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Red Cabbage

yanglulu47 — Thu, 03 Sep 2009 08:33:42 +0200

Tube Vials For Antibiotics Use , d cabbage
Red cabbage plants
Scientific classification
Kingdom:
Plantae
(unranked):
Angiosperms
(unranked):
Eudicots
(unranked):
Rosids
Order , foil container .
Brassicale , lpg tanks .
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Brassicacea , wholesale glass jars .
Genus:
Brassica
Species:
B. oleracea
Cultivar Group
Brassica oleracea Capitata Group
The red cabbage (Brassica oleracea var. capitata f. rubra) is a sort of cabbage, also known as Red Kraut or Blue Kraut after preparation. Its leaves are coloured dark red/purple. However, the plant changes its colour according to the pH value of the soil, due to a pigment called anthocyanin. On acidic soils, the leaves grow more reddish while an alkaline soil will produce rather greenish-yellow coloured cabbages. This explains the fact that the very same plant is known by different colours in various regions. Furthermore, the juice of red cabbage can be used as a home-made pH indicator, turning red in acid and blue in basic solutions. It can be found in Northern Europe, throughout the Americas, and in China.
On cooking, red cabbage will normally turn blue. To retain the red colour it is necessary to add vinegar or acidic fruit to the pot.
Red cabbage needs well fertilized soil and sufficient humidity to grow. It is a seasonal plant which is seeded in spring and harvested in late fall. Red cabbage is a better keeper than its "white" relatives and does not need to be converted to sauerkraut to last the winter.
Uses
Red cabbage is often used for salads and coleslaw. This vegetable can be eaten raw or cooked. It is also used to determine if a substance is an acid or a base by boiling it in water and using the water as a pH indicator.
Cultivation
It is recommended to start red cabbage seeds indoors 4 weeks before the last frost. Sow in containers that allow for movement of water through the bottom of a cell. Popular seedling starting containers are peat pots, egg cartons, plug trays or milk cartons. Once the seedlings grow to about 2 inches tall, and have developed their first leaves, they can be hardened off and moved outside for transplanting. Red cabbage prefers climates that remain moist and cool for most of its vegetative growth stage, so they can be placed in the ground shortly after the last frost, while the spring is still cool. The cabbage plants can be spaced about 12-26 inches from one another. They will need watering often but are otherwise low maintenance plants.
External links
Cultural information on cabbage (capitata group)
How to Make Red Cabbage pH Indicator
Categories: Brassica oleracaHidden categories: Articles lacking sources from August 2008 | All articles lacking sources

High speed steel

yanglulu47 — Thu, 03 Sep 2009 08:33:33 +0200

Swiss Vallorbe Needle Files ,
Applications
The main use of high speed steels continues to be in the manufacture of various cutting tools: drills, taps, milling cutters, tool bits, gear cutters, saw blades, etc., although usage for punches and dies is increasing.
High speed steels also found a market in fine hand tools where their relatively good toughness at high hardness, coupled with high abrasion resistance and fine, made them suitable for low speed applications requiring a durable keen (sharp) edge, such as files, chisels, hand plane blades, and high quality kitchen and pocket knives.
Types
High speed steels belong to the Fe-C-X multi-component alloy system where X represents chromium, tungsten, molybdenum, vanadium, or cobalt. Generally, the X component is present in excess of 7%, along with more than 0.60% carbon. (However, their alloying element percentages do not alone bestow the hardness-retaining properties; they also require appropriate high-temperature heat treatment in order to become true HSS; see History below. , 6 ruler .
The grade type T-1 with 18% tungsten has not changed its composition since 1910 and was the main type used up to 1940, when substitution by molybdenum took place. Nowadays, only 5-10% of the HSS in Europe and only 2% in the United States is of this type.[citation needed , candle gift sets .
The addition of about 10% of tungsten and molybdenum in total maximises efficiently the hardness and toughness of high speed steels and maintains these properties at the high temperatures generated when cutting metals , steel band saw .
Alloying compositions of common high speed steel grades (by %wt , cutter blade .
Grade
C
Cr
Mo
W
V
Co
Mn
Si
T1
0.650.80
3.754.00
-
17.2518.75
0.91.3
-
0.10.4
0.20.4
M2
0.95
4.2
5.0
6.0
2.0
-
-
-
M7
1.00
3.8
8.7
1.6
2.0
-
-
-
M35
0.94
4.1
5.0
6.0
2.0
5.0
-
-
M42
1.10
3.8
9.5
1.5
1.2
8.0
-
-
Note that impurity limits are not included
M35
M35 is similar to M2, but with 5% cobalt added. The addition of cobalt increases heat resistance.
M42
M42 is a high speed steel alloy made up of roughly 8% cobalt. It is widely used in metal manufacturing because of its ability to resist wear over conventional high speed steels, allowing for shorter cycle times in production environments due to higher cutting speeds or from the increase in time between tool changes. M42 is also less prone to chipping when used for interrupted cuts and cost less when compared to the same tool made of carbide. Tools made from high speed steel and cobalt can often be identified by the letters HSS-Co.
Coatings
To increase the life of high speed steel, tools are sometimes coated. One such coating is TiN (titanium nitride). Most coatings generally increase a tool's hardness and/or lubricity. A coating allows the cutting edge of a tool to cleanly pass through the material without having the material gall (stick) to it. The coating also helps to decrease the temperature associated with the cutting process and increase the life of the tool.
Surface modification
Lasers and electron beams can be used as sources of intense heat at the surface for heat treatment, remelting (glazing), and compositional modification. It is possible to achieve different molten pool shapes and temperatures. Cooling rates range from 103 106 K s-1. Beneficially, there is little or no cracking or porosity formation.
While the possibilities of heat treating at the surface should be readily apparent, the other applications beg some explanation. At cooling rates in excess of 106 K s-1 eutectic microconstituents disappear and there is extreme segregation of substitutional alloying elements. This has the effect of providing the benefits of a glazed part without the associated run in wear damage.
The alloy composition of a part or tool can also be changed to form a high speed steel on the surface of a lean alloy or to form an alloy or carbide enriched layer on the surface of a high speed steel part. Several methods can be used such as foils, pack boronising, plasma spray powders, powder cored strips, inert gas blow feeders, etc. Although this method has been reported to be both beneficial and stable, it has yet to see widespread commercial use.
History
Although development of modern high speed steel began in the second half of the 19th century, there is documented evidence of similar grades of steel produced earlier. These include hardened steels in China in 1200s BC, wootz steel manufactured in India around 350 BC and production of Damascus and Japanese layered steel blades in years 540 AD and 900 AD.
Following the discovery of crucible steel in 1740, in 1868 Robert Forester Mushet in England developed a steel that is considered the forerunner of modern high speed steels. It consisted of 2% C, 2.5% Mn, and 7% W. The major advantage of this steel was that it hardened when air cooled from a temperature from which most steels had to be quenched for hardening. Over the next 30 years the most important change was the substitution of chromium for manganese.
In 1899 and 1900, Frederick Winslow Taylor and Maunsel White, working with a team of assistants at the Bethlehem Steel Company at Bethlehem, Pennsylvania, USA, performed a series of experiments with the heat treating of existing high-quality tool steels, such as Mushet steel, heating them to much higher temperatures than were typically considered desirable in the industry. Their experiments were characterized by a scientific empiricism in that many different combinations were made and tested, with no regard for conventional wisdom or alchemic recipes, and with detailed records kept of each batch. The end result was a heat treatment process that transformed existing alloys into a new kind of steel that could retain its hardness at higher temperatures, allowing much higher speeds, feeds, and depths of cut when machining.
The Taylor-White process was patented and created a revolution in the machining industries, in fact necessitating whole new, heavier machine tool designs so the new steel could be used to its full advantage. The patent was hotly contested and eventually nullified, but the vigor of the litigation seems to have been propelled less by the merits of the case and more by the fact that many firms faced commercial extinction if they could not find a way to circumvent the patent.
The first alloy that was formally classified as high speed steel is known by the AISI designation T1, which was introduced in 1910. It was patented by Crucible Steel Co. at the beginning of the 20th century.
Although molybdenum rich high speed steels such as AISI M1 have been used since the 1930s, shortages and hence high costs of raw materials during World War II spurred the development of alloy designs with molybdenum being substituted for tungsten to produce cheaper steel. The developments in molybdenum-based high speed steel during this period made them on par with and in certain cases better than tungsten-based high speed steels. This started with the use of M2 steel (sulfurized version of M1) instead of T1 steel.
Copyediting conventions
Most copyeditors (subeditors) today would tend to choose to style the unit adjective high-speed with a hyphen, rendering the full term as high-speed steel, and this styling is not uncommon (Kanigel 1997 is an example of a work edited thus). However, it is true that in the metalworking industries the styling high speed steel is long-established and is more commonly seen. Therefore, both can be considered acceptable variants.
See also
High speed drilling
Metalwork cutting tool
Tool steel
References
^ Properties of Tool Steel AISI T1, http://www.efunda.com/materials/alloys/tool_steels/show_tool.cfm?ID=AISI_T1&prop=all&Page_Title=AISI%20T1, retrieved on 2008-03-17 .
^ a b c d e f Boccalini and Goldenstein 2001
^ a b Roberts, George, et al., "Tool Steels", 5th edition, ASM International, 1998
^ Kanigel 1997.
^ The Metals Society, London, "Tools and dies for industry", 1977
Bibliography
Kanigel, Robert (1997). The One Best Way: Frederick Winslow Taylor and the Enigma of Efficiency. Viking Penguin. ISBN 0-670-86402-1.
Boccalini, M.; H. Goldenstein (February 2001). "Solidification of high speed steels". International Materials Reviews 46 (2): 92115 (24). doi:10.1179/095066001101528411. ISSN 0950-6608. http://www.ingentaconnect.com/content/maney/imr/2001/00000046/00000002/art00002.
External links
Effects of Elements on Steel
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Metalworking

