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Monday, September 03, 2012

Hydrangea Test Flower

this is a test flower in response to this article Lacy Crochet's Hydrangea. I was trying to help her test her pattern and make the petals more hydrangea-shaped. She wanted them more pointy. I followed her instructions, except I added an extra petal (5 instead of 4) and I added a picot in between the 2 trebles. For the picot, ch 3 after the first treble, then sl st into the first chain of the ch 3, then continue with 2nd treble. See  the link for her full instructions. I tried to make a french knot for the center, but I am terrible at making them. Just ask my mom, hahahhahhahahhahaha

Saturday, September 01, 2012

What I Have Been Working on Lately

Thick round potholders, dishcloths, and a heather gray shawl

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DVD: El Cid (1961)

December 6, 2012 | By

Return to: Home Blu-ray, DVD, Film Reviews / E

Film: Excellent/ DVD Transfer: Excellent / DVD Extras: Excellent

Label: Genius Products/ Region: 1 (NTSC) / Released: January 29, 2008

Genre: Historical Epic / Biography

Synopsis: The life of El Cid, the legendary hero who fought to unite 11th century Spain.

Special Features:

4-page colour booklet with introduction by Martin Scorsese / O-sleeve
Disc1 — Audio Commentary with Bill Bronston (son of producer Samuel Bronston) and Neal M. Rosendorf, Ph.D. (fellow at U.S.C. Center on Public Diplomacy, Historian, and biographer of Samuel Bronston) – Pt.1 / 1961 Promotional radio Interviews: Charlton Heston (3:36) + Sophia Loren (2:27) + Sophia Loren & Charlton Heston (4:47) + Charlton Heston & wife Lydia Heston (3:34) / 12 cast & crew filmographies / 2 Still Galleries: Behind the Scenes (95) + Promotional Materials (11)
Disc 2 — Audio Commentary – Pt.2) / Documentaries, Interviews & Featurettes with chapters stops: “Hollywood Conquers Spain: The Making of El Cid” (23:56) + “Samuel Bronston: The Epic Journey of a Dreamer” (52:20) + “Behind the Camera” Anthony Mann and El Cid” (17:22) + “Miklos Rozsa: Maestro of the Movies” (30:11) + “Preserving Our Legacy: Gerry Byrne on Film Preservation and Restoration” (7:38) / Miriam Collection Trailers for El Cid (1961 Original and 1993 re-release) + The Fall of the Roman Empire + Cinema Paradiso + and Control (2007)

El Cid may have begun as another epic super-production for producer Samuel Bronston, but by the time the film had done the rounds in theatres all over the world, it had earned a fortune, and rewarded some of its key participants with the critical acclaim they either needed, or it was a nice bonus during their peak career years.

Charlton Heston, for example, was smack in the middle of his historical figure fetish, having appeared in the Oscar-winning Ben-Hur (1959) and in a string of period films that included The Agony and the Ecstasy (1965), The War Lord (1965), and Khartoum (1966), whereas director Anthony Mann had just been fired from Spartacus by producer/star Kirk Douglas, and was still feeling lousy after the failure of Cimarron (1960), a misstep to critics who felt Mann’s prior small-scale, character-based westerns with James Stewart demonstrated his best directorial skills, and his innate knack for contemporizing tired genres with strong visuals and fostering performances that transcended familiar genre archetypes.

To some extent, those who felt Mann was all-wrong for big epics must have been surprised by the elegance of El Cid, which told the story of Spain’s 11th century unifier as he ran straight-on into a major Muslim-Christian conflict, became a hardened soldier through subsequent battles, and achieved immortality as a legendary figure who began to convince Moors and Christians to forge the beginnings of a Spanish nation.

Produced during the Cold War era, some have read various political threads within the film – a parable about people banding together against Communist regimes that were gobbling up or encroaching on the freedom of democratic nations – and the film does have strong resonance in a post 9/11 era where the story can be reinterpreted about the mounting conflicts between western cultures and a group of fanatics seeking to eradicate non-believers and infidels by any means necessary.

(Admittedly, the film’s chief villain is a nasty Arab stereotype, and there’s never any doubt most of the commanding Moors are played by white actors in brownface, with heavily exaggerated black circles under the eyes to ramp up their unpleasantness.)

Even with all that weighty subtext (including plenty of unsubtle Catholic imagery of El Cid being burdened by his faith and the local populace who need his aid, right in his first scene at a burning church) what makes this massive production still intimate and enduring is the love story between a man coming home to his bride, and the ugly events that weaken their trust and devotion until a reconciliation, and an unavoidable destiny beating loudly at the couple’s front door soonafter.

