxtaposing dimensional paper grass texture and a quote about nature and wonder. The book is not a reprinting of all of Whitman's words, but an art object that encapsulates the feeling of Whitman." Her evocative work is done as a box that opens like a traditional book. The inside front cover and back cover are covered with cream paper that includes quotes from Whitman along with his image. The inside of the box/book are several spiky rows of grass leaves crafted from green paper. The box is covered with green paper with the title, author and press name in a lighter shad of green. In fine condition. Measures 5.25 x 7.25 inches. ARTISTB/120519. Fine.	More
[Artistically Declined Press] McCreesh, Hosho
A Deep and Gorgeous Thirst: Drunk Poems by Hosho McCreesh
Oregon: Artistically Declined Press, 2013. Hardcover. One of 20 copies signed by the poet, Hosho McCreesh who describes himself as a drunken poet. From reviews: "In the footsteps of Charles Bukowski comes Hosho McCreesh's magnum opus of drunk poetry. Mammoth in size and scope, A Deep & Gorgeous Thirst is unlike any of McCreesh's previous collections. Because writing and drinking go hand in hand, it may seem an impossible challenge for a poet to offer new perspective of this well-worn, symbiotic relationship. But McCreesh does, and in this brilliant collection he uses subject matter that might feel old and tired in the hands of a less capable poet and turns out exciting and irresistible poems. A perfect elegy to the illusions and delusions of alcohol." This is from the edition of 20 described by the press as "The DrunkSkull Flask Clamshell." It includes a handmade hardback book housed in a clamshell box custom-made by Bill Roberts of Bottle of Smoke Press. Hidden within the clamshell is the coup de grace - an 8 ounce black flask, engraved with the book's DrunkSkull logo, which is housed in a wood insert, along with some pieces of promotional ephemera that include two letterpress broadsides of unpublished drunk poems signed by McCreesh, a ticket also signed, and a third unpublished broadside hand written and painted by the poet. Hidden under the flash is a patch, a sticker, and a removeable tattoo - all featuring the DrunkSkull logo. The text of the book is printed offset and is bound in grey paper boards with black spine label and skull logo on the front cover. On the back cover is printed: "glister like remnant embers of all you've burned away in your mad and drunken joy." The clamshell box has a black cloth spine and grey paper covering the front and rear panels. The front panel features a reproduction of the book's cover and the spine panel has a matching grey paper title label. Box is 10 x 7 x 3 inches. In fine condition. 359 pages plus acknowledgments and colophon. ARTISTSBOOK/042016. Fine.	More
Bagby, Mona Lisa
The Art of Red in Nature
Richmond, VA: Mona Lisa Bagby, 2019. Hardcover. Number 6 of 10 copies. In this inventive and interesting work, book artist Lisa Bagby describes the importance of the color red in nature for animal, insect, and plant species. She writes that living creatures rely on color for protection, concealment, and sexual selection. The color red is one of the most distinctive. She offers many examples, from tree frogs to cardinals to red faced monkeys to various plants and fungi. She provides information on such phenomena as aposematism - the use of color by reptiles, amphibians, and fish to warn predators that they are toxic, dangerous, painful to attack, and difficult to eat. Red is not the only color used to display toxicity, but it is one of the more effective ones. The artist states: "The natural world as a companion marks my earliest memories and that status has never wavered. With maturity I came to appreciate the physical, psychological and emotional dynamics of the natural world. As a creative person, I can't help but notice details of texture, scale and, of course, color in the environment. Color is a significant part of the equation that brings the natural world into our focus and may even persuade us to care. Color sharpens our senses and enjoyment of the environment, whether it is a spectacular sunset or the sight of a cherry tree laden with its fruit. It is part of Nature's strategy for engaging us. My interest in eco-systems lead me to wanting to better understand how color is used in Nature so I began researching the purpose of red in the environment. The result is my handmade book, The Art of Red in Nature. I learned that Red was not dumped from a paint can over the globe and spread indiscriminately. It has been judiciously allocated across nature and each assignment is useful, if not essential, in the Plant and Animal worlds. Everything in nature, including color, is purposeful and this book explores the story of red in Nature. Not only is color, such as red, designed to support life in eco-systems, but red is also available for human beings to discover, in insects or in minerals, to advance our own creative efforts. The art of red in nature is a wonder indeed." Bagby has creatively illustrated her concertina book with cancelled postage stamps of different species, pen and ink drawings with watercolor applied, linoleum block prints, and cartoons. Additional stamps and descriptions are on the reverse pages. Bound in grey cloth with title label affixed to the front cover. With decorated endpapers and a red and white string closure. In fine condition. Measures 6 x 8 inches. ARTISTSB/121219. Fine.	More
[Bay Park Press] LaFrance, Carolyn
Maxine's Day: As Told to Carolyn LaFrance
San Diego: Bay Park Press, 2006. Hardcover. Number 10 of 10 copies. This is a charming and beautifully produced book by Carolyn LaFrance, a San Diego architect who is affiliated with the gallery at the Bay Park Press. Maxine is Carolyn's beloved feline friend and companion, and the book describes a day in Maxine's life through text and illustrations. Maxine begins her story: "Sun's up, I get to go out. Yes, yes, I know, 'Be careful,' the howling creatures may still be about. What, you think I don't know that? What I need to know is, who has been in my yard? Mr. Smushy-face? Walter? Or that grey and white bruiser? ..." Each page includes a hand-colored intaglio print of Maxine at various moments in her day (11 prints altogether). The text is Bernhard Modern type on lovely Fabriano Rosapina Bianco paper. Oblong folio bound in grey linen with black spine. Paw prints decorate the front cover and endpapers. Housed in a black portfolio with a grey cloth square label illustrated with paw prints affixed to front and cream ribbon closure. In fine condition. Unpaginated. PRI/072012. Fine.	More
[Bay Park Press] Rubottom, Sibyl
The Sibyls
San Diego: Bay Park Press, 2006. Hardcover. Founded by Sibyl Rubottom and Jim Machacek in 2000, the Bay Park Press produces artists' books, offers classes, and holds book arts exhibitions. Their books address a wide range of subjects from the universe to gardening to opera to Yiddish and more. Most are letterpress printed, many have moveable pieces, and all are illustrated.Number 3 of 10 copies. In her colophon, Sibyl Rubottom gives her love and thanks "to the father I never knew who named me Sibyl hoping I would be shrewd in business. That did not occur, but I did end up making books." This beautiful book is about five ancient Sibyls, including how they were depicted in Western art. These Sibyls are the Cumean, Delphic, Erythraean, Persian, and the Libyan. They offered prophecies, often through the use of leaves, as being from the thoughts of the gods. There is a brief description of each, accompanied by an intaglio leaf print and a reproduction of each Sibyl from the work of Michelangelo (four plates) or Velasquez (one plate). Each Sibyl is presented within a fold-out page with the description on the facing page and the plate and illustration inside the fold. Bound in red cloth with green spine, with title and author on front cover. The book was printed on Dutch etching paper in Bodoni, Bernard Modern, Albertus, and Patatino types. There are eight intaglio prints, each signed by the book artist. Housed in a brown paper covered case lined with the same red cloth as the book covers. This splendid production captures the mystery and beauty of the Sibyls legends. In fine condition. Unpaginated. ARTISTSBOOKS/080112. Fine.	More
The Water Book: Lanes of Thought
San Diego: Bay Park Press, 2010. Hardcover. Number 4 of 10 copies. Book artist Sibyl Rubottom grew up on Long Island Sound where Esther Williams was her hero. She grew up watching her movies trying "to relive the fabulous water ballet sequences." As an adult her love of water continued and she began swimming in La Jolla Cove near her home and later in an olympic sized outdoor pool in Mission Valley. She dedicates this book to La Jolla Cove, one of her regular swimming spots when the water is warm enough. Illustrated with six etchings and three unique oil paintings on mylar. Printed on Fabriano Rosapina Bianco paper using letterpress and intaglio prints, some with chine colle. Set in Bernhard Modern. Oblong folio. Housed in a blue clamshell box. Unpaginated. Fine.	More
[Bay Park Press] Rubottom, Sibyl and Jim Machacek
Gardens of Delight. Bouquets of Flora and Botanical Poetry