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Reginald Sturgess

yanglulu47 — Fri, 28 Aug 2009 07:56:55 +0200

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Reginald Ward Sturgess (18 June 1892 2 July 1932) was an Australian artist.
Sturgess was born in 1892 in the Melbourne suburb of Newport, Victoria, the son of cabinet maker Edward Sturgess and his wife Emma (n Ward), migrants from Bath, England. Sturgess had three brothers and a sister, but one brother died in England before the family migrated, and the other brother died soon after the family's arrival in Australia. Sturgess was the youngest child, and the only one born in Australia. The family was interested in the arts, particularly Sturgess' father, but also his elder sister Florence, who went on to become a successful pianist. Edward Sturgess was a good craftsman, having on one occasion decorated a carriage for Queen Victoria, but the economic slump of the 1890s following the land boom in Victoria led to a lack of business, and he abandoned cabinet making for a seed business in 1893.
Sturgess was educated at the Williamstown South State School, in the adjacent suburb of Williamstown, before leaving school at the age of twelve. In 1905, Sturgess enrolled in the art schools at the National Gallery of Victoria, with the help of novelist and Williamstown local Ada Cambridge, who had noticed his artistic talents. There, Sturgess studied drawing under Frederick McCubbin in the School of Design, and from 1909, painting under Lindsay Hall. Sturgess won several prizes while at the Gallery, including first prize for a drawing of a head from life in 1909, second prize for a painting of still life in 1910, and first prize for landscape painting in 1911.
Sturgess spent much time while at school sketching with his friend, noted portraitist Percy Leason. He also attended students' camps at Mount Macedon and Malmsbury, an area he would later visit frequently to paint. The female students at the camp would usually stay with the family of Meta Townsend, a Malmsbury local who was also a student at the Gallery from 1909 to 1914, while the male students would camp at the disused Coliban Flour Mill, the oldest mill in the district, a stone building with a waterwheel, set in farmland with many old farm buildings around which would become regular subject matter for the young artists.
Sturgess left the schools at the gallery in 1912, and began painting on his own, supporting his art by selling painted decorative lampshades, and by working in his father's seed business in Williamstown. He was also briefly a teacher at Williamstown Grammar School. Sturgess managed the seed business on his own following his father's death in 1916. On 30 July 1917, Sturgess married Meta Townsend at the Anglican church in Malmsbury. The couple would later have one daughter together, Elizabeth, born in 1919.
Sturgess joined the Victorian Artists' Society in 1921. Nine of his paintings were included in the Society's May exhibition, and another six in the September exhibition, but there was little early interest in his work from buyers, despite relatively low prices. However, he had more success from a joint exhibition with Granville Dunstan at the Athenaeum, also in September 1921, and in July 1922 he held his first solo exhibition, at the Athenaeum. It was successful, pleasing collectors and critics, who were impressed with his poetic (as opposed to realistic) approach, and his his convincing depiction of atmospheric effects.
Sturgess exhibited regularly in Melbourne, at the Athenaeum in 1923 and 1924, and following that at the gallery of the Victorian Fine Art Society. He also showed in Adelaide, South Australia in 1926-1927 and in Sydney, New South Wales in 1928-1929. These exhibitions were also successful,
Sturgess was injured in a car accident in 1926, breaking his jaw, and although he recovered his health was affected. Sturgess closed the seed business in 1926 to concentrate entirely on his painting, but by 1930 his fading eyesight forced him to give it up. Sturgess eventually became ill, and died in 1932 at his Williamstown home. According to some accounts the cause of death was a cerebral tumour, probably brought on by the motorcycle accident, although no autopsy was performed, and Sturgess' doctors were never able to completely explain his ill-health in the years preceding his death. Sturgess was buried in the Williamstown cemetery, and was survived by Meta and Elizabeth.
References
^ a b c d e f g h Perry, Peter & Sinclair, Beth (1986). R. W. Sturgess Water-colourist 1892-1932. Castlemaine: Castlemaine Art Gallery and Historical Museum. pp.95. ISBN 0-959-8066-3-6.
^ Serle, Percival (1949). "Sturgess, Reginald Ward". Dictionary of Australian Biography. Angus & Robertson. http://gutenberg.net.au/dictbiog/0-dict-biogSt-Sy.html#sturgess1. Retrieved on 2006-11-28.
^ Perry, Peter (1990). "Sturgess, Reginald Ward". Australian Dictionary of Biography. Melbourne University Press. http://www.adb.online.anu.edu.au/biogs/A120149b.htm. Retrieved on 2006-11-28.
Categories: 1892 births | 1932 deaths | Australian painters
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You're My Best Friend

yanglulu47 — Thu, 27 Aug 2009 07:55:10 +0200

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ou're My Best Friend
Single by Queenfrom the album A Night at the Opera
B-side
'39
Released
May 18, 1976
Format
7"
Recorded
1975
Genre
Pop rock
Length
2:52
Label
EMI (UK), Elektra (US)
Writer(s)
John Deacon
Producer
Roy Thomas Baker and Queen
Queen singles chronology
"Bohemian Rhapsody"(1975)
"You're My Best Friend"(1976)
"Somebody to Love"(1976)
"You're My Best Friend" is a song penned by John Deacon and performed by British rock band Queen. It was originally included on the A Night at the Opera album in 1975, and later released as a single. This song also appeared on the Greatest Hits (1981) album.
Deacon wrote the song for his wife, Veronica, to whom he remains married to this day. In this song, he plays a Wurlitzer electric piano in addition to bass guitar. The characteristic 'bark' of the Wurlitzer's bass notes plays a prominent role in the song. During live performances, the band used a grand piano rather than an electric, and it would be played by Freddie Mercury, while Deacon played the bass guitar.
For the music video, it shows Queen in a huge ballroom surrounded by over one thousand candles. The video was filmed in the summer of 1976. (May later mentioned that the video was shot in the middle of a very unpleasant heatwave and the ballroom in which they were filming did not have air conditioning.) Also, Deacon is seen playing a grand piano, even though he plays a regular electric on the recording.
Queen on the song
The band answered Tom Browne on 24 December 1977 in a live BBC Radio One interview, regarding Deacon's control of the piano for the recording:
Well, Freddie didn like the electric piano, so I took it home and I started to learn on the electric piano and basically that the song that came out you know when I was learning to play piano. It was written on that instrument and it sounds best on that. You know, often on the instrument that you wrote the song on.
ohn Deacon
I refused to play the damn thing (the Wurlitzer). It tiny and horrible and I don like them. Why play those things when youe got a lovely superb grand piano? No, I think, basically what he [John] is trying to say is it was the desired effect.
reddie Mercury
Personnel
John Deacon - Wurlitzer electric piano, bass guitar.
Brian May - Guitar, backing vocals.
Freddie Mercury - Lead and backing vocals.
Roger Taylor - Drums, Backing vocals.
In popular culture
The song can be heard in Kenneth Brannagh's 1992 film Peter's Friends.
The song was featured in a 2000 episode of That '70s Show entitled "Hyde's Father."
The song was featured at the end of the Simpsons episode "Moe Baby Blues" in 2003.
The song was featured in the ending credits of the 2004 film Shaun of the Dead.
The song was also featured in the 2005 Nintendo Gamecube game Karaoke Revolution Party.
The song was played during the final moments of the Will & Grace finale in May 2006.
The song was played during the opening credits in the 2006 film The Break-Up.
The song was featured in a My Name Is Earl episode "Something to Live For" in 2006.
The song was featured at the end of the 2007 movie I Now Pronounce You Chuck and Larry.
The song was featured in a 2007 "AT&T" commercial.
Cheese (voiced by Candi Milo) sang this song in the 2007 Macy's Thanksgiving Day Parade along with other characters from Foster's Home for Imaginary Friends.
The song is currently featured for "Carnival Cruise Lines" new brand campaign, "Let the Fun Begin".
The song is currently featured in a television trailer for the 2008 film, Pineapple Express.

v?d?eQueen singles discography
1970s
1973: "Keep Yourself Alive"? 1974: "Liar"? "Seven Seas of Rhye"? "Killer Queen"? 1975: "Now I'm Here"? "Bohemian Rhapsody"? 1976: "You're My Best Friend"? "Somebody to Love"? 1977: "Tie Your Mother Down"? "Teo Torriatte (Let Us Cling Together)"? "Long Away"? "Good Old-Fashioned Lover Boy"? "We Are the Champions"/"We Will Rock You"? 1978: "Spread Your Wings"? "It's Late"? "Bicycle Race"/"Fat Bottomed Girls"? 1979: "Don't Stop Me Now"? "Jealousy"? "Mustapha"? "Love of My Life"? "Crazy Little Thing Called Love"
1980s
1980: "Save Me"? "Play the Game"? "Another One Bites the Dust"? "Need Your Loving Tonight"? "Flash"? 1981: "Under Pressure" (w/ David Bowie)? 1982: "Body Language"? "Las Palabras de Amor"? "Calling All Girls"? "Staying Power"? "Back Chat"? 1984: "Radio Ga Ga"? "I Want to Break Free"? "It's a Hard Life"? "Hammer to Fall"? "Thank God It's Christmas"? 1985: "One Vision"? 1986: "A Kind of Magic"? "Princes of the Universe"? "Friends Will Be Friends"? "Who Wants to Live Forever"? "Pain Is So Close to Pleasure"? "One Year of Love"? 1989: "I Want It All"? "Breakthru"? "The Invisible Man"? "Scandal"? "The Miracle"
1990s
1991: "Innuendo"? "I'm Going Slightly Mad"? "Headlong"? "The Show Must Go On"? "These Are the Days of Our Lives"? 1995: "Heaven for Everyone"? "A Winter's Tale"? "Too Much Love Will Kill You"? 1996: "You Don't Fool Me"? "I Was Born to Love You"? "Let Me Live" ? 1997: "No-One but You (Only the Good Die Young)" ? 1999: "Under Pressure (Rah Mix)" (w/David Bowie)
2000s
2007: "Say It's Not True" (w/ Paul Rodgers)? 2008: "C-lebrity" (w/ Paul Rodgers)
This 1970s single-related article is a stub. You can help Wikipedia by expanding it.
Categories: Queen (band) songs | 1976 singles | 1970s pop songs | 1970s single stubs
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Decoupage

yanglulu47 — Wed, 26 Aug 2009 10:02:44 +0200

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Please help improve this article or section by expanding it. Further information might be found on the talk page. (January 2007)
For the aleatory literary technique, see cut-up technique.