Heston gives one of his best performances; he’s less preachy than Ben-Hur, and while the character of El Cid isn’t well-rounded, he offers plenty of subtle gestures that humanize the near-mythic figure. Loren gives her wan character more emotional depth than likely existed on paper, as Chimene is basically the devoted wife forced to watch from the sidelines as her man saves the world (although even in a black funeral habit, Loren maintains her hottie status).

Knowing Chimene’s weak position in the narrative, the screenwriters added a dose of treachery (El Cid has a lethal duel with her father, hence the black habit) and a jilted lover (played by the wonderful Raf Vallone, then a spitting image of Tcheky Karyo) to spice up the first half of Act One, and mitigate a spectacular jousting sequence that forces the once-devoted lovers into marriage while still surrounded by a cloud of seething hatred.

Act Two, much like the second have of Lawrence of Arabia, is half the length of Act One, making it easier to sit through to the end, but the time leap between both halves is very jarring: taking place ten years later, a lot of things have to be assumed fast, and it’s to Mann’s credit that the scenes which open Act Two are measured in their pacing; it’s still takes a few scenes to catch up with the timeline, but the move towards the siege at Valencia that occupies the finale isn’t rushed, and it’s free of the painfully padded contrivances that mar most of Rudolph Mate’s dull 300 Spartans epic (final scene excepted).

El Cid is also one of Martin Scorsese’s favourite films (hence the booklet notes and box quote) and when it was restored from withering elements for a spectacular 1993 theatrical release, theatergoers could see why this film, admittedly full of the cliches inherent to historical epics, deserves so many accolades (and really should be seen on the big screen).

Criterion assembled their own superb special edition of the film in 1996 for their final laserdisc release, but it’s taken eleven years for El Cid to debut on DVD in North America. The DVD box art is a bit too boastful in proclaiming this to be its digital debut, as El Cid has been available on DVD in Europe, Japan, and Hong Kong for a while.

As is the case with many of Bronston’s epics, the rights were pre-sold to various territories, resulting in other films currently available overseas but not in the U.S. and Canada, so this Region 1 debut will hopefully be followed by the remaining titles in the producer’s catalogue.

Unlike prior DVD editions, each of El Cid‘s acts gets its own disc, which ensures a more dynamic picture and sound mix. The heavier extras are archived on Disc 2, whereas Disc 1 contains cast & crew bios, stills, and vintage audio interviews.

As was typical of the era’s radio promo kits, a sheet of questions was provided to local radio personalities who would read them before playing related replies from an LP. For the DVD, each track is separately indexed, and the original questions appear as text over a revolving set of stills, followed by familiar, press-friendly responses.

In the first track, Heston discusses his familiarity with the Cid and the historical subject and American equivalent (which he cites as Andrew Jackson); Loren elaborates on the little-known Chimene and discusses aspects of her character; in the joint Heston-Loren interview, the former explains El Cid’s name and his responsibility towards Spaniards in playing a beloved historical figure, while Loren furthers comments on Chimene’s relationship with the Cid, and aspects of chivalry; and in the Heston husband & wife interview, the topics cover private and career lives, sacrifices, and the ideal wife for an actor (civilian vs. non-career actress wife).

In the Heston-Heston interview, both were recorded together, whereas one can wisely assume, based on the ‘difficult’ working relationship between Heston and Loren during filming (plus Loren’s record-making $1 million salary which allegedly bristled the older Heston), their replies are from separately conducted interviews edited and alternated on the LP to make it appear both are sitting happily together, quite delighted to chat about their roles.

If one listens to the feature-length commentary track with Bronston’s son Bill and historian Neal M. Rosendorf, Ph.D. (currently writing a biography on Samuel Bronston) before delving into the meaty extras on Disc 2, the initial impression is one of a gloss-over. There’s so little that’s actually critical of the man; it’s basically a low-key, amiable conversation that more or less focuses on filming in Franco’s Spain; the film’s immense promotional value for Franco and Bronston; and the film functioning as a perfect travelogue of ancient Spanish castles and landscapes awaiting rediscovery by the international community.

Rosendorf’s familiarity is mostly with Samuel Bronston, so there’s little deep insight on the careers of the actors or director Mann; both mention the essentials, but they just don’t go deep enough, and it’s rather tragic additional comments from select historians weren’t edited into a rich 3-hour track, much in the way Criterion often crafts superb, broad narratives.

One highlight, however, has Bill Bronston recounting a simple call he made to A.M.P.A.S. (the Oscar folks), asking if perhaps they might be able to mention his father’s recent passing at the next awards ceremony; after some deliberation they agreed, thereby starting an annual trend in paying tribute to recent luminaries and pioneers that have passed away.