San Diego: Bay Park Press / False Bay Editions, 2009. Number 12 of 20 copies. An exquisite production fr. Hardcover. Number 12 of 20 copies. Founded by Sibyl Rubottom and Jim Machacek in 2000, the Bay Park Press produces artists' books, offers classes, and holds book arts' exhibitions. Their books address a wide range of subjects from the universe to gardening to opera to Yiddish and more. Most are letterpress printed, many have moveable pieces, and all are illustrated. This is an exquisite work from Sibyl Rubottom and Jim Machacek. It was inspired by Sibyl's interest in all things botanical and Jim's family heritage. The result is what they hoped for - "a riotous colorscape for your senses" - with rich and luminous colors and beautiful illustrations. It includes 14 unbound folded folio sized leaves that are housed in a folding case. Twelve of the leaves are dedicated to different types of gardens, each in a different color, with designs and writings to reflect that garden. The gardens are: Japanese, butterfly, desert, night, orchid, primordial, mystical, rose, water, Eros, secret, and herb. Each features a poem or prose by such writers as John Milton, Rumi, Homer, Lord Byron, Robert Frost, Oscar Wilde, Frances Hodgson Burnett, and Ralph Waldo Emerson. The two other folded leaves are for the title and for the colophon. Printed on Fabriano Rosapina Blanco paper in Venus, Edwardian Script, and Palatino typefaces using letterpress, monoprint, and intaglio techniques. Housed in a custom box in brown cloth lined with handmade paper. The covers open from the middle with a title label on one side and a small metal rectangle with wooden peg closure on the other. In fine condition. Unpaginated. [56 pages.] ARTISTSBOOKS/081612. Fine.	More
[Beeline Books] Fischbach-Braden, Sylvia (artist and author)
Baltimore: Beeline Books, 2009. Hardcover. Fine in paper covered boards with blue title to front cover. This book features a humorous essay by the artist about her summer custom of accompanying her husband to Arundel Golf Park where she often sketches and observes the golfers. It is bound in a triptych format and appropriately features a digital reproduction of a colored pencil drawing of the golf course which was completed on site. Unpaginated. [6 pages.] ARTB/122809. Fine.	More
Beyerle, Tulga; Vitus H. Weh, et. al.
Think Tank and Global Tools: Design im Zeitalter der Intensivstation
Wien: k/haus, 2001. Hardcover. An Austrian artists' book packaged with an engineer's compass and a four lens action camera, all housed in a custom fitted green tupperware box. This two book set appears to have been issued to document an exhibition of design with work from design students at the University of Applied Arts, Vienna and the Royal College of Art, London. The "exhibit is made up of work-in-progress responses to some of the major issues raised around contemporary theory dealing with globalization and new technologies. Each has interpreted this project according to their own understanding of the imperatives of design in contemporary culture and, in this way, the project aims to open up an increasing vital debate around the nature and role of practice in the twenty-first century" (Vorwort / Foreword). The books include "Global Tools," bound with white cloth spine and white paper covered boards titled in black on front and "Think Tank," which is side-stapled in black paper wrappers with white title to front. Both books include photographic illustrations of the design projects with descriptions of the pieces (some in German and some in English). Sample project proposals include the Phrenology Hat, which changes shape according to your mood; the Audio Tooth Implant, which acts as an "electronic third ear"; Step N' Charge, which is a mat that can generate and store energy by being stepped on; and much more. Finger smudges to covers and minor rubbing, else clean and bright. 35 mm film for the action camera is not included; however, there are manufacturers directions in English for both the engineer's compass and camera. There is also a card for the tupperware container laid in with text in German. Most text in "Global Tools" is in German with some in English. The text in "Think Tank" is mostly in English with some German. All items are housed in a light green tupperware lunchbox that has been custom fitted with yellow foam. Empty plastic label on front of box and light wear / soiling. "Think Tank" is 61 pages; "Global Tools" is 197 pages. Size of box: about 11 x 9 x 3 inches. ARTB/050319. Very Good.	More
[Bo Press Miniature Books] Batten, Prue; Pat Sweet, book artist
The Masked Ball
Riverside, CA: Bo Press Miniature Books, 2010. Hardcover. This is a short story by Prue Batten, an Australian award winning writer of fantasy and historical fiction. Pat Sweet, the book artist writes of Prue: "The Gisborne and Eirie novels are a wonderful source of design inspiration, and their author has generously allowed the Bo Press to produce miniatures based on the world they describe. Prue and I also collaborate on other projects." This story is set in Prue's fantasy world of Eirie and involves love at first sight, betrayal, beautiful costumes, tall dark strangers, and magic." Pat Sweet published this book in three editions, the deluxe, the trade, and this, the fine binding edition. It is bound in a specially printed blush-pink striped paper overlaid with a half binding of antique black lace, with a tiny gold mask on the spine. With six illustrations. In fine condition. Measures 2.25 x 1.50 inches. Unpaginated. [46 pages] ARTISTSBOOK/021518. Fine.	More
Pedauque
Riverside, CA: Bo Press Miniature Books, 20102016. Hardcover. Signed by the book artist. This is a story by Prue Batten, an Australian award winning writer of fantasy and historical fiction. In this lovely story-within-a-story by Batten, a medieval troubadour tells his master's young son a legend of Occitan: A queen suspected of sorcery and shape-changing and how she was vindicated. The story is loosely based on the legend of Pedauque that has been part of the Occitan legend for centuries. The tale has ten illustrations with historiated initials drawn from medieval manuscripts. Pat writes that this is the sixth book that she and Prue have published together, and she has marked the event with an illustration opposite the title page with a Latin motto including both our names. The beautiful binding is an embroidered fabric of gold, turquoise, and dark blue, with a twisted ribbon spine that echoes the illustrations inside. In fine condition. Measures 2.75 x 2.25 inches. 45 pages. ARTISTSBOOK/021518. Fine.	More
[Bo Press Miniature Books] Hopkins, Gerard Manley; Pat Sweet, book artist
The Windhover
Riverside, CA: Bo Press Miniature Books, 2017. Hardcover. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. Unnumbered limited edition. Signed by the well-known book artist, Pat Sweet. This is another inventive and lovely miniature book by Pat. It received the Annual Distinguished Book Award at the 2018 annual conclave of the Miniature Book Society. She writes of her book: "I saw this morning morning's minion . . ." The kestrel Hopkins saw that May morning in 1877 became one of the most beautiful and breathtaking sonnets of the 19th century. Hopkins, a great technical poet and the creator of the poetical device known as "sprung rhythm", was inspired by the sight of the hovering bird to a mystical connection with something beyond and above nature, The poem is dedicated "To Christ our Lord. " She continues: "I've tried to justice to the complexity and delight of the poem by using a complicated little dos à dos à dos binding, with the poem in the middle. The two outer folds open to reveal a pop-up pair of fold-out wings, their colors taken from the American kestrel. The book is bound in paper printed with a blue sky with fleecy clouds. The book is enclosed in a slipcase bound in the same paper." In fine condition. 2.75 x 1.75 inches; slipcase is 3x 1.75 x .75 inches. 32 pages. ARTISTSBOOK/012418. Fine.	More
[Bo Press Miniature Books] Pat Sweet
At the Flea Circus
Riverside, CA: Bo Press Miniature Books, 2011. Hardcover. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. One of 50 copies. Signed and numbered by book artist Pat Sweet. A charming and inventive miniature pop-up book that Includes 8 circus act pop-ups, a removable souvenir program, several reproductions of advertising posters, a complete program, a list of performers, and the performers themselves (tucked away in tiny envelopes inside the back cover). "Brave Hercule performs the Dangerous High Dive into but a thimbleful of water! The Dauntless Afrit puts three gigantic wild roaches through their paces, controlling the fierce insects with only a hair-thin whip and his own iron will! In the breathless finale, the beautiful Madame Zenobia performs UPSIDE DOWN upon the high wire, a full inch above the tanbark! Come one, come all! The greatest show on earth that will fit in your pocket!" (book artist). Bound in gold on black Japanese paper with printed paper title labels to spine and boards. In matching slipcase. 34 pages. 2 1/8 x 1 5/8 inches, slipcase is 2 3/8 x 1 7/8 inches. We hesitate to call this book darling, but it is and is in fine condition. ARTISTSBOOK/121416. Fine.	More
The Book Book
Riverside CA: Bo Press Miniature Books, 2010. This inventive limited edition book is designed to explain little books, or rather, little case-bound books. Case-binding constructs the body of the book separately from the covers, and combines them at the end of the binding process. It is a quick and reasonably sturdy way of bookbinding, and almost all commercial hardbound books are produced like this. Every part of this book's binding is labeled, and the back cover is left unglued to show the inner workings of the spine and hinges. The pages of the book itself contain publication data, each page labeled as itself, all the way from half-title to colophon. The book artist Pat Sweet included all she could think of that a book might possess: a tipped-in plate and barrier sheet, a fold-out diagram of the relative sizes of books (from double elephant folio to 64mo), a laid in list of extraneous matter which includes the list itself, and a note on the type, written in the typefaces used in labeling the book's parts. The book also has examples of things attached to books: a dust jacket, a bookplate, an interior pocket containing a miniature Bo Press bookmark, a binder's ticket, a slipcase, and a vellum belly band. This is a wonderful self-referential little reference toy for lovers of publishing and binding alike. In fine condition. 2 3/16 x 1 11/16 inches. PRI/121516. Fine.	More