Juan Gris, The Sunblind, 1914, Tate Gallery, Decoupage technique incorporates newsprint into this cubist painting.
Decoupage (or doupage) is the art of decorating an object by gluing colored paper cutouts onto it in combination with special paint effects, gold leaf, etc. Commonly an object like a small box or an item of furniture is covered by cutouts from magazines or from purpose-manufactured papers. Each layer is sealed with varnishes (often multiple coats) until the "stuck on" appearance disappears and the result looks like painting or inlay work. The traditional technique used 30-40 layers of varnish which were then sanded to a polished finish. This was known in 18th century England as The Art of Japanning after its presumed origins.
Varieties

Henri Matisse, Black Leaf on Green Background, 1952, gouache decoupage, The Menil Collection, Houston, Texas
There are many varieties on the traditional technique involving purpose made 'glue' requiring fewer layers (often 5 or 20, depending on the amount of paper involved). Cutouts are also applied under glass or raised to give a three dimensional appearance according to the desire of the decouper. Currently decoupage is a popular handicraft.
The craft became known as doupage in France (from the verb douper, 'to cut out') as it attained great popularity during the 17th and 18th centuries. Many advanced techniques were developed during this time, and items could take up to a year to complete due to the many coats and sandings applied. Some famous or aristocratic practitioners included Marie Antoinette, Madame de Pompadour, and Beau Brummell. In fact the majority of decoupage enthusiasts attribute the beginning of decoupage to 17th century Venice. However it was known before this time in Asia.
The most likely origin of decoupage is thought to be East Siberian tomb art. Nomadic tribes would use cut out felts to decorate the tombs of their deceased. From Siberia, the practice came to China, and by the 12th century, cut out paper was being used to decorate lanterns, windows, boxes and other objects. In the 17th century, Italy, especially in Venice, was at the forefront of trade with the Far East and it is generally thought that it is through these trade links that the cut out paper decorations made their way into Europe.
There have been forms of paper art in Europe for centuries and an argument can be made for Poland and Germany, with their native folded paper artworks, having been the predecessors of modern-day decoupage. However, today's decoupage bears more resemblance to Chinese lacquered objects than the Polish folded paper artworks. Some people use simple wallpaper, 'stick on' borders or decorative wall motifs and apply them to shop bought items such as clocks. The auction website eBay has many examples of so called doupage.
Originally Venetian cabinet-makers and lacquerers used a form of decoupage to create 'fake lacquerwork' to provide cheaper alternatives to the 17th century fashion for Chinese lacquered furniture. This was known as lacca contrafatta, 'counterfeit lacquer'. Soon they began to use cut-out copies of fashionable and popular artworks to decorate the furniture and objets d'art they created, and no longer copied the designs of the Far East. This became known as 'poor man's art'.
By the 18th century these creations were not confined to Italy but had spread throughout Europe and were no longer only the occupation of artisans but had also taken on the role of a lady's hobby, notably in the court of King Louis XV. Instead of glueing paper onto furniture, it was used to decorate smaller objects such as hat boxes and toiletries. Tragically, in the courts of kings it was not only copies of artwork that were cut up and used in this way but also actual artworks. Notably works by Boucher, Fragonard, Redoute, Pillement, Watteau amongst numerous others were lost this way.
Certain decoupage creators also began to be recognised as artists in their own right in the 18th century. Most remarkable was the English Mrs Mary Delaney, who became a court favourite of Queen Charlotte at the age of 71 for her production of highly detailed, hand coloured botanically based decoupage.
By the 18th century in England decoupage was popular with the upper and burgeoning middle classes. This century provides the most commonly known examples of historical decoupage, the sentimental paper additions to hatboxes, gift boxes and girl's personal items of all kinds. Decoupage was also popularly used at this time to create personalised Valentine's Cards.
In the early part of the 20th century, decoupage, like many other art methods, began experimenting with a less realistic and more abstract style. 20th century artists who produced decoupage works include Pablo Picasso and Henri Matisse. Most famous are Matisse's Blue Nude II.
Materials

Pressed flower decoupage on a set of coasters.
Since decoupage was considered to be a "poor man's art," it isn't surprising that common household materials can be used to create exquisite effects. The list of supplies is short:
Something to decoupage onto. Examples include: furniture, photograph albums, plates, ceramics, shelving, frames, mirrors.
Pictures to decoupage with. These can come from myriad sources: newspapers, magazines, catalogs, books, printed clip art, wrapping paper, greeting cards, fabric, tissue paper, lace.
Cutting utensil. Scissors, craft knife (X-Acto) or razor blades can be used.
Glue. Standard white glue works best if it is diluted with a little water. Specialty glues can be found in most crafting stores.
Smoother. Popsicle sticks work well. A brayer is a specialized tool like a miniature rolling pin designed to help remove wrinkles, remove excess glue and smooth pictures.
Glue Spreader. Many things around the house can be use for this: cotton swabs, paint brushes, sponges.
Rags, sponges, tissue paper to help wipe up glue and other clean up.
Sealer. Glue or other decoupage medium can be used as a sealer. Alternatively, polyurethane, spray acrylic or other lacquers are usually used.
References in Popular Culture
Deputy Trudy Wiegel of TV's "Reno 911" is known for her interest in decoupage.
CIA Agent Stan Smith of TV's "American Dad" is known for his interest in decoupage, a specific piece of decoupage furniture (a dresser in the basement) can be seen in multiple episodes.
In Strong Bad Email 141 from Homestar Runner, the band Taranchula's music video is entitled 'The Decoupage'.
The name of a 2001 CD release, "Decoupage", by the band HipBone [HipWorks Productions: reissued 2009 on lulu]
Wikimedia Commons has media related to:
Decoupage
Categories: Decorative arts | Paper art
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Category talk:Fiber optics for fiber opt...

yanglulu47 — Wed, 26 Aug 2009 08:01:01 +0200

POLYESTER STRAP ,

Fiber optics is divided, according to the Optical Society of America, into the following subfields:

Coherent communications
Couplers, switches, and multiplexers
Fiber characterization
Fiber design and fabrication
Fiber materials
Fiber measurements
Fiber optics
Fiber optics amplifiers and oscillators
Fiber optics communications
Fiber optics components
Fiber optics imaging
Fiber optics links and subsystems
Fiber optics sensors
Fiber optics sources and detectors
Fiber optics, infrared
Fiber properties
Fibers, erbium
Fibers, polarization-maintaining
Fibers, single-mode
Frequency modulation
Gyroscopes
Homodyning
Modulation
Multiplexing
Networks
Nonlinear optics, fibers
Optical communications
Phase modulation
Pulse propagation and solitons
Ultrafast processes in fibers
Retrieved from "http://en.wikipedia.org/wiki/Category_talk:Fiber_optics"
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Gothic Lolita for teddy bears clothing

yanglulu47 — Wed, 26 Aug 2009 06:17:01 +0200

Flat Type DC Motor ,

It needs additional references or sources for verification. Tagged since March 2009.
It may contain original research or unverifiable claims. Tagged since September 2007.

Example of (lighty) Gothic Lolita in the Harajuku area of Shibuya, Tokyo
Gothic Lolita or "GothLoli"(???? gosurorii) sometimes "Loli-Goth" has two definitions. The term "Gothic and Lolita" is used by the Japanese to describe a sub-culture of teenagers who wear a wide range of fashions. It is used by English language sources mainly to describe a specific subset of Lolita fashion.
Contents
1 History
1.1 Terminology used by English-language fandom
2 Fashion style
3 Culture
3.1 "Goth" and "Lolita"
3.2 Shopping
3.3 Anime and manga
3.4 Outside of Japan
4 References
5 External links

//

History
The Lolita style began in the 1970's with brands such as Milk and Pink House making outfits that resembled Canada's Anne of Green Gables (which is widely loved in Japan) and, to a lesser extent, Little House on the Prairie. Angelic Pretty opened in 1979, Baby, The Stars Shine Bright opened in the 80's, and Moi-meme-Moitie opened in 1999.
Mana, ex-Malice Mizer (co-founded with Kozi, also guitar), is widely credited for having helped popularize Gothic Lolita, though he is not a founder of the style. He coined the terms "Elegant Gothic Lolita" (EGL) and "Elegant Gothic Aristocrat" (EGA) to describe the style of his own fashion label Moi-me-Moiti, which was founded in 1999. Other influential figures in the scene include the singer Kana, who often modeled for Lolita related fashion magazines, and Mitsukazu Mihara, who drew the first eight covers of the Gothic & Lolita Bible.
Terminology used by English-language fandom
Among English-language fandom, the term Elegant Gothic Lolita was originally used to describe a sub-set of Lolita fashion that was either all black, or mostly black with white accents. However, there are many subsets within 'Gothic Lolita,' including, but not limited to shirorori (white lolita), kurorori (black lolita), gurorori (Gory or grotesque lolita), and punk lolita. Black (kuro) and white (shiro) lolitas wear all black and white respectively, guro lolitas are often defined by bandages and an "injured" appearance, and punk lolita adds a punk touch to lolita fashion. There are fashions similar in feeling to gothic lolita but they are not regarded by the gothic lolita community as authentic, rather "lolita-styled".
Elegant Gothic Lolita (EGL) is a term coined by Mana (Guitarist and leader of Moi dix Mois and Malice Mizer, creator of clothing line Moi-me-Moiti). It can be considered a more mature version of gothic lolita, often worn by older teens and young women. The male 'counter-part' to EGL is EGA (Elegant Gothic Aristocrat); it is very tailored and stream-lined, both being mostly black and white. However, the term Gothloli (gosurori) is used by some foreigners to describe anyone in gothic or lolita.
Sweet Gothic Lolita refers to a gothic lolita appearance, paired with accessories such as fruit purse, key chains, and many other colorful additions. The style of sweet goth lolita can be a black and (insert color, pink, red...etc...) colored dress along with a cute sweet lolita head-dress. Even though this style of lolita isn't popular in Japan, it can be found.
Fashion style