“Hollywood Conquers Spain: The Making of El Cid”

The first featurette has Rosendorf, historian Jeanine Basinger, author Mel Martin (author of Magnificent Showman), and Norma Barzman (widow of uncredited co-writer Ben Barzman) giving a concise chronology of the film’s shooting in gorgeous Spain where Bronston and Mann had access to 1500 castles of their choice, chunks of the Spanish army, and employed artisans who crafted stunningly detailed costumes, extraordinary sets, and amazing décor and props patterned after historical artifacts, including Heston’s sword being forged using the same steel as the Cid’s.

“Samuel Bronston: The Epic Journey of a Dreamer”

This is the best extra in the set because it covers a lot of ground in very frank details. Even if Rosendorf applies polite adjectives to describe Bronston’s personality flaws and ‘liberal’ financial planning, there’s no gloss-over done by anyone; it also becomes clear that the DVD’s commentary track was merely limited in scope and flawed due to the participants sharing far too many common interests and sympathies.

Covering his early years as a Russian émigré and his decision to establish a production center in Franco’s Spain, it’s undeniable Bronston was an enigmatic, colourful character whose life was comprised of colouful antics typical of the classic film pioneers of the twenties and thirties.

Bronston began as a hustler to help feed the family, and his knack for approaching unapproachable figures and extract funds came into a refined state during the fifties and sixties when he developed unique revenue systems without full studio backing: Pierre Dupont III was his primary benefactor; secondary monies came from the then-novel use of foreign pre-sales; and most incredibly, the third revenue stream came from reselling oil to Franco’s government at a time when the country was considered a pariah by the international community; Bronston used his sales commissions to fund the films, and replenish his Dupont line of credit.

With an apparent working budget of $7.5 million per picture, partially funded by the success of Bronston’s King of Kings, the revenues from the preceding productions funded the next, and El Cid‘s $24 million worth of profits helped finance the construction of what was then the largest film set, built for 55 Days in Peking [M] (the only movie for which we’re not shown any film clips). That was soon followed by an even bigger, costlier set for The Fall of the Roman Empire [M], a film whose budget was estimated to run upwards of $28 million.

In 1963, Paul Lazarus proposed to help solve Bronston’s financial woes by suggesting they make some quick exploitation films in Spain, but Bronston was clearly aware any connection with exploitive product would tarnish his image as a producer of family entertainment, and affect the type of refined spectacle associated with his name. Even when shooting El Cid, he allowed tourists to view from the sidelines to boost publicity and create a strong, ongoing buzz, with billboards proclaiming his name much in the way Otto Preminger has his name and the film title’s logo (as with The Cardinal) plastered onto production vehicles.

Like Fox’ Cleopatra, the monstrous budget of Roman Empire enabled many people to feed from Bronston’s large financial trough, but after it ran dry and production had begun on Circus World (excerpted in the doc via a wrongly cropped 1.78:1 ratio), Bronston’s chief benefactor, Pierre Dupont, said enough is enough, and pulled the plug.

Two productions announced by Bronston in 1964 were Paris 1900, written by Barzman and to have been directed by Vittorio De Sica; and The Nightrunners of Bengal, with Richard Fleischer as director. According to the DVD interviews, construction on sets for the former had begun, whereas the Criterion laserdisc (which we’ll get into shortly) cites Nightrunners as having actually reached preproduction before the plug was pulled, and Paris 1900 being the film that never reaching anything beyond a trade announcement.

In the end, as had happened to many arm’s length film investors, Dupont lost his fortune and credibility within the business community and the Dupont family. This fracture and Dupont’s bitterness, according to biographer Rosendorf, led to Dupont foiling Bronston’s repeated efforts to get back into business, and perhaps the most personal aspect of the doc is son Bill’s characterization of his father’s limitations outside of filmmaking: when not involved in producing, he was, as a family man and as a social being, a complete loss. Alzheimer’s eventually claimed Samuel Bronston’s life, and he died virtually penniless.

“Behind the Camera: Anthony Mann and El Cid”

The director tribute uses most of the archival bits, video, and audio materials present in the Criterion laserdisc (plus some rare behind-the-scenes colour footage not showcased separarely on the DVD), and it’s a tight portrait of Mann with intro comments from writer Yordan, who met the director while his play, Anna Lucasta, was enjoying a three-year run in NYC.