A Clutch of Corsets
Riverside CA: Bo Press Miniature Books, 2007. Hardcover. Includes 19 illustrations. A miniature book on a subject close to the book artist's heart (she was a theatrical costume designer before she became a bookbinder). Because they're hardly ever seen by the audience, corsets provide a designer with a wonderful fantasy canvas that only the actor will ever see. We suppose it was the same through history: a woman could express herself in a corset design that might shock her friends if they saw it. This book contains nineteen of Pat Sweet's improbable corset designs, each with a romantic and mysterious name, drawn from various periods. The introduction, "A Few Notes on Corsets", includes several historic examples. Fine in pink paper covered boards with paper title label pasted down to front cover. 60 pages. Size: 1.5 x 1.25 inches. MINI/120219. Fine.	More
Had I But Known: A Collection of Literary Foreshadowing
Riverside, CA: Bo Press Miniature Books, 2015. Hardcover. Mary Roberts Rinehart and others of the "Golden Age" of mystery writing became known as the "Had I But Known" school for their use of this useful bit of prolepsis: a foreshadowing device that allows a work-around for the strictures of first-person narration. I've collected examples from all eras of literature and placed them each on their own page, like little jewels of purple prose.~ "Had I but known that Saacho was his father, I woulf have poured a deluge of my blood to save one drop of his." The Spanish Friar, by John Dryden~ "Ah,had I but known:: the agony! the deceit! You cannot possibly imagine the trials, the letters, the steps, this strange fantasy exacts. I have seen only a few Academicians, but already my nerves are completely upset." The Letters of Charles Baudelaire to his Mother~"In a state of suffocating agitation the mistress gasped forth the words, "Had I but known: Freiscutz! Presciosa! I'll turn every soul into the streets!" - The Spectator, Volume 38 Carl Maria von WeberA choice collection ('though I say it myself), printed in Garamond Premier Pro on Monarch Superfine paper, and bound in a Japanese chiyogami paper printed with a stormy sea and turbulent waves, a fitting backdrop for a young woman in a lacy nightgown fleeing a dark castle with a single light in the tower window . . . Size: 2" x 2 1/2" inches. 100 pages, 7 illustrations. Fine.	More
Joshua Nightengale & Sons' Supernatural and Metaphysical Supplies
Riverside CA: Bo Press Miniature Books, [2015]. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. "Catalog #305 from 1889" with Price List laid in. This inventive book is purportedly an actual catalog from Nightengale & Sons business. From the book artist: "The history of the Nightengale company began in the late16th century, when they supplied Dr. John Dee and Edward Kelley with 'shew-stones' or crystal balls. The company flourished during the European alchemy boom of the late16th and early 17th century, and expanded into optical tools and occult mathematical devices as alchemy gave way to modern chemistry and the beginnings of Mad Science. In the 19th century, they achieved, if not fame, at least notoriety, as purveyors of a line of monster abatement equipment.. They also began courting collectors of antique metaphysical artifacts, and at one point had almost cornered the market in rare editions of C'thuliana. After the turn of the 20th century, Enoch Nightengale, then president of the company, became so concerned about the advent of modern rationalism that Nightengale's catalogues became difficult to come by, passing from hand to hand among the adept, with word-of-mouth their only advertising. The 1889 catalogue is the last to have achieved a general circulation, and even copies of this edition are increasingly difficult to come by. To have discovered a copy with the laid-in price list is very unusual indeed. Traces of Nightengale's continued existence occasionally turn up. Some printed items bearing their name have come to light from the Infernal Regions (see Welcome To Hell!), and their label is sometimes found on the Vampire Hunter Kits of Bo Press Miniature Books. It is to be hoped that a company as old and storied as Nightengale's is still around in some nearby dimension, ready to supply . . .the explorer of uncanny places, magimetician, philosopher, alchemist, monster hunter, or wizard." This copy is bound in Nightengale's distinctive white-on-black skeleton paper and is printed on Mohawn superfine paper. In fine condition. 80 pages 2.5 x 2 inches. PRI/121416.	More
Kleinodienbuch der Herzogin Anna von Bayern (Jewel Book)
Riverside, CA: Bo Press Miniature Books, 2018. Hardcover. Limited to 10 copies. "When Duke Albert V of Bavaria commissioned his court painter, Hans Mielich, to make an inventory of the jewels belonging to him and his wife Anna in 1552, he may not have expected the over-the-top manuscript Meilich finally produced two years later. The jewelry wasn't the half of it. The 110 gouche on paper paintings showed the back and front of each piece of jewelry, life-sized, and each was surrounded by a different elaborate frame. The manuscript is a riot of cartouches, strapwork, acanthus, foliage, flowers, grotesques, and caryatids, and yet each jewel shines forth as an individual masterpiece. The book remained in the private ducal and electoral Chamber of Artifacts for almost three centuries—long after the originals of the jewelry depicted had been lost. Only in 1843 was the work presented to the Bavarian State Library by King Ludwig I. I have tried, in my presentation of the Jewel Book, to reproduce in miniature some sense of the outrageous Renaissance ostentation that makes the original such a brilliant and worldly example of wretched excess. My favorite page is the frontispiece of the Duke and Duchess playing chess, as though their real pursuits were intellectual, surrounded by their bored courtiers and a couple of puppies. This miniature copy of the Jewel Book of Anna of Bavaria is limited to ten copies. It is set on OldStyle1 and Palatino Linotype, and printed on Monarch Superfine paper with a Canon Pro-100 inkjet printer. The book is bound in gilded snakeskin with a beaded and embellished front panel of celadon snakeskin. The tri-fold box is bound in a gold on black Indian silkscreened paper with a raised rectangle on the front bound in a textured Japanese metallic gold paper. The interior of the box is lined in a Japanese chiyogami feather print. A small pocket on the front of the box holds a booklet containing information on the Jewel Book and its patrons. Both are of the same gold paper" (Pat Sweet). The book is 2 5/8" x 2" and the box is 3" x 2 3/8" x 1" 136 pages. ARTB/120219. Fine.	More
Lady Explorer's Personal Library Trunk
Riverside, CA: Bo Press Miniature Books, 2017. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. This is a charming miniature trunk holding the personal library of a lady explorer. The trunk is of varnished but unstained cherry wood with cream kid hinges and handles with polished brass closures and feet. The contents of the trunk include: a roll of maps; a secretaire containing letters, telegrams, a journal ,a book of field notes, and a copy of the P&O Steamer Co. timetables. There is a copy of "Aglaia"magazine, the "Journal Of The Healthy And Artistic Dress Union, " and histories and biographies of several notable women explorers, including Gertrude Bell's The Desert and the Town, Edith Durham's High Albania, Iand sabella Bird's Among the Tibetans. The books and magazine are blank inside. In fine condition. The closed trunk is: 2.5 inches wide by 1 inch tall by 1 inch deep. ARTB/012418.	More
The Library of Lost Books
Riverside, CA: Bo Press Miniature Books, 2015. Pat Sweet describes herself as creating illuminated miniature books of curiosity, humor, and delight. She creates both miniature (under 3 inches) and macro-miniature (under 1 inch) books. She also makes miniature pocket globes, astronomical instruments, orreries, tellurions, and occasional oddities. This book is from a small open edition signed by the book artist. According to Pat Sweet: "The list makes heartbreaking reading, and I'm not sure which I resent more: the loss of books through active human malevolence, or through stupid human thoughtlessness. Each has its place here, along with forgetfulness, carelessness, accident, embarrassment, and spite. Lord Byron's memoirs being ceremonially burned in John Murray's office fireplace, Sylvia Plath's Double Exposure, which may or may not be in the Ted Hughes archives, frozen until 2022., Clisson et Eugenie, Napoleon's novella, scattered across Europe, and the massive Yongle Encyclopedia, victim of budget cuts. And all the lost books of the Greece, Rome, Timbuktu, the Bible . . ." The book is printed on Mohawk Superfine paper, and bound in the same Mohawk paper (a different shade) and in mottled brown Indian pinto lokta paper. Includes 28 illustrations. 78 pages. Size: 2 3/4 x 1 7/8 inches. ARTB/060619.	More