Two Gothic Lolitas
Lolita fashion draws much of its inspiration from Rococo, Victorian-style and Edwardian fashion and often aims to imitate the look of Victorian children or porcelain dolls. Gothic Lolita applies the aesthetics of Gothic fashion to the childlike, pretty Lolita fashion. The word Gothloli comes, quite naturally, from a combination of Lolita and Gothic fashion.
Gothic Lolita is the best-known of the various "Lolita" looks. Other categories include "Classic Lolita", which is often more mature-looking and contains more muted colors and floral prints and "Sweet Lolita" which is identified by childish pastel colors and cute prints.
Gothic Lolita style is usually a combination of black and white, often black with white lace and typically decorated with ribbons and lace trims. Skirts are knee length and may have a crinoline or petticoat to add volume. As in mainstream Japanese fashion, over-knee socks or stockings are popular. White or black tights are also common. Boots, rocking horse shoes, or child-like shoes such as Mary Janes complete the look. Frilly, ruffled or lace-trimmed Victorian blouses are also popular with Gothic Lolitas and designs are usually modest, sometimes with long lace-capped sleeves and/or high-necked blouses.
Some additions may include mini top hats, parasols, and lace headdresses, which resemble wide, elegantly decorated headbands. Other popular Lolita headgear are ribbons, lace or bows, an alice band with a bow or sometimes even a bonnet. Hair is sometimes curled, or a curled wig is worn to complete the porcelain doll look. Blonde and black are the most popular hair colors, though as the fashion continues to develop, other colors (such as brown and red and other vivid colors) are increasing in popularity.
Lolita outfits may be accessorized with other props like handbags, small backpacks and purses, sometimes in the shape of bats, coffins, and crucifixes, as well as conspicuous pocket books, pocket watches, and hat boxes. Teddy bears and other stuffed animals are also common, and some brands make special "gothic" teddy bears out of black leather or PVC. Some Lolitas own Super Dollfie or other ball-jointed dolls and carry them when wearing the style, often going so far as to dress them to match. Gothic Lolita is extremely common in Japan.
Culture

Gothic Lolita
In Japan it is mass-marketed, though not widely worn, but has visibility particularly in the streets of Tokyo and Osaka, on television, in manga and computer games. The fashion is being picked up worldwide, thanks to the foreign publication of Japanese magazine anthology FRUiTS, where the outstanding style actually blends in with the other quirky teen trends in Japan. More "faithful" adherents to the style take many influences from the Rococo and Victorian periods of European history, believing it to be in the nature of a Lolita to be respectful, polite, and demure at all times; even more extreme adherents are often known to attempt to cultivate interest in hobbies or activities considered appropriate to high-society ladies during these periods, such as needlework, opera, classical and baroque styles of music, painting, sewing, and the traditional observance of high tea. For the most part, however, most Lolitas live a day-to-day life very similar to any average person.
"Goth" and "Lolita"
Lolita as a fashion is not as strongly associated with a particular style of music or outside interests as Goth, and individual followers of Lolita fashion may listen to a wide variety of music, from Classic music to pop and rock.
In Japan, Goth is a minor subculture with few followers, partly because the emphasis upon visual identity in Japanese youth culture makes other factors such as music and literature less important signifiers, and perhaps partly because Christianity is a minor religion here. In Japan, people who have heard the term "Goth" usually assume that it is simply a contraction of "Gothic Lolita",[citation needed] except for the Goths themselves, who strongly emphasize the differences. Likewise, some non-Japanese observers assume that "Gothic Lolita" is the Japanese version of "Goth", purely on the similarities in fashion.[citation needed]
Previously in Tokyo, the largest "goth" club events, such as "Tokyo Dark Castle", would also attract a noticeable proportion of Gothic Lolita customers. However, since 2005 their numbers have dwindled and such events...
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Ice hockey goaltending equipment for sta...

yanglulu47 — Wed, 26 Aug 2009 05:52:01 +0200

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In ice hockey, the goaltender wears specialized goaltending equipment to protect him from the impact of the puck and assist him in making saves.
Most modern goaltending equipment is made from the same basic materials: hydrophobic synthetic leather and nylon on the outside; dense closed-cell foams and plastics inside. Pads were formerly often made out of leather and stuffed with animal hair.
The National Hockey League specifies maximum dimensions of goaltending equipment to prevent goalies from having an unfair advantage. Many other professional and non-professional leagues adhere to equipment size regulations based on International Ice Hockey Federation rules.
Contents
1 Blocker
2 Trapper
3 Chest and arm protector
4 Jock
5 Leg pads
6 Mask
7 Pants
8 Skates
9 Stick
10 References

//

Blocker
The blocker is worn on the hand that holds the stick. It consists of a glove with a rectangular board attached to the backhand side. The board is usually curved up at one end. This flare is designed to help control the deflection and will create a tougher angle on a shot if a goalie uses the shaft-down technique. It can also be called a "waffle", in reference to older models, which were covered with real leather, but had holes cut in the leather to save weight. This gave the blocker a waffle-like appearance. The placement of the palm on the back of the blocker varies though it has been traditionally placed in the middle. Newer models tend to place the palm further to the inside of the glove and cover more of the net. In almost all cases, the goalie wears only one blocker, however, near the end of his career, retired goalie Dan Blackburn played with two after nerve damage rendered him incapable of closing his glove hand.
Trapper
The trapper, catcher, or catch glove is the glove worn on the free hand. It is similar to a baseball mitt, but it is much more protective and has a deeper pocket. In fact, the first goalie trapper, worn by former Chicago Blackhawks and New York Rangers goalie Emile Francis in 1948, was a baseball mitt. Common variations among trappers include the pocket angle. If glove is too bulky it will not allow for good stickhandling. Trappers tend to be one of the most cared for pieces of equipment for the goaltender. In order to prevent what is called a "pancake pocket", goalies will often deepen the pocket by strapping objects inside the glove when not in use. Their fit is extremely important as well as the goalie's sense of the pocket and angles of the trapper. This will make transitioning to new pads difficult in some cases besides the usual need to break in the pads. Some people suggest that the size of the trapper should be reduced from its present dimensions, which cannot be just
ified by the legitimate need to maximize protection.
Chest and arm protector
The chest and arm protector or arm and body pad is designed to protect the chest, shoulders, arms, and collarbone area from the impact of pucks. It is worn under the hockey jersey. This pad has progressively become more and more protective in recent years. In the days of Terry Sawchuk and Ken Dryden it was a much smaller and less protective piece of equipment. In effect they were at times little better than what baseball catchers wear today. Now with the advent of high density foams and higher quality materials such as carbon fiber, chest protectors can be made today that significantly increase the safety and life of modern goalies.
Jock
A goalie jock, which protects the pelvic area, is more protective than a common jockstrap, though it generally uses the same internal plastic cup. The jock is padded to spread an impact over a larger area and rests on the legs, and is more bulky. Many modern Jocks use two cups, one in front of the other, in order to provide more protection.
Instead of a jock, female goalies wear a pelvic protector called a jill.
Leg pads
Goalies wear special leg pads that descend from cricket pads. The pads are typically 10 to 12 inches (the limit in the NHL, as of 2009, is 11 inches) (2530cm) wide and extend 4 to 8 inches (1020cm) above the knee. Leg pads have evolved significantly over the years. Different pad styling accommodate the different styles of playing goal. The traditional leg pad style was designed with the stand up goaltender in mind. A newer design is meant for goalies who play in the butterfly style. The newer pads have built-in knee support that allows the goalie to be higher off of the ice when in the butterfly. These type of pads offer more flexibility, contouring to help in defending the five hole. Typically, they are longer than the traditional style, in order to cover the five hole while the goalie goes down in to the butterfly. In recent years goalies have tended to wear the pads loose, allowing them to use the "power leg" or "butterfly push" - where the goalie can actually slide from o
ne side of the net to another while down in the butterfly.
Mask
The first commonly used goalie masks were made of solid fiberglass with holes for the eyes, nose, mouth, and for ventilation. Today, most goalies don masks made of fiberglass, kevlar, carbon fiber, and other composite materials. Modern masks have a large cutout in the eye and nose area covered by a steel or titanium cage. This mask was developed by goalie Dave Dryden in the early 1980s.
Many goalies are able to be identified by the custom artwork airbrushed on their masks. Some maintain the same theme throughout their career, changing the colors to match their team's colors. Examples include Curtis Joseph's Cujo, Ed Belfour's eagle, Fix Potvin's abstract cat design, or Patrick Lalime's Marvin the Martian. Some goalies have more generic team-specific artwork, while others vary the artwork over the course of their careers.
An alternative to the mask is the helmet and cage combo, which consists of a wire facemask attached to a standard hockey helmet. This became popular during the 1970s since a cage provides better sightlines than a molded fiberglass mask. Its popularity peaked during the 1980s, yet started to decline during the 1990s, as hockey equipment manufacturers discontinued the production of helmets and cages favored by goaltenders. By the turn of the 21st century, only a few professional goalies still wore a helmet/cage combo. Included in this small group are Chris Osgood of the Detroit Red Wings in the NHL, Martin Prusek of Dinamo Riga in the KHL, Marco Brer of SC Bern in the Swiss National League A, and current unrestricted free agent Dan Cloutier. Dominik Hasek also wore the helmet/cage combo for the duration of his career.
There were two popular helmet/cage combinations used by professionals. The first was the Cooper SK2000 helmet with either the Cooper HM30 cage (currently used by Osgood and Cloutier) or the Cooper HM50 cage (previously used by Hasek). The other was the Jofa 280 Helmet with the 260.51 cage, which was last worn by Arturs Irbe. After Nike acquired Cooper and consolidated it as Nike Bauer, the SK2000 and HM50 were discontinued, while the HM30 was marketed as a field hockey mask (and subsequently discontinued in 2004). Jofa eventually phased out the 280 helmet and its respective cage, but now offer the RBK 3K helmet and 287 cage for the European market since consolidating with Reebok.
There are currently two models of goaltender masks which are both available to the North American market and based on the helmet/cage combination. The first model is the Hasek Pro Style 357, which follows the traditional helmet/cage style of masks. Current users of these helmets include Prusek and Brer, while Hasek used this model from the 2001-02 season up to his retirement. The second is the Mage, manufactured by Sportmask. The difference between the Mage and other helmet/cage combinations is...
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Alex Kahn for backlit light box

yanglulu47 — Tue, 25 Aug 2009 12:04:01 +0200

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Alex Kahn (b.1967) is an American visual and performance artist, best known for his creation of the large-scale puppet performance works that lead New York's Village Halloween Parade each year.
Contents
1 Pageant Puppetry and Processional Art
2 Other Works
3 External links
4 References