There’s some additional comments from Jeanine Basinger (including newly taped material), new material with Bronston biographer Paul C. Nagle, and great comments from daughter Nina Mann, who echoes the classic plight of having a celebrity or prominent Hollywood filmmaker as a parent: the relationship between child and parent was partial and distant, and Mann’s films oddly became an extension of his persona, with which his daughter could reconcile prior misunderstandings as an adult.

Like the Criterion tribute to Mann, it ends rather abruptly with clips from his last interview, done for British TV shortly before his death while filming A Dandy in Aspic, a ‘character’ and ‘contemporary realist’ film he chose to make after the monstrous spectacle of Fall of the Roman Empire, and the WWII actioner, The Heroes of Telemark.

“Miklos Rozsa: Maestro of the Movies”

The DVD’s composer tribute actually improves upon the Criterion version because of the moving personal anecdotes expressed by friends, associates, historians, family, and Rozsa himself.

Jeffrey Dane (author of Remembering Miklos Rozsa) covers the composer’s early studies and his intro into film scoring, and there’s an archival audio interview with the composer which allows us to hear Rozsa charming, graceful voice as he recalls Jacques Feyder’s badgering him into scoring films when the composer had no interest in associating himself with the movies.

Daughter Juliet recounts Rozsa’s daily working routine, his curious habit of writing notes on his shirt cuffs, and his dog Mowgli, whereas son Nicholas expands on Rozsa’s research on known period Spanish music, and his musicological interests which were never fully exploited so freely after El Cid (although Sodom and Gomorrah kind of counts).

Conductor John Mauceri recalls the edits and mix changes that reduced Rozsa’s original 2 hr and 16 mins. score for El Cid by 23 mins., but rather than take a side, he acknowledges that the film perhaps signified the inevitable shift from using wall-to-wall score towards a more precision-based scoring style, with less thematic restatements, and a balance between silence, sound effects, source cues, and traditional score.

As on the laserdisc, the Nicholas Rozsa interview describes how there are no surviving music masters from the original recording sessions except a music and effects mix (which really could and should’ve been included on this DVD. It was known this was the only surviving source of the score when the film was restored for a 1993 theatrical run, and given music and effects mixes have appeared on DVDs of classic and contemporary films – like Criterion’s Short Cuts and Straw Dogs – to at least be able to watch the film with score and effects would’ve been a boon).

After seeing the finished El Cid, Rozsa wasn’t happy with the final mix and cue deletions, but he did allow Bronson one unique favour: because of the film’s Italian investors who had a comparatively minor but important $1 million stake in the budget, Rozsa was asked to share composing credit with Mario Nascimbene on all Italian release prints (although Rozsa would receive all royalty payments), which ensured the film’s production continued.

The lengthy tribute closes with Mauceri’s recollection of a birthday salute to Rozsa at the Hollywood Bowl, and his meeting the ailing Rozsa through Tony Thomas and arranging to have the composer attend a recording session with the Hollywood Bowl at the old MGM recording studios to hear a performance of his Madame Bovary waltz.

“Preserving Our Legacy: Gerry Byrne: on Film Preservation and Restoration”

The last DVD extras is somewhat misleading, and feels like an edit of an improvised interview done by the crew while they were hanging around the Bronston archives. It’s a short but helpful tally by leading Bronson archives expert & manager Gerry Byrne on how copies were made from the now (mostly) disused Super Technirama 70 system which, like IMAX, ran the film sideways through the camera. Byrne also elaborates on how he’s been frequently called back from retirement to help track down materials whenever prints were required for showings, transfers, or restoration projects.

There’s nothing really new in the interview – there’s very few film clips, and it’s just a talking head shot of Byrne with no additional stills – but he does provide a funny anecdote in tracking down foreign dub tracks in his garage when Technicolor had to expunge the film cans from its space-limited labs and had them forwarded to Byrne’s household.

Prior to DVD, the restored version of El Cid that played theatres was given a typically deluxe release by Criterion in 1996 on their last laserdisc, and collectors should hold onto that set because of some subtle and significant differences.

Transfer-wise, the picture is superior on the DVD, with a gleaming anamorphic transfer with fine, blossoming colours, and while some shots are bit soft, Robert Krasker’s cinematography is breathtaking, exploiting the authentic locations, vistas, mountains, magic hour skies, and massive use of extras that sometimes went on for miles.

Every shot begins and ends on a portrait, and when Mann has the camera tracking along, the coordinated movements within the frame maintain perfect compositions. The sets are truly extraordinary in detail and scope, and Mann’s use of widescreen is sublime; the most effective moments are often the simplest, including a shot signaling the Cid’s duel with Chimene’s father, which has Heston’s sword appearing as being on fire at the tip. Should the film make to Blu-Ray, this will be a mandatory purchase for anyone wanting to watch perfect widescreen cinematography on their big screen TV.