CROMWELL - Board of Education members are in a celebratory mood after hiring Matthew A. Bisceglia as the new superintendent.
Bisceglia, who is currently the principal of Windsor Locks High School, was the unanimous choice of the school board.
He will replace Mark E. Cohan who was superintendent for the past six years; Cohan left on June 30 to begin his new position as head of school of the unique private/public Norwich Free Academy.
Board of education chairwoman Shirley Banic said she is delighted with Bisceglia's choice.
"I am surprised we were so lucky!" she said Friday night.
"One of the good points is he is a people person and he's also a worker: he's not a top-down administrator. He's a member of a team." And, Banic said, Bisceglia is inheriting an exceptionally strong administrative team in Cromwell.
As he prepared to leave Cromwell Cohan said the thing he was perhaps most pleased with was the administrative team he had put in place. Banic said that was an acute assessment.
"I told (Bisceglia) 'you've got the best of the best right here,' and when we were walking out together" (after his selection) Bisceglia said "how very pleased he was with what he saw here."
Bisceglia has a 29-year career in education, Banic said, including l0 years in the classroom and the rest in various leadership positions. "The fact that he has been a teacher is one of his strong points," she said. He has also served as the head of the English department, a dean of students and both a vice-principal and a principal.
The board had worked long and hard to find a replacement for Cohan, including working with a consulting firm. But, as Banic had said repeatedly during the process, the board would not be rushed in choosing the new superintendent.
Instead, they were focused on finding "a good fit."
Board member Kimberly A. Spurlin said that is what the board wanted, and that is what the board got in Bisceglia.
"He has a very collaborative approach to leadership, and he really fits with what all the focus group in the community said they wanted in the new superintendent," Spurlin said. "He's a match to what people are looking for."
"He will bring energy and enthusiasm and a lot of knowledge to the town," Spurlin continued, adding that she is "very pleased that Matt was a unanimous choice."
After they received all the applications for the post, the superintendent search committee and its consultant firm culled through the list and reduced it to 19 applicants who more or less fit the bill. That list was reviewed and re-reviewed reduced to approximately a dozen candidates and then finally cut down to six semi finalists, Banic said.
Out of the six, we felt we had three really strong possibilities and maybe a fourth of we needed it. After day-long interviews, the search committee reduced the number of finalists to two, she said - "two very strong ones."
The board scheduled a second interview with Bisceglia. "We let our hair down and just asked very tough questions. That it seems sealed the deal.
Bisceglia "has a very strong background," she said. "He's a very good forward-thinking kind of person."
After he was chosen - and had agreed to accept the post - Banic introduced Bisceglia to the administrative staff. He officially begins work in Cromwell on Aug. 7, she said.
"I didn't think it would go this well!" Banic added.