//

Pageant Puppetry and Processional Art

Luna Moths, from Alex Kahn's Metamorphosis, from the 1998 NY Village Halloween Parade
Since 1998, Kahn and his partner, Sophia Michahelles, have worked together under the name Superior Concept Monsters, conceiving, designing, and directing 10 commissioned works for the Halloween Parade. These works are often developed through open community workshops that bring hundreds of volunteers together to build, rehearse, and ultimately perform cyclical pieces specifically for the parade. The performances typically incorporate elements of puppetry, sound, dance, costume/mask, lighting/projection and mobile architecture, an amalgam of mediums Kahn calls rocessional art.
In addition to leading New York's Village Halloween Parade each year, Kahn creations have appeared in venues nationally and internationally. His work, Metamorphosis, involving 20 tall pupating luna moths, officially opened the 2000 Henson International Festival of Puppet Theatre. In 2002, he and Michahelles initiated a midsummer pageant project in the Italian Alps village of Morinesio, drawing on local folklore and oral history to create a unique site-specific pageant. Inspired by the success of the now-annual tradition, they have seeded similar projects in diverse locales in Italy, Texas, Maine, Oregon, New York, and Michigan. In 2006, Kahn was awarded a Fulbright Scholarship to Trinidad and Tobago, to study the artistic and cultural structures behind Caribbean Carnival and Trinidadian as, or costumed procession.
Other Works
Kahn has maintained an independent practice as a theatrical designer, printmaker, installation artist, and teacher. His interdisciplinary approach was strongly influenced by his experience as technical director of the Kitchen Performance Center during the 1990s. During this time he created lighting, objects, and effects for performance artists including John Jesurun ("Chang in a Void Moon"), Mikel Rouse ("Failing Kansas"), Roseanne Spradlin, Meredith Monk, Pauline Oliveros, and David Hykes. His ongoing 10-year project, a fictional traveling museum called the Archive of the Synapse, has been exhibited nationally. San Francisco Chronicle art critic Kenneth Baker described the work as follows in a review from August 19, 2000:
n a dark box several objects, including a broken fluorescent tube and a floppy disk, glow with touches of color under ultraviolet light. Beneath it, a backlit label explains that traces of a lost dimension called the Synapse persist in, for example, "the fractures along which things break inexplicably . . . the penny which flips only tails, even the virus-infested computer disk." Kahn's piece makes these traces visible. He makes sly analogies between mystic-scientistic cult thinking and new art's uneasy position in the culture at large. Most remarkably, Kahn reawakens us to a true spookiness of art through the fiction of an ``X-Files-style obsession.
External links
Official website for Superior Concept Monsters
Official website for Archive of the Synapse
Official website for New York's Village Halloween Parade
WFUV Radio "Cityscape": documentary feature on Superior Concept Monsters
History Channel feature on Superior Concept Monsters
References
"The Greatest Free Show on Earth: Carnival from Trinidad to Brazil, Capetown to New Orleans" Claire Tancons. From exhibition catalogue for "Prospect 1: New Orleans" (PictureBox, 2008)
Puppetry International: Mega-Puppets Issue (Fall/Winter 2007-8) "Greenwich Village Halloween" article by Rolande DuPree.
Trinidad Guardian (4/25/06) uppeteers Find That Cultural Link by Kayode James
La Guida (6/13/03) Puppazzi gigante di Morinesio by Massimiliano Cavallo
Middletown Times Herald-Record (2/23/03) t Takes a Community to Build a Puppet by Deborah J. Botti
Harvard Magazine (Jan/Feb 03) ommunity Puppeteer by Ellenor J. Honig
Art New England (Feb/March 02) ight Upon Light: Towers of Remembrance by Chris Thompson
Portland Phoenix (10/26/00) athering Intelligence by Chris Thompson
Teokikixtli - Mexican Review of Puppet Arts (July 01) he Mysterious Life of Giant Puppets by Sophia Michahelles
New York Times (11/1/ 00) ight of the Living Dot-Com by Shaila Dewan
NyTeknik (11/00) alloween ?rets rysare by Jan Aschan. Swedish technical journal feature article on puppetry works
San Francisco Chronicle (8/19/00) rtists Create Show at Refusalon 1:1 review by Kenneth Baker
Chronogram (September 00) ulling Strings: Hudson Valley Puppetry Renaissance by Pauline Uchmanowicz
New York Times (11/1/98) photo from performance work
Categories: 1967 births | Living people | American artists | Jewish artists | Artists from New York | American puppeteers | Puppet designers | Fulbright Scholars | Harvard University alumni | San Francisco Art Institute alumni
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Bead crochet for mercerized cotton yarn

yanglulu47 — Tue, 25 Aug 2009 10:03:01 +0200

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A bead crochet necklace made from mercerized cotton and coral. This piece is worked in alternating beaded and non-beaded rows in order to align a comfortable lace surface against the wearer's collar while it displays beads to the viewer.
Bead crochet is a crochet technique that incorporates beads into a crochet fabric. The technique is used to produce decorative effects in women's fashion accessories.
The word "crochet" is derived from the French "croche" or "croc" meaning "to hook". Published descriptions of bead crochet date from around 1824 although it was probably common before then. At one time, bead crochet was thought by some people to be appropriate only for rich people.
Early examples of bead crochet include nineteenth century miser's purses. By the 1920s bead crochet technique also made necklace ropes, bracelets, and beaded bags. Bead crochet waned during the 1930s when the great depression reduced free time for decorative needlework and as inexpensive manufactured goods became more readily available. Interest in bead crochet has revived somewhat in recent years as a hobbyist pastime.
Construction

Convertible necklace/belt, drawstring change purse, and keychain.
Most bead crochet is created by stringing beads onto uncut crochet thread prior to crocheting. Most artists either use a beading needle or apply clear nail polish to the end of the thread to create an anchor point for beading. At predetermined stitches, the crocheter slides one bead down and incorporates it into the fabric. Pre-stringing requires both the bead sequence and the crochet pattern to be fully planned in advance of manufacture. This technique aligns beads on one side of the stitch. So crocheting in rounds naturally yields a bead side and a crochet side. Projects that are worked in rows would either have beads on both sides of the fabric or have alternating bead and non-bead rows.
Off-loom stitches and fringing may also be used to add beads onto finished crochet work. Design considerations in bead crochet include the size of the yarn or weight to be used, the diameter of the beads, and the weight of the bead material.
References
Bethany Barry, Bead Crochet, Loveland, Colorado, Interweave Press, 2004.
^ Beadwrangler.com crochet history.
^ Crochet History 1900s - 21st Century
^ Bead Crochet History
External links
Bead crochet
Wikimedia Commons has media related to: Bead crochet

v?d?eCrochet
Tools:
Crochet hook Cro-hook Hook gauge Scissors Stitch marker
Techniques and motifs:
Amigurumi Bead crochet Bilum Blocking Doily Gauge Granny square List of crochet stitches Shell stitch Tunisian crochet
Crocheted lace:
Broomstick lace Crocheted lace Filet crochet Hairpin lace Irish crochet
Related:
Crochet thread Dye lot Yarn
Categories: Beadwork | Crochet
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Lip frenulum piercing for Stainless Stee...