The sound mix is expansive but oddly lacks some of the bass oomph present in the Criterion transfer (the laser came with a 5.1 AC3 track and 2.0 Surround mix) but Rozsa’s score shines throughoutt he film (except for the Exit Music, which features a really dreadful vocal version of the love theme).

In terms of extras, there’s a making-of featurette with interviews that were sampled in the Miriam DVD, but there are some significant tonal edits that were made to soften a few criticisms. Heston’s interview, for example, actually begins with the actor saying El Cid could have been “the epic film of all time” had it been directed by William Wyler or David Lean. He doesn’t deliberately slight Mann, but feels ‘more could have been wrung from the story.’

The same Heston, Nicholas Rozsa, Philip Yordan, Leon Patluch (Vice-President and Treasurer of Samuel Bronston Productions, Inc.), archival Mann and Bronston interviews were extracted on the DVD, but the laserdisc has some longer segments and additional comments from editor Robert Lawrence (who also references Spartacus), and script supervisor Pat Miller (on Mann’s passion as a filmmaker). Missing from the DVD are short comments from key grip Fred Russel, and production manager Leon Chooluck (who didn’t see any reason to make the film beyond economic opportunities for the cast & crew).

The laserdisc also gathers comments for a tribute to director Mann, and features the full raw audio interview with writer Philip Yordan, who enjoyed a busy career and long friendship with Bronston, and was paid a handsome $400,000 for every script! Most of his comments were used for the DVD, except for anecdotes on Mann’s profanity, his chain smoking, and his post-El Cid divorce which somewhat led to the end of their working relationship.

What’s interesting and annoying about both DVD and laserdisc materials is that no one is precise on exactly who wrote the first draft of El Cid which was so disliked by Loren, and was ordered rewritten by Ben Barzmen during filming.

(According to the DVD, Barzman was actually suggested by Loren for the rewrites because she was greatly impressed with his brilliant script for Christ in Concrete, made while he was blacklisted by Hollywood during the Communist witch hunt era. There’s no mention if Yordan wrote the first draft, and Yordan doesn’t specify his contributions in any interview materials, so from the various comments scattered between the DVD and laserdisc, the assumption is that Yordan seems to have been more of a showrunner for Bronston’s company, guiding writers and making executive decisions to shape a screenplay into a formal shooting script.)

Criterion’s tribute to composer Miklos Rozsa uses an ongoing narration by Bruce Eder, and the historian examines Rozsa’s main themes – for the Cid, the love theme, Gormaz theme, the triumphant march – and he largely repeats the same details regarding the reduction of Rozsa’s score, and the two credited composers on the Italian release prints. Also part of the composer tribute is an additional interview clip with Nicholas Rozsa, and a somewhat longer version of the same Miklos Rozsa audio interview.

A lengthy interview with Samuel Bronston’s son Bill was recorded (on VHS) exclusively for the laserdisc, and the emphasis is more on how and why the Bronston empire fell apart, with son Bill going over the same details of Bronston’s financial association with Pierre Dupont III, although Bill Bronston names a man allegedly hired by Dupont to specifically foil his father’s repeated attempts to get a film made.

Eder ‘s audio commentary over select extras also includes some further info on Bronston’s aborted and few realized projects, and Dupont’s successful lawsuit for $3.5 million that undoubtedly pushed the former luminous producer into obscurity and poverty.

What’s frustrating about the DVD set are the information gaps between Bronston’s last credited film as producer – Circus World (1964) – and the last years of his life. Bronston’s filmography does contain subsequent productions, but neither Savage Pampas (1966) nor Dr. Coppelius / El Fantástico mundo del doctor Coppelius (1966) are mentioned, nor is Ferdinand and Isabella / Isabella of Spain. (That film was intended to have starred Glenda Jackson and John Phillip Law around 1969-1971. The project was aborted after some preproduction, and is one of the few unrealized projects mentioned by son Bill in his laserdisc interview.)

Also out of sight from the DVD are mentions of The Mysterious House of Dr. C (1976, written by Philip Yordan, with Bronston credited as producer), and Fort Saganne (filmed in 1986, with Bronston credited as co-producer). These omissions, however, might be saved for Miriam’s upcoming Roman Empire DVD, since it makes no sense to duplicate the same featurettes and tributes.