Tcr, Tennis Club of Riverdale, Inc.
TCR, TENNIS CLUB OF RIVERDALE, INC. is corporation filed with the New York State Department of State (NYSDOS). The DOS ID is 1768248. The business entity is incorporated in Bronx County. The entity type is DOMESTIC BUSINESS CORPORATION. The initial DOS filing date is 10/29/1993. The address is 302 East Shore Road, Great Neck, New York 11032. The city is Great Neck, New York. The zip code is 11032.
Current Entity Name TCR, TENNIS CLUB OF RIVERDALE, INC.


The 3d UFO pattern is conveniently available in an assortment of decor goods from wall hangings, to duvet covers, to area rugs and custom size window curtains, and even backdrops or bath mats.
Entire Alien themed collections are available for your bedroom, bathroom and almost any room in your house. How about a soft plush rug for your basement?
We can change the main color or any color within this pattern to ANY color you desire. VisionBedding can also print a personalized message anywhere within the pattern. VisionBedding's custom choices are almost unlimited. Let us alter the orientation or the main object within this particular 3d UFO pattern.
One Can Never Have Too Many Throws!
Blankets are sincerely wonderful design pieces. Not only do they give an opportunity to boost boldness or texture to a room's aesthetic, they also provide you a cozy way to keep warm. When including blankets in your design layout, keep in mind that they are crafted from an expansive variety of fabrics. Some are made from coarser fibers while others are almost sheer. You can find tassled, hand-woven or even knitted types to best suit your wants. When picking that desirable blanket, consider its purpose. Will it be used many times or will it mostly be for decor? Will it be on a comforter or a chair? In addition, consider its hue and texture and how that is incorporated into the general look of your room. In addition, how will you clean your blanket? Is it a hand-wash only piece or can you place it into the washer? It could need dry-cleaning. Lastly, are there pets in your home? You will have to take into account that your blanket will have hair on it if they are permitted in that space. Your furry companions might wish to gnaw on it or drag it all over the house. If this is the case, buying an expensive blanket might not be the most suitable option. Regardless, it can't hurt to keep several extras in the closet!
If the area gets natural light, use window curtains with a pastel color palette that won't fade. Dump those hefty curtains and let the outside light waft in. Lighter colors reflect more sunshine, which will liven up your space! Lightweight curtains also let light filter through while still acting as a screen to hide the view. Unless you purchase blockout drapes some light will shine through these 3d UFO window curtains.