yanglulu47 — Tue, 25 Aug 2009 08:15:01 +0200

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Lip frenulum
Location
F. labii superioris
Jewelry
Barbell, captive bead ring
Healing
6 to 8 weeks
This box: view?talk
A lip frenulum piercing is a body piercing through the frenulum of either the upper or lower lip. A piercing through the upper lip frenulum is sometimes called a scrumper, or a smiley, because it can be visible when the wearer smiles. Opposingly, the piercing through the lower lip frenulum is sometimes referred to as a frowny.
Such piercings, anatomy permitting, are relatively simple procedures. Healing time is typically six to eight weeks. Rinsing with an antibacterial mouthwash two or three times a day helps with the healing process, but make sure that the mouthwash is non-alcoholic or it will actually hinder the healing process; those with new piercings should also avoid alcohol, and spicy foods until the piercing site is fully healed. this procedure is quick easy and leaves no scars the piercing is unseen on most unless a bigger jewellery piece is used.
Jewelry
Jewelry for piercings should meet the following requirements:
The jewelry should be removable; for example, one ball on the end of barbell-style jewelry could be unscrewable.
Barbell jewelry can cause irritation to the gums.
Captive bead jewelry is safer and will lay flat on the area causing no irritation.
The jewelry should allow for full cleaning of the piercing site.
Jewelry is light weight and does not damage gums or teeth.
The surface of the jewelry should be free of nicks, scratches, or jagged surfaces that might damage the piercing site.
The jewelry should be the right thickness: if its too thin, it can tear through the site, while excessively thick jewelry can cause an abscess, a cyst, or the formation of scar tissue.
The jewelry should be made from nonallergenic metals; in new piercings, only surgical stainless steel, and alloys with gold, platinum, niobium, or titanium should be used. Both nickel- and brass-plated jewelry should be avoided.
Both ring and barbell style jewelry can be worn in these piercings. Usually the jewelry worn in these piercings is low gauge, as there is not much tissue to pierce or stretch, and larger gauge jewelry may be more likely to damage the teeth and gums. Captive bead rings are more common as they provide more visibility than a barbell.[citation needed]
History and culture
Both variations on this piercing are of contemporary origin. Although they are known to have existed prior, first documented photograph[citation needed] of an upper lip frenulum piercing was an image of body modification practitioner Steve Haworth in a German magazine in the mid 90's.
References
^ Body piercing healing time from the NYU Medical Center website
^ Home Treatment after Piercing from the NYU Medical Center website
^ Appropriate jewelry for body piercing sites from the NYU Medical Center website

v?d?eBody piercing
Piercing methods
Contemporary piercing procedures ? Body piercing materials ? Stretching ? Play piercing ? Pocketing ? Surface piercing ? Ear piercing gun
Ear piercings
Tragus ? Antitragus ? Snug ? Daith ? Conch ? Helix ? Rook ? Industrial
Facial and oral piercings
Cheek ? Eyebrow ? Anti-eyebrow ? Lip (Labret ? Lip plate ? Lip frenulum ? Monroe ? Medusa) ? Nose (Bridge) ? Tongue (Tongue frenulum) ? Uvula
Body piercings
Corset ? Hand web ? Hip ? Madison ? Navel ? Nipple ? Nape
Female genital piercings
Christina ? Clitoris ? Clitoral hood ? Triangle ? Fourchette ? Isabella ? Labia ? Nefertiti ? Princess Albertina
Male genital piercings
Ampallang ? Apadravya ? Hafada ? Foreskin ? Deep shaft ? Dolphin ? Dydoe ? Frenum ? Frenum ladder ? Guiche ? Lorum ? Magic cross ? Prince Albert ? Reverse Prince Albert ? Pubic ? Transscrotal
Categories: Body piercing | Mouth | Oral pathology
Hidden categories: Articles containing how-to sections | All articles with unsourced statements | Articles with unsourced statements since November 2007
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Kansas City Power & Light District f...

yanglulu47 — Tue, 25 Aug 2009 07:23:01 +0200

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Power & Light District
Location
1100 Walnut StreetSuite 3000Kansas City, Missouri 64106
Coordinates
3905?52?N 9434?56?W? / ?39.09778 94.58222? / 39.09778; -94.58222
Type
Mixed-use retail, entertainment, office, and residential development
Built
2005 - 2008
Opened
First tenant opened November 9, 2007; various openings through 2008 and 2009
Owner
Cordish Company
Capacity
nine city block area
Website
http://www.powerandlightdistrict.com/ (Flash only)
The Kansas City Power & Light District or Power & Light District is a shopping and entertainment district currently in Downtown Kansas City, Missouri, United States, developed by the Cordish Company of Baltimore, Maryland and designed by 360 Architecture. The district comprises nine blocks on the south side of the downtown loop. It is located between Baltimore Avenue to the west, Grand Boulevard to the east, 12th Street to the north, and Interstate 670 to the south. The $850 million mixed-use district is one of the largest development projects in the Midwestern United States The Power & Light District is one of only a few places in the United States where possession and consumption of open containers of alcoholic beverages are allowed on the street, although they remain prohibited on the street throughout the rest of Kansas City.
Contents
1 Location
2 Kansas City Live!
3 Power & Light District Tenants
4 Entertainment
5 Future Plans
6 Criticism
7 Alcohol and the Power & Light District
8 See also
9 External links
10 References

//

Location
The Power & Light District is immediately to the west of the Sprint Center. It originally was to be named Kansas City Live!, but the Cordish Company decided instead to name the district after the art deco Kansas City Power and Light Building. The present headquarters of the Kansas City Power & Light Company (a subsidiary of Great Plains Energy) is also located on the northern side of the district. A one-block area within the district, however, is called Kansas City Live!, and contains two floors of bars, restaurants, and nightclubs, as well as a large, partially-enclosed courtyard and concert venue (see below).
Kansas City Live!

The interior of the Kansas City Live! block of the Power & Light District under the ETFE roof system, featuring the Kansas City Live! stage, Gordon Biersch Brewing Company, and Maker's Mark Bourbon House and Lounge

Another view of Kansas City Live! under the roof with the city skyline in the distance, looking north.

Vinino on the ground floor, and Howl at the Moon on the second floor on the eastern edge of the Kansas City Live! block

View looking west on 13th Street toward the namesake Kansas City Power & Light building.

View looking east on 13th Street toward the Sprint Center.
At the heart of the Power & Light District is Kansas City Live!, a one block area devoted to live music and entertainment venues. At the center of Kansas City Live! is a covered outdoor plaza to be used for concerts. The roof system, produced by Structurflex, is made of an Ethylene TetraFluoro Ethylene (ETFE) single-skin membrane. The first installation of an ETFE cushion solution in the United States was a facade in NYC for AOL Time Warner (2002/2003; 100m2). Credit for the first roof skylight application goes to the project Pasadena Art Center (690m2, installation in 2004) and the first large scale pure roof application was for an aquatic facility in McGaheysville (appr. 4500m2, installation in 2005).(previous installations have included AWD Arena in Hanover, Germany and Beijing National Stadium). Construction of the roof began on August 17, 2007. The ground floor of the Kansas City Live! block focuses on bars and restaurants, including McFadden's Sports Saloon, Vinino,
Ragland Road, Maker's Mark Bourbon House and Lounge, Tengo Sed Cantina, and Gordon Biersch Brewing Company. The second floor of Kansas City Live! houses the night clubs and entertainment concepts, including Mosaic Lounge, Lucky Strike Lanes, Angels Rock Bar, and Howl at the Moon.
The Kansas City Live! area of the Power & Light District was showcased before a television audience twice during May 2008. American Idol finalist David Cook played a short set from the Kansas City Live! stage on May 9, 2008, which aired during the television show the following week. The same location also hosted the official watch party for the final episode of the 2008 season, which featured a live television feed from the Power & Light District.
Late night visitors to the Kansas City Live! block are required to present identification for entry which is then scanned by a handheld scanner which collects demographic data without informed consent. Due to the lack of informed consent, this potential invasion of personal privacy goes largely unnoted. It has been reported that you can ask for your identification not to be scanned.
Power & Light District Tenants
The following establishments have already opened for business in the Power & Light District:
801 Steak & Chop House - 10,314sqft (958.2m2) Des Moines based steak house (opened October 1, 2008)
Angel's Rock Bar - 4,000-square-foot (370m2) music venue and club? (opened March 7, 2008)
Bice Bistro - a sophisticated, urban, upscale Italian bistro features authentic Italian cuisine with an international touch in 8,700sqft (810m2). In addition to the main bistro, the location also hosts a carryout operation, and a rooftop martini and wine lounge with a limited menu. (opened July 24, 2008)
Bristol Seafood Grill - 8,000-square-foot (740m2) seafood restaurant (opened February 26, 2008)
Chefburger - 3,300-square-foot (310m2), locally owned, build your own burger joint (opened March 10, 2008)
Chipotle Mexican Grill - 2,400-square-foot (220m2) location of the Denver-based Fresh Mex chain (opened on February 27, 2008)
Cosentino's Downtown Gourmet Market - 37,000-square-foot (3,400m2) upscale grocery store (opened January 6, 2009)
The Drum Room - restaurant, martini bar, and live entertainment lounge located in the historic President Hotel
Famous Dave's Legendary Pit Bar-B-Que - 6,300 square foot location of the Minnesota-based barbecue restaurant chain (opened February 22, 2008; reopening March 6, 2009 )
Flying Saucer Draught Emporium - 4,600-square-foot (430m2) location of the Dallas/Ft. Worth-based beer bar chain, featuring 200 beers on tap? (opened May 5, 2008)
GNC - 1,700-square-foot (160m2) location of the Pittsburgh-based chain of stores selling health and nutrition related products, over the counter drugs, and food supplements (opened December 31, 2008)
Gordon Biersch Brewing Company - 8,500-square-foot (790m2) location of the Chattanooga-based chain of brewery/restaurants? (opened March 10, 2008)
H&R Block world headquarters (opened October, 2006)
Hilton President Kansas City - 213-room refurbished historic 1926 hotel, featuring the Drum Room (reopened January 5, 2006)
Howl at the Moon Piano Bar - 4,700-square-foot (440m2) location of the Cincinnati-based chain of "dueling-piano bars"? (opened February 7, 2008)
Jos. A. Bank - 4,300-square-foot (400m2) location of the Maryland-based men's clothing designer and retailer located at 1320 Main St. (opened February 13, 2009)
Lucky Strike Lanes - 23,000-square-foot, 12-lane upscale Hollywood-based bowling alley, featuring live DJs, food, and drinks? (opened on March 6, 2008)
Maker's Mark Bourbon House and Lounge - 6,000-square-foot (560m2) location of the Kentucky-based whiskey distiller's chain of restaurants and lounges? (opened Friday May...
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WBACH for FM Radio Watch