The most touching and unique extra on the laserdisc (and one that should be included on the Roman Empire DVD) is a Super-8 sound film called Producers (6:15). Shot in 1981 in Houston, Texas, where Bronston had been living, the short was made by two kids (one being the son of his assistant), and has the two boys seeking advice from the legendary producer. They’re shown a sword from El Cid, Bronston’s wall of certificates, numerous awards, memorabilia, and the veteran producer outlines what the boys need if they want to make movies, during which the laserdisc’s producers (perhaps due to space limitations) overlay stills since most of the 8mm footage is pretty blurry. Bronston elaborates on his type of favourite films, and he tells the boys to come back with a good story, so he can invest in their project.

If more of Bronston’s epics are to follow, then this 2-disc edition of El Cid from the Weinstein Company is an excellent intro into the producer’s career and the insane world of historical epic film production from an era where producers were ironically trying to establish their own fiefdoms while the big studios were going broke and being gobbled by bigger corporations, and losing the ability to fulfill the needs of a changing marketplace.

The kind of movies Bronston was creating to brand himself were already becoming obsolete by the mid-sixties, and one could argue it was inevitable he was doomed because he chose to tailor his expensive product towards a dwindling demographic, whereas the more savvy Joseph E. Levine, through his Embassy Pictures, knew that to survive, he had to aim high and low (hence the mix of European imports like the el cheapo Hercules knock-offs sold directly to TV, glossy sleaze productions like The Carpetbaggers, art films, audience-pleasers like The Graduate, and the occasional Oscar bait, likeA Bridge Too Far.)

In the end, El Cid really is one of the last good epics, and fans of these monsters won’t be disappointed.

This 2-disc edition is also available in a Collector’s Edition which packages the 2-disc edition in a fancy-schmancy box with stills, and reproductions of a comic book and the original program souvenir book.

© 2012 Mark R. Hasan

External References:

IMDB Soundtrack AlbumCD Review —  Composer Filmography

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text:
How to Start a Business in KwaZulu-Natal

Phase 1
1. Research and evaluate investment and business possibilities and identify needs relating to your product or service.

Phase 2
1. Draw up your business plan.
2. Decide on the type of business entity that you wish to form
3. Think about your enterprises name and think about at least 2 other alternatives
4. Obtain business and work permits (applies to foreigners only)
5. The company must be registered with the South African Registrar of Companies in Pretoria within 21 days of the company being started.

Phase 3
1. Register The Company/ Business Entity With The Receiver Of Revenue:

  • as a Provisional Taxpayer
  • as a VAT vendor
  • for Pay As You Earn (PAYE) income tax on employees
  • for Standard Income Tax on Employees

2. Registration with the District Council
Businesses employing staff must pay gross revenue or salary related levy

3. Registration With The Department Of Labour
Businesses employing staff will have to contact the Department of Labour regarding mandatory contributions to the Unemployment Insurance Fund (UIF).

4. Registration with The Local Authority
Businesses dealing in fresh foodstuffs or health matters are required to register with the local authority.

5. Other Actions Include:

  • Checking Exchange Control procedures (Please note that non-residents are generally not subject to exchange controls except for certain categories of investment.
  • Negotiate property and services
  • Obtaining approval for building plans
  • Applying for industry and export incentives
  • Applying for import permits and verifying import duties payable
  • Registering as an exporter and applying for an export permit
  • Ensuring Exchange Control compliance when remitting payments overseas

Please Note: The checklist is a general description of the steps that a start-up company may follow. Registering for copyright, patents, trademarks and designs are not compulsory for every enterprise.

How to Start a Business in KwaZulu-Natal

Copyright © 2020 KwaZulu-Natal Top Business

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Ladybrille® Blogazine

Thursday, October 23, 2008

Stephanie Okereke Wows Audience With Premiere of “Through the Glass”

Fans from across the nation and respected names in the film business such as Chief Operating Officer and General Counsel of CW Television Network, John Maata; and Mike Ajakwe, writer/producer/director were some of the guests that attended the premiere of Nollywood A-list Actress Stephanie Okereke’s film “Through the Glass.”

Excitement filled the air as the premiere held on October 18th, 2008, at the Pacific Design Center in Hollywood, opened to a packed, diverse and very receptive audience. There were lots of laughter, cheers, and at times sounds of empathy as the audience reacted to the screening.

“I did not know what to expect,” said Ajakwe to Ladybrille. “I was pleasantly surprised,”he added. “It was unexpectedly good,”nremarked one American guest after viewing the premiere. “I really liked it” said Maata.
L-R: Mike Ajakwe, Uduak and Actress LaTamara Smith, "The Lion King"

The above were not the only ones impressed with Okereke. Prior to the screening of “Through the Glass,” Okereke along with her audience were surprised when she was awarded two certificates of recognition for her work on her film. One was from the California Legislature Assembly, signed by Assembly Member Curren D. Price Jr. of the 51st Assembly District and the other from Mayor Jim Dear of the City of Carson.