ABI/Inform Dateline - Local and regional business news coverage of corporations, privately held companies, start-ups, executive profiles, marketing, finance, and industry news.
ABI/Inform Global - Business periodicals for business and economic conditions, management techniques, theory, and practice of business, advertising, marketing, economics, human resources, finance, and more.
ABI/Inform Trade and Industry - Business periodicals and newsletters with a trade or industry focus. (industry news, product and competitive information, marketing trends).
Academic OneFile - Academic OneFile is the premier source for peer-reviewed, full-text articles from the world's leading journals and reference sources. With extensive coverage of the physical sciences, technology, medicine, social sciences, the arts, theology, literature and other subjects, Academic OneFile is both authoritative and comprehensive. With millions of articles available in both PDF and HTML full-text with no restrictions, researchers are able to find accurate information quickly. Includes full-text coverage of the New York Times back to 1995. Updated daily.
Academic Search Elite - Multidisciplinary database in full-text that covers virtually every area of academic study.
Agricultural Collection - With broad coverage of agriculture and its related fields, this collection provides a comprehensive view of this growing body of knowledge. Comprised of nearly 200 titles, researchers will have access to current and authoritative content that spans the industry -- from practical aspects of farming to cutting edge scientific research in horticulture.


I Drank What? társasjáték - Magyarország társasjáték keresője! A társasjáték érték!
Az I Drank What? egy nagyszerű társasjáték, 4 - 10 játékos részére, az átlagos játékidő rövid, csak 15 perc. A társast, 13 éves kortól ajánljuk kipróbálni. A játékmenet erősen épít a memória mechanizmusra.
In I Drank What?, it is the party of the year, and all your worst enemies have been invited. You have brought along a bottle of poison to help spice the evening up. Funny, so did all the other guests. With all the witty banter and bumbling of the staff, you have lost track of which glasses of wine were poisoned.
The only thing certain is that someone is going to die, and the survivors will have a good laugh. It's all in good fun, so long as you have the last one. So propose a toast, and drink as if there were no tomorrow, because, for you, tomorrow may never come.
Each player has a card representing a glass of wine, face down in front of them; one of these glasses is poisoned. Eventually, everyone will have to take a drink, and someone will die. The last person left alive in the party wins.


text:
'use strict';

var should = require('should');
var path = require('path');
var fs = require('fs');
var util = require('util');
var profile = require('../../../../lib/util/profile');
var testUtils = require('../../../util/util');
var CLITest = require('../../../framework/arm-cli-test');
var testprefix = 'arm.snapshot-parameter-create-tests';
var groupPrefix = 'xTestDiskCreate';
var groupPrefix2 = 'xTestDiskCreate2'
var VMTestUtil = require('../../../util/vmTestUtil');
var requiredEnvironment = [{
  name: 'AZURE_VM_TEST_LOCATION',
  defaultValue: 'southeastasia'
}];

var groupName,
  location,
  diskPrefix = 'xplatSnapshot',
  paramFileName = 'test/data/snapshotParam.json',
  updateFileName = 'test/data/updateSnapshotParam.json',
  grantAccessFileName = 'test/data/snapshotGrantAccess.json',
  subscriptionId,
  imageId,
  mockEncryptionKeyVaultId,
  access;

var makeCommandStr = function(component, verb, file, others) {
  var cmdFormat = 'managed-snapshot config %s %s --parameter-file %s %s --json';
  return util.format(cmdFormat, component, verb, file, others ? others : '');
};

var makeGrantAccessCommandStr = function(component, verb, file, others) {
  var cmdFormat = 'managed-snapshot grant-access-parameters %s %s --parameter-file %s %s --json';
  return util.format(cmdFormat, component, verb, file, others ? others : '');
};

var makeUpdateParametersCommandStr = function(component, verb, file, others) {
  var cmdFormat = 'managed-snapshot update-parameters %s %s --parameter-file %s %s --json';
  return util.format(cmdFormat, component, verb, file, others ? others : '');
};