yanglulu47 — Tue, 25 Aug 2009 05:21:01 +0200

xs0927da-42 Watch ,

(Redirected from WBQI)
WBQW/WBQX/WBQI
City of license
WBQW: KennebunkportWBQX: ThomastonWBQI: Bar Harbor
Branding
WBACH
Slogan
Maine's Clasical Network
Frequency
WBQW: 104.7 MHzWBQX: 106.9 MHzWBQI: 107.7 MHz
First air date
1991-04-22 (as WKME)
Format
Classical
ERP
WBQW: 6,000 wattsWBQX: 29,500 wattsWBQI: 11,500 watts
HAAT
WBQW: 87 metersWBQX: 193 metersWBQI: 149 meters
Class
WBQW: AWBQX: BWBQI: B1
Facility ID
WBQW: 69855WBQX: 49564WBQI: 40925
Transmitter Coordinates
4324?16.00?N 7026?15.00?W? / ?43.4044444 70.4375? / 43.4044444; -70.4375 (WBQW)446?30.00?N 699?28?W? / ?44.1083333 69.15778? / 44.1083333; -69.15778 (WBQX)4433?13.00?N 685?40.00?W? / ?44.5536111 68.0944444? / 44.5536111; -68.0944444 (WBQI)
Owner
Nassau Broadcasting Iii, LLC
Webcast
Listen Live
Website
wbachradio.com
WBACH is a network of FM radio stations in Maine owned by Nassau Broadcasting. The network consists of WBQW 104.7 Kennebunkport, WBQX 106.9 Thomaston and WBQI 107.7 Bar Harbor. Currently the stations air a classical music format.
History
The WBACH format was launched in November 1991, initially airing on WBQQ 99.3 in Kennebunk. The stationwas founded by Mariner Broadcasting, and (after assembling its network) was acquired by Nassau in 2003.
WBQW's history originated with the sign-on of 106.3 in Scarborough in 1974 as WJBQ (no relation to the current WJBQ in Portland) changing calls to WDCS and adopting a classical music format in September 1981 involving a frequency swap with 97.9 (Portland, Maine). It later changed to WPKM before adopting the WBQW call sign. It became part of the WBACH network in 1998.
WBQX signed on in 1992 and was previously known as WAVX "The Classical Wave" (then simulcasted with 101.7, the current WFZX). It also became part of the WBACH network in 1998.
WBQI was previously WMDI, the call letters standing for Mount Desert Island, the area in which the city of license, Bar Harbor, is located. It joined the WBACH network in 2001.
On October 6, 2008, some of the WBACH stations were realigned. WBQQ was removed from the network completely, shifting to a simulcast of WTHT, while WBQW moved from 106.3 to 104.7, a frequency that had previously been in first an adult contemporary format with Bob & Sheri in the morning as WQEZ, and later active rock as WHXQ, a simulcast with WHXR; in the latter capacity, it had planned to switch to sports talk provided by Boston's WEEI in January 2008, but the deal between Nassau and Entercom ended up collapsing.
References
^ Fybush, Scott (July 18, 1998). "Lobel Leaves BZ Radio". North East RadioWatch. http://www.bostonradio.org/nerw/nerw-980718.html. Retrieved on January 28, 2009.
^ Fybush, Scott (December 15, 2003). "WCMF's Unkle Roger Killed". NorthEast Radio Watch. http://www.fybush.com/nerw-031215.html. Retrieved on 2009-01-28.
^ "Atlantic Coast, Nassau Shake Up Maine". August 25, 2008. http://www.fybush.com/NERW/2008/080825/nerw.html. Retrieved on January 28, 2009.
^ Whitehouse, Randy (October 23, 2007). "Boston's WEEI coming to Maine". Lewiston Sun Journal. http://www.sunjournal.com/story/235226-3/LocalSports/Bostons_WEEI_coming_to_Maine/. Retrieved on January 7, 2007.
^ "Entercom-Nassau Deal Falls Through". Radio Ink. January 4, 2008. http://www.radioink.com/HeadlineEntry.asp?hid=140600&pt=todaysnews. Retrieved on January 7, 2008.
External links
Query the FCC's FM station database for WBQW
Radio Locator information on WBQW
Query Arbitron's FM station database for WBQW
Query the FCC's FM station database for WBQX
Radio Locator information on WBQX
Query Arbitron's FM station database for WBQX
Query the FCC's FM station database for WBQI
Radio Locator information on WBQI
Query Arbitron's FM station database for WBQI
Maine Radio History from bostonradio.org
Official site for WBACH

v?d?eRadio stations in the Portland, Maine market
By AM frequency
560 730 780 870 900 970 1310 1400 1440 1450 1490
By FM frequency
87.7 88.3 89.3 90.1 90.9/104.1 91.9 92.1 92.7 92.7 93.1 94.3 94.9 95.5 95.9 96.3 97.9 98.9 96.9/99.3/99.9 100.7 100.9 101.9 102.9 103.7 104.7 105.1 105.9 106.3 106.7 107.5
By callsign
W224BQ WBAE WBCI WBLM WBQW WCLZ WCSH WCYY WFNK WPHX-FM WGAN WGEI WHOM WHXQ WHXR WJBQ WJJB-FM WJTO WJZP-LP WKTQ WLOB WLVP WMEA WMGX WMPG WMSJ WOXO-FM WPEI WPKQ WPOR WRED WTBM WTHT WTME WVAE WWBK WYAR WYFP WYNZ WZAN
Defunct stations
WCDQ
Maine Radio Markets: Augusta-Waterville ? Bangor ? Lewiston-Auburn ? Portland
Other Maine Radio Regions: Northern & Downeast Maine
See also: List of radio stations in Maine

v?d?eRadio stations in the Augusta-Waterville, ME market
By FM frequency
88.9 89.7 90.5 91.3 92.3 93.3 93.5 93.9 95.3 96.3 96.7 97.5 98.5 99.3 100.1 100.5 101.3 102.5 102.9 103.3 104.3 105.1 105.9 106.9 107.5 107.9
By AM frequency
1160 1280 1340 1400 1450 1490
By callsign
WABK-FM WARX WBCI WBQX WBLM WCME WCTB WEBB-FM WFAU WFMX WFNK WIGY WJZN WKTJ WLOB WMCM WMDR WMDR-FM WMEP WMEW WMHB WMME WQSS WRFR-LP WRKD WSKW WTOS WTVL WUMF WVQM WWWA W263AS
Maine Radio Markets: Augusta-Waterville ? Bangor ? Lewiston-Auburn ? Portland
Other Maine Radio Regions: Northern & Downeast Maine
See also: List of radio stations in Maine

v?d?eRadio stations in the Bangor, Maine market
By FM frequency
88.5 89.3 89.9 90.9 91.5 91.9 92.9 93.3 94.5 95.7 97.1 99.5 100.3 101.7 102.1 103.1 103.9 104.7 105.7 106.5 107.3 107.7
By AM frequency
620 910 1340 1400 1530
By call sign
W218BJ W227BE WAEI WAEI-FM WBFB WBQI WBZN WDME WERU WEZQ WFGO WFZX WGUY WHCF WHMX WHSN WJCX WKIT WKSQ WMEB WNZS WQCB WVOM WWMJ WWNZ WZON
Maine Radio Markets: Augusta-Waterville ? Bangor ? Lewiston-Auburn ? Portland
Other Maine Radio Regions: Northern & Downeast Maine
See also: List of radio stations in Maine

v?d?eNassau Broadcasting Partners
Maine
WFNK (FM) WTHT (FM) WHXR (FM) WHXQ (FM) WBQQ (FM) WBQW (FM) WBQX (FM) WBQI (FM) WBYA (FM) WLAM (AM) WLVP (AM)
Maryland
WAFY (FM) WWEG (FM) WARK (AM)
Massachusetts
WPXC (FM) WFRQ (FM) WFQR (FM) WFRQ (FM) WCRB (FM)
New Hampshire
WWHQ (FM) WLNH (FM) WNNH (FM) WFNQ (FM) WLKZ (FM) WJYY (FM) WNHW (FM) WHDQ (FM) WTSV (AM) WEMJ (AM)
New Jersey
WPST (FM) WCHR (AM) WHWH (AM) WNJE (AM)
Pennsylvania
WSBG (FM) WWYY (FM) WODE (FM) WVPO (AM) WPLY (AM) WEEX (AM) WBYN (AM) WTKZ (AM) WFKB (FM)
Vermont
WORK (FM) WWFY (FM) WWOD (FM) WPLY (FM) WXLF (FM) WZLF (FM) WEXP (FM) WTHK (FM) WMOO (FM) WSNO (AM) WNHV (AM) WIKE (AM)
Former stations
WBBO WBUD WCHR WDLC WHCY WJLK WNJO WNNJ WOBM WRDR WSUS WTHK WTSX WWHK

Categories: Radio stations in Maine | Classical music radio stations in the United States | Maine radio station stubs
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Flicker (screen) for Used LCD Monitors