After the premiere, and with gift bags that included goodies from Stephanie’s fashion label S.O. Collections and Clear Essence [one of her sponsors], guests headed to the very upscale restaurant and bar lounge, Tanzore. Tanzore was on fire with a red carpet VIP lounge, a fashion show debuting Okereke’s S.O. Collection by Stepahnie Okereke, free drinks and food, and lots of dancing to some of the top singles from Nigeria’s hip-hop and R&B artists.

Speaking to Ladybrille after the show, Okereke said. “I am just overwhelmed. I was really proud. I was so proud when I looked at the faces of Nigerians who were present.”It looked like they were waiting for something like this for a long time.”

First photo: Uduak of Ladybrille with Nollywood A-List Actress Stephanie Okereke at the Tanzore VIP Lounge.
Ladybrille captured all the excitement and we will bring to you, soon, more pictures and our Ladybrille TV coverage of the event. To hear directly from Stephanie on the making of "Through the Glass" film, click here.

Anonymous said...

I agree with Sandy on the way she speaks. I think she can use some good classes. Her make-up looks jack up in this picture though, ooops. Let's be real. Sandy you need to give her some props though she tried. They say she's Hollywood superstar..very funny how every local artist wants a piece of Hollywood. sis, please stop trying soo hard. I love you but hmm...

Anonymous said...

Why is your concentration on her make up, and whether or not she's Hollywood? The woman produced and directed a movie. You should've bee there to support her not to judge menial things such as her make-up.
She was able to afford to use two wonderful locations in Hollywood and Beverly Hills so uhm...I guess she is Hollywood after all.

Anonymous said...

uhmmmm...there is constructive criticism and there is plain heting! This one is plain hating and this goes out to the first anonymous comment!

The French don't apologize for their accent, neither do the Chinese and Portuguese etc...Only in naija have I seen folks sooo all about this person speaks with an accent etc. Y not? Y shd she speak differently just because she is in Hollywood...Have you heard Arnold Schwazzenegger or Salma Hayek or Penelope Cruz??? Give me a freaking break!

Don't hate...celebrate! And that goes out to all black people who are so into tearing down other people's achievements!

More power to you Steph and as you rise, they will keep watching from the sidelines! My 2 cents!

Anonymous said...

I begin to get angry when you guys start to color the news. It cannot surprise Stephanie to get an award of recognition because somebody from her fold must have applied for it unless they kept it from her during the application process. Any citizen especially one that votes can make an application and get ths citation. If they wanted, the mayor of LA could have declared it Stephanie Okereke Day as well. LadyBrille please dont start the Nigerian kind of Journalism where they try to make a mountain out of a molehill. Congrats to Stephanie for making this film, look what going to actually study for something can get you. This was part of project at her film school and see what she has achieved with determination. That is what we should be applauding not that piece of paper from the California Assembly... please spare me

Anonymous said...

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Serving Sioux Falls, SD

Lane Family Chiropractic - Logo

"Complete Chiropractic Care For You and Your Entire Family"

In simplest terms, a subluxation (a.k.a. Vertebral Subluxation) is when one or more of the bones of your spine (vertebrae) stop moving and create pressure on, or irritates spinal nerves. Spinal nerves are the nerves that come out from between each of the bones in your spine. This pressure or irritation on the nerves then causes those nerves to malfunction and interfere with the signals traveling over those nerves.

How does this affect you? Your nervous system controls and coordinates all the functions of your body. If you interfere with the signals traveling over nerves, parts of your body will not get the proper nerve messages and will not be able to function at 100% of their innate abilities. In other words, some part of your body will not be working properly. It is the responsibility of the doctor of chiropractic to locate subluxations, and reduce or correct them. This is done through a series of chiropractic adjustments specifically designed to correct the vertebral subluxations in your spine. Chiropractors are the only professionals who undergo years of training to be the experts at correcting subluxations.

Who can benefit from chiropractic?

Everyone can benefit from chiropractic, newborns to the elderly. If treatment is indicated, chiropractic care is very beneficial to your health. For some, chiropractic care could mean freedom from pain without the use of drugs or surgery. For everyone treatment could mean that they perform, work, live and function on a higher level. Chiropractic is drugless, non-invasive, and safe. The most common side effect of chiropractic is not a side effect at all, but rather the effect of feeling clearer, more balanced, and better as a whole. For many this often means living pain free. Children, young adults, adults and the elderly may all benefit from a properly functioning nervous system. Life is stressful both physically and mentally, and we are all affected. We all want to live happy, healthy lives that are as productive and comfortable as possible. Chiropractic is available to all, to serve you both preventively and to heal your ailing systems. It is often said that good health is priceless, and yet we often ignore the health of the nervous system that controls our body. Everyone, young and old should be evaluated and treated when clinically indicated by a chiropractic physician.