describe('arm', function() {
  describe('compute', function() {
    var suite, retry = 5;
    var vmTest = new VMTestUtil();
    before(function(done) {
      suite = new CLITest(this, testprefix, requiredEnvironment);
      suite.setupSuite(function() {
        location = process.env.AZURE_VM_TEST_LOCATION;
        groupName = suite.generateId(groupPrefix, null);
        diskPrefix = suite.generateId(diskPrefix, null);
        subscriptionId = profile.current.getSubscription().id;
        imageId = '/subscriptions/'+ subscriptionId +'/resourceGroups/' + groupName + '/providers/Microsoft.Compute/virtualMachineImages/testing123'; //fake
        mockEncryptionKeyVaultId = '/subscriptions/' + subscriptionId + '/resourceGroups/' + groupName + '/providers/Microsoft.KeyVault/vaults/TestVault123'; //fake
        access = 'Read';
        done();
      });
    });

    after(function(done) {
      this.timeout(vmTest.timeoutLarge * 10);
      vmTest.deleteUsedGroup(groupName, suite, function(result) {
        suite.teardownSuite(done);
      });
    });

    beforeEach(function(done) {
      suite.setupTest(done);
    });

    afterEach(function(done) {
      suite.teardownTest(done);
    });

    describe('snapshot', function() {

      it('snapshot config set, snapshot create should pass', function(done) {
        this.timeout(vmTest.timeoutLarge * 10);
        vmTest.createGroup(groupName, location, suite, function(result) {
          var cmd = util.format('managed-snapshot config create --parameter-file %s --json', paramFileName).split(' ');
          testUtils.executeCommand(suite, retry, cmd, function(result) {
            result.exitStatus.should.equal(0);
            var cmd = makeCommandStr('snapshot', 'set', paramFileName, util.format('--name %s --location %s', diskPrefix, location)).split(' ');
            testUtils.executeCommand(suite, retry, cmd, function(result) {
              result.exitStatus.should.equal(0);
              var cmd = makeCommandStr('snapshot', 'set', paramFileName, util.format('--account-type %s', 'Standard_LRS')).split(' ');
              testUtils.executeCommand(suite, retry, cmd, function(result) {
                result.exitStatus.should.equal(0);
                var cmd = makeCommandStr('snapshot', 'set', paramFileName, util.format('--os-type %s', 'Windows')).split(' ');
                testUtils.executeCommand(suite, retry, cmd, function(result) {
                  result.exitStatus.should.equal(0);
                  var cmd = makeCommandStr('snapshot', 'set', paramFileName, util.format('--disk-size-g-b %s --parse', 5)).split(' ');
                  testUtils.executeCommand(suite, retry, cmd, function(result) {
                    result.exitStatus.should.equal(0);
                    var cmd = makeCommandStr('snapshot', 'set', paramFileName, util.format('--encryption-settings "%s" --parse', 'null')).split(' ');
                    testUtils.executeCommand(suite, retry, cmd, function(result) {
                      result.exitStatus.should.equal(0);
                      var cmd = makeCommandStr('creation-data', 'set', paramFileName, util.format('--create-option %s', 'Empty')).split(' ');
                      testUtils.executeCommand(suite, retry, cmd, function(result) {
                        result.exitStatus.should.equal(0);
                        var cmd = makeCommandStr('creation-data', 'delete', paramFileName, '--image-reference --source-uri --storage-account-id --source-resource-id').split(' ');
                        testUtils.executeCommand(suite, retry, cmd, function(result) {
                          result.exitStatus.should.equal(0);
                          var cmd = util.format('managed-snapshot create --resource-group %s --name %s --parameter-file %s --json', groupName, diskPrefix, paramFileName).split(' ');
                          testUtils.executeCommand(suite, retry, cmd, function(result) {
                            result.exitStatus.should.equal(0);
                            done();
                          });
                        });
                      });
                    });
                  });
                });
              });
            });
          });
        });
      });

      it('snapshot show should pass', function(done) {
        this.timeout(vmTest.timeoutLarge * 10);
        var cmd = util.format('managed-snapshot show -g %s -n %s --json', groupName, diskPrefix).split(' ');
        testUtils.executeCommand(suite, retry, cmd, function(result) {
          result.exitStatus.should.equal(0);
          result.text.should.containEql(groupName);
          result.text.should.containEql(diskPrefix);
          done();
        });
      });