yanglulu47 — Tue, 25 Aug 2009 03:55:01 +0200

landscape turf(HJ-3030) ,

For other uses of the word, see Flicker.
Flicker is visible fading between cycles displayed on video displays, especially the refresh interval on cathode ray tube (CRT) based computer screens. Flicker occurs on CRTs when they are driven at a low refresh rate, allowing the screen's phosphors to lose their excitation (afterglow) between sweeps of the electron gun. A similar effect occurs in PDPs during their refresh cycles.
For example, if a CRT computer monitor's vertical refresh rate is set to 60 Hz, most monitors will produce a visible "flickering" effect, unless they use phosphor with long afterglow. Most people find that refresh rates of 70-90 Hz and above enable flicker-free viewing on CRTs. Use of refresh rates above 120 Hz is uncommon, as they provide little noticeable flicker reduction and limit available resolution.
Since the shutters used in liquid crystal displays for each pixel stay at a steady opacity, they do not flicker, even when the image is refreshed. The backlights of such displays do flicker, but typically operate in the range of 150-250 Hz.
The lighting used in film projectors is typically an incandescent or arc lamp, which does not flicker, but some degree of flicker is desirable to help decrease the flicker fusion threshold comfortably below film's typical framerate of 24 fps. This is usually accomplished with a shutter which causes the lamplight to apparently strobe on and off at a multiple of the framerate, most often 48-96 Hz.
The exact refresh rate necessary to prevent the perception of flicker varies greatly based on the viewing environment. In a completely dark room, a sufficiently dim display can run as low as 30 Hz without visible flicker. At normal room and TV brightness this same display rate would produce flicker so severe as to be unwatchable.
Another factor in detecting flicker is peripheral vision. The human eye is most sensitive to flicker at the edges of our field of view, and least sensitive at the center of gaze (the area being focused on). As a result, the greater the portion of our field of view that is occupied by a display, the greater is the need for high refresh rates. This is why computer monitor CRTs usually run at 70 to 90 Hz, while TVs, which are viewed from further away, are seen as acceptable at 60 or 50 Hz (see PAL and NTSC.)
Software artifacts
Flicker, a flashing effect displeasing to the eye, often occurs through flaws in software, with no hardware faults involved. Flicker in software is caused by a computer program's failure to consistently maintain its graphical state. For example, the data in the video hardware, resulting from program drawing, may momentarily include a white rectangle before the text that belongs there is 'drawn.' Part or all of a flickering region is frequently and completely blank or in some other intermediate state.
The CS_VREDRAW and CS_HREDRAW window class styles direct Windows to cause an entire program window to be redrawn when the window is resized. Disabling these styles causes only the areas uncovered by resizing to be invalidated for painting. However, flicker may still occur at the edges or when data is updated for other reasons.
The practise of blanking an area, then drawing 'on top' of it, makes it possible for the blank region to appear momentarily onscreen. When it is not feasible to set each pixel only once, double-buffering can be used. The method involves creating an offscreen drawing surface (in GDI, a bitmap and device context), drawing to it, and then blitting it all at once to the screen. While this technique cuts down on software flicker, it can also be very inefficient.
Flicker is also used intentionally by developers on low-end systems to create the illusion of more objects or colors/shades than are actually possible on the system, or as a speedy way of simulating transparency. While typically thought of as a mark of older systems like 16-bit game consoles, the flicker technique continues to be used on new systems, such as the temporal dithering used to fake truecolor on most new LCD monitors.
Video hardware outside the monitor can also cause flicker through many different timing and resolution related artifacts such as screen tearing, z-fighting and aliasing.
Health Effects
The constant refreshing of a CRT monitor can cause various symptoms in those sensitive to it such as headaches in migraine sufferers and seizures in epileptics, if they are photosensitive. Screen filters are available to reduce these effects. A high refresh rate (above 75 Hz) also helps to negate these particular effects. Frequent users of TFT monitors usually are more sensitive to the low refresh rate of CRT monitors as the light behind a TFT monitor (backlight) usually is driven at 40-50 kHz, which is unnoticeable to the human eye.
As the flicker is most clearly seen at the edge of our vision there is no obvious risk in using a CRT, but prolonged use can cause a sort of retinal shock where the flickering is seen even when looking away from the monitor. This can create a sort of motion sickness, a discrepancy between the movement detected by the fluid in the inner ear and the motion we can see. Symptoms include dizziness, fatigue, headaches and (sometimes extreme) nausea. The symptoms usually disappear in less than a week without CRT use, and usually only last a few hours unless the exposure has been over a long period.
External links
Predicting flicker thresholds for video display terminals
Categories: Display technology | Television technology
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Wall box for metal wall brackets

yanglulu47 — Mon, 24 Aug 2009 09:48:01 +0200

Coin Banker with Key Ring And Mini Coin Bank And Coin Box And Money Box And Piggy Bank And Coin Collector ,

A British Wall box set into a brick pillar, at the Amberley Working Museum.
Wall boxes are a type of post box or letter box found in many countries including France, the United Kingdom, the Commonwealth of Nations, Crown dependencies and Ireland. They differ from pillar boxes in that, instead of being a free-standing structure, they are generally set into a wall (hence the name) or supported on a free-standing pole, girder or other stable structure. In the UK, UK Dependent Territories, Colonies and former Colonies and in many former British Empire countries, wall boxes usually bear the initials of the reigning monarch at the time the box was made. The first UK wall boxes were erected in 1857 in Shrewsbury and Market Drayton.
Contents
1 Construction
2 Manufacturers
3 History
4 Queen Victoria
5 King Edward VII
6 King George V
7 King Edward VIII
8 King George VI
9 Elizabeth II
10 Republic of Ireland
11 Images
12 Wall boxes around the world
13 See also
14 References
15 External links

//

Construction
Wall boxes are normally made of cast iron and are fabricated in two large castings with a third casting for the door. The rear part of the box which is set into the wall is cast as one piece, rather like an upright coffin. The whole front of the box including the aperture, royal cipher and the collection plate holder, are cast as one. There is a large opening in the front casting into which a hinged door is inserted. It is held in place by steel pins at top and bottom which locate into machined holes in the front casting. A secure 5-lever Chubb lock is fitted to all wall boxes made after 1870. Previously, narrower locks from the firm of Nettlefields were used. They are not interchangeable and this causes problems when keys are lost and locks have to be changed.

The tablet holder box and the Chubb lock are clearly visible as a postman clears mail from an 'A' size wall box in Deal, Kent
Initial examples were fitted with a simple wire tray internally over the base to raise any post off the lower surface. This was necessary because water seeped into the box through the side seams and condensation could also form on the inside, making the base rather wet. Later modifications saw this wirework extended to form a vertical barrier across the whole inside front of the box. This prevented mail from cascading out onto the ground when the door was opened for clearing the box. By 1879, UK wall boxes were also fitted with a drop-down hinged metal letter chute to help guide the stored mail into the waiting sack or basket during clearance.
An even later modification, which was then widely retro-fitted, was the provision externally of a Next Collection tablet holder to hold the square metal tablet inscribed, enamelled or printed with the time or day on which the next collection is due to be made. At the same time, internally, a tablet storage box was added to hold the remaining day or hour tablets not currently in use.
Manufacturers
Many different manufacturers' names may be found on British-style wall boxes, many of which were exported around the world. Included amongst these are: Smith and Hawkes Ltd., Eagle Range & Foundry, Bernard P. Walker & Co., W.T. Allen & Co. Ltd., Carron Co., Derby Castings Ltd., Andrew Handyside & Co. Ltd.
Manufacture of cast-iron wall boxes in the UK for postal use finished in 1980.
History
Queen Victoria
Letter Box Study Group identifiers appear in brackets. The first pillar box was erected in the Channel Islands in 1852 and it was soon realised that, while successful, pillar boxes were expensive to manufacture and sometimes difficult to site. A box which could be recessed into a wall was preferred in rural areas where no pavement or street lighting existed. The First National Standard (WB74) design was made by the Birmingham, UK firm of Smith & Hawkes Ltd. and the first boxes were installed in 1857. Today, around 10 survive, mostly in the West Country and West Midlands of Great Britain. The design was seen to have several flaws which lead to unacceptable ingress of water when in use in the wet British climate. A modified version, The Second National Standard (WB75 and WB76), debuted in 1859 and was more successful. A pedimented top and a large rain hood helped to keep water out of the box. Drainage holes were provided at the base to enable accumulated water to drain away
easily. The doors of these two boxes were rather small and set high up the front of the box, which made clearing them awkward.

This rare Victorian 2nd National standard wall box near Andover in Hampshire has a large hood and a pedimented top to keep the rain out
This problem was overcome with the 1861 modification to form the Smith & Hawkes No.2 Size (WB78), in addition, a larger size, known as No.1 (WB77), was also provided. It had been trialled with the Second National Standard in very small numbers, only one of which has survived in the UK at Wickhambrook, Suffolk. There are about ten survivors of the later No.1 Large size and several hundred of the No.2 size in the UK.

The only known example of the large 2nd National Standard wall box is at Boydon End, Wickhambrook, in Suffolk
By moving the Collection plate from the top front of the box casting to a slot in the door, it was made much easier to change, having previously been bolted to the box front. These produced the 1871 design (WB83/1). The foundry underwent a series of ownership changes which saw Eagle Range & Foundry, Bernard P. Walker and even a combination of these two incised into the box maker's plate at the foot of the door (WB83/2-83/5). The Eagle Range & Foundry boxes made in the mid 1880s were very attractive with smooth recessed collection plates and small neat VR cipher and crown. The contract passed to W.T. Allen in 1886 with the production of the "odd" size C box (WB86), which should have been 10 inches wide and 13 inches deep, but was actually 13 inches wide and only 10 inches deep. Only 70 were made before this mistake was rectified, with the introduction in 1887 of the Queen Victoria Jubilee boxes. This series comprised three sizes with the largest now designated A, the m
edium size (formerly No.1) now B and the small one (formerly No.2) Type C (WB84, WB85, WB87). This trend remained the same for the next 75 years.
King Edward VII
Early Edwardian wall boxes used the Victorian patterns, modified to show an "E" instead of a "V", but retaining the Imperial State Crown from the Victorian boxes. This was modified in 1905 to correctly show the Tudor Crown of King Edward VII. Later still, a full "scroll cipher" was used on all but the smallest boxes.

A very good example of the Type A wall box with a full Edward VII Scroll type cipher at Cambridge Railway Station
King George V
During this long reign many thousands of wall boxes were installed. Of note are the free-standing wall boxes of Size A for use on the street and the introduction of boxes with rear-opening doors, designated Types D, E and F respectively, for use in sub-post offices. Included in these are the Type E boxes made respectively in:WB106/1 1932 by Andrew Handyside & Co. of DerbyWB106/2 1933 by Derby Castings Ltd.WB106/3 1934-6 by W.T. Allen & Co. Ltd. of Londonwhich cause a lot of confusion for those photographing and studying them as they are identical save for the Maker's name on the base which may be obscured by 75 years' worth of paint. All have the larger GR cipher positioned low on the door, whereas earlier GR boxes by W.T. Allen 1910-25 have a smaller cipher set much higher on the door, so that the top of the cipher almost abuts the collection plate holder. Similar difficulties are encountered when trying...
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