      it('snapshot update parameters, snapshot delete should pass', function(done) {
        this.timeout(vmTest.timeoutLarge * 10);
        vmTest.createGroup(groupName, location, suite, function(result) {
        var cmd = util.format('managed-snapshot update-parameters create --parameter-file %s --json', updateFileName).split(' ');
        testUtils.executeCommand(suite, retry, cmd, function(result) {
          result.exitStatus.should.equal(0);
          var cmd = makeCommandStr('snapshot', 'set', updateFileName, util.format('--name %s --location %s', diskPrefix, location)).split(' ');
            testUtils.executeCommand(suite, retry, cmd, function(result) {
              result.exitStatus.should.equal(0);
              var cmd = makeUpdateParametersCommandStr('snapshot-update', 'set', updateFileName, util.format('--account-type %s --os-type %s --encryption-settings %s --tags %s', 'Premium_LRS', 'Windows', 'null', 'testtag')).split(' ');
              testUtils.executeCommand(suite, retry, cmd, function(result) {
                result.exitStatus.should.equal(0);
                var cmd = makeUpdateParametersCommandStr('snapshot-update', 'set', updateFileName, util.format('--disk-size-g-b %s --parse', 5)).split(' ');
                testUtils.executeCommand(suite, retry, cmd, function(result) {
                  result.exitStatus.should.equal(0);
                  var cmd = makeUpdateParametersCommandStr('snapshot-update', 'delete', updateFileName, util.format('--tags')).split(' ');
                  testUtils.executeCommand(suite, retry, cmd, function(result) {
                    result.exitStatus.should.equal(0);
                    var cmd = makeUpdateParametersCommandStr('creation-data', 'set', updateFileName, util.format('--create-option %s', 'FromImage')).split(' ');
                    testUtils.executeCommand(suite, retry, cmd, function(result) {
                      result.exitStatus.should.equal(0);
                      var cmd = makeUpdateParametersCommandStr('creation-data', 'delete', updateFileName, ' --source-uri --storage-account-id --source-resource-id').split(' ');
                      testUtils.executeCommand(suite, retry, cmd, function(result) {
                        result.exitStatus.should.equal(0);
                        var cmd = makeUpdateParametersCommandStr('image-reference', 'set', updateFileName, util.format('--id %s', imageId)).split(' ');
                        testUtils.executeCommand(suite, retry, cmd, function(result) {
                          result.exitStatus.should.equal(0);
                          var cmd = makeUpdateParametersCommandStr('creation-data', 'set', updateFileName, util.format('--create-option %s', 'Empty')).split(' ');
                          testUtils.executeCommand(suite, retry, cmd, function(result) {
                            result.exitStatus.should.equal(0);
                            var cmd = makeUpdateParametersCommandStr('creation-data', 'delete', updateFileName, '--image-reference').split(' ');
                            testUtils.executeCommand(suite, retry, cmd, function(result) {
                              result.exitStatus.should.equal(0);
                              var cmd = makeUpdateParametersCommandStr('encryption-settings', 'set', updateFileName, util.format('--disk-encryption-key %s --key-encryption-key %s', mockEncryptionKeyVaultId, mockEncryptionKeyVaultId)).split(' ');
                              testUtils.executeCommand(suite, retry, cmd, function(result) {
                                result.exitStatus.should.equal(0);
                                var cmd = makeUpdateParametersCommandStr('encryption-settings', 'delete', updateFileName, '--disk-encryption-key --key-encryption-key').split(' ');
                                testUtils.executeCommand(suite, retry, cmd, function(result) {
                                  result.exitStatus.should.equal(0);
                                  var cmd = util.format('managed-snapshot create --resource-group %s --name %s --parameter-file %s --json', groupName, diskPrefix, paramFileName).split(' ');
                                  testUtils.executeCommand(suite, retry, cmd, function(result) {
                                    result.exitStatus.should.equal(0);
                                      var cmd = util.format('managed-snapshot update -g %s -n %s --parameter-file %s --json', groupName, diskPrefix, updateFileName).split(' ');
                                      testUtils.executeCommand(suite, retry, cmd, function(result) {
                                        result.exitStatus.should.equal(0);
                                        var cmd = util.format('managed-snapshot delete -g %s -n %s --json', groupName, diskPrefix).split(' ');
                                        testUtils.executeCommand(suite, retry, cmd, function(result) {
                                          result.exitStatus.should.equal(0);
                                          done();
                                        });
                                      });
                                    });
                                  });
                                });
                              });
                            });
                          });
                        });
                      });
                    });
                  });
                });
              });
            });
          });
        });

      it('snapshot grant access, snapshot grant-access-parameters patch should pass', function(done) {
        this.timeout(vmTest.timeoutLarge * 10);
         vmTest.createGroup(groupName, location, suite, function(result) {
          var cmd = util.format('managed-snapshot create --resource-group %s --name %s --parameter-file %s --json', groupName, diskPrefix, paramFileName).split(' ');
          testUtils.executeCommand(suite, retry, cmd, function(result) {
            result.exitStatus.should.equal(0);
            var cmd = util.format('managed-snapshot grant-access-parameters patch --parameter-file %s --operation replace --path /access --value %s', grantAccessFileName, 'Read').split(' ');
            testUtils.executeCommand(suite, retry, cmd, function(result) {
              result.exitStatus.should.equal(0);
              var cmd = util.format('managed-snapshot grant-access -g %s -n %s --parameter-file %s --json', groupName, diskPrefix, grantAccessFileName).split(' ');
              testUtils.executeCommand(suite, retry, cmd, function(result) {
                result.exitStatus.should.equal(0);
                done();
              });
            });
          });
        });
      });

      it('snapshot revoke access should pass', function(done) {
        this.timeout(vmTest.timeoutLarge * 10);
        var cmd = util.format('managed-snapshot revoke-access -g %s -n %s --json', groupName, diskPrefix).split(' ');
        testUtils.executeCommand(suite, retry, cmd, function(result) {
          result.exitStatus.should.equal(0);
          var cmd = util.format('managed-snapshot delete -g %s -n %s --json', groupName, diskPrefix).split(' ');
          testUtils.executeCommand(suite, retry, cmd, function(result) {
            result.exitStatus.should.equal(0);
            done();
          });
        });
      });

      it('snapshot empty list should pass', function(done) {
        this.timeout(vmTest.timeoutLarge * 10);
        var cmd = util.format('managed-snapshot list -g %s --json', groupName).split(' ');
        testUtils.executeCommand(suite, retry, cmd, function(result) {
          result.exitStatus.should.equal(0);
          result.text.should.containEql('[]');
          done();
        });
      });

    });
  });
});

redpajama_set_name: RedPajamaGithub


The Gibson Pure 18' Premium Instrument Cable is made with a stranded oxygen-free copper conductor and military-spec 24-carat gold over nickel 1/4" plugs, with pure copper tips to get your tone from guitar jack to amp or effects jack in pristine condition. Beyond that, we use a densely braided 95%-copper shield with a totally re-invented dielectric insulation, with an additional semi-conductive PVC shield between inner and shielding cables to virtually eliminate noise from static electricity, electro-magnetic fields, and handling, especially effective through high-gain amps. To top it all off, we terminate one end in a newly redesigned silent plug with genuine walnut hardwood barrel that lets you plug and unplug your guitar with no pop or noise from the amp. Compared to other high-end cable competitors Gibson Pure Instrument Cables offer significantly lower handling and interference noise, and an extremely low-loss signal transference through a conductor with capacitance optimized to hit the sweet spot for magnetic pickups. All this, and the 18' cable comes in a super-cool dark purple insulation that's super supple, easily lying flat and hugging the stage, with a aluminum, nickel covered barrel at the amp end.