To learn more about our chiropractic services,

give us a call at:

Read Our Frequently Asked Questions

Our team at Lane Family Chiropractic is family-owned and operated. We're located in Sioux Falls, SD. You can count on us for a wide variety of chiropractic services. Enclosed below are some frequently asked questions for your easy reference.

What is a subluxation?

Helping you with top-notch chiropractic treatments for the last 10 years!

What can I expect from my first visit?

Your first visit to Lane Family Chiropractic will give you an opportunity if chiropractic can help you. The doctor will perform a thorough history of your present complaints as well as your past history. The doctor will then perform a thorough examination on the area of complaint as well as corresponding areas and make recommendations accordingly. X-rays may be needed to give the doctor more information to help treat you. There is not an x-ray machine on site, but Lane Family Chiropractic has a facility nearby where x-rays can be taken. If x-rays are needed, the doctor will go over them with you and explain what she feels is causing your symptoms. If further tests are needed, they will be discussed at that time. Each patient will also be adjusted that same day unless otherwise contraindicated. If any questions arise during the visit, do not hesitate to ask the doctor. Your first visit will last from 30-45 minutes, but other visits following will take about 20-25 minutes.

Can I be adjusted if I am pregnant?

Of course, yes. Chiropractic is very safe for both the mother and the child. In fact, chiropractic can be very beneficial for pregnant women suffering from low back pain. The tables that chiropractors use can be adjusted to accommodate the growing belly of a pregnant woman. The tables allow the pregnant woman to lie on her stomach so the doctor is able to evaluate their lower back. The doctor's technique is modified, but the technique is safe and beneficial. If you are pregnant or think that you are pregnant, please inform your doctor immediately, because there are some therapies that cannot be performed in the area of a pregnant uterus.

Why should I go keep going to the chiropractor if I am feeling ok?

People usually only go the chiropractor when they feel pain in their neck, low back, or even suffer from a debilitating headache. This then causes a person to visit the chiropractor more frequently to get rid of their pain. As soon as their pain is gone, they often stop going to the chiropractor. You may feel fine, but the joints in your body may not be moving correctly and are not to the point of causing pain. Even though you may feel fine, regular visits to the chiropractor have been shown to decrease, even sometimes prevent exacerbations of pain that bring you to the chiropractor. Regular wellness adjustments can decrease the exacerbations of pain and in turn decrease your visits to the chiropractor. Regular adjustments have also been shown to decrease the number of illnesses that one experiences throughout the year.

Chiropractor Chiropractor


text:
EH Light

Eagle Harbor Book Group, 2013

Welcome to the web site for the Eagle Harbor Book Group. This site is designed to allow members a chance to nominate books for discussion, display the current voting status of books once voting opens, and to list the schedule of books and locations once the voting closes. The appearance of this page will change as readers nominate books, vote, and a schedule is created with the most current activity appearing near the top of the page. For an example, take a look at the 'Past Years Materials' link to 2012 to see what we did last summer.

The menu at the top allows members to review the books discussed in past seasons so that they can recall what was discussed and when as well as to review books that were nominated but not discussed.

Nominations/Discussion for 2013

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text:
Interstellar: Ending Explained

Comments • 1 516

  • The Take
    The Take   1 years back

    Sign up for SKILLSHARE:
    Support ScreenPrism on Patreon:
    Subscribe to keep up with our latest videos, and let us know what you want to see next!

    • Stewart Patterson
      Stewart Patterson  2 months back

      Can you please do a video on Pi and cryptography?

    • Sylvia Lopez
      Sylvia Lopez  2 months back

      Video begins @1:45

    • US4FREEDOM 0U812
      US4FREEDOM 0U812  2 months back

      Linda Curmnutt  Dr Brands Lie. was climate Change. Eterme weather causes Food shortage wasn't a lie. It.distraction from
      It is true what..

    • MAK MAK Review s
      MAK MAK Review s  3 months back

    • Sooraj vinod
      Sooraj vinod  3 months back

      It's not a plothole....the future humans are those born on brand's colony after some years.....

  • Juan Bolanos
    Juan Bolanos  11 hours back

    I still dont get what was wrong with earth

    • Brian Friedman
      Brian Friedman  22 hours back

      I love the part when they "scientifically" make hand brake turn around black hole lol this movie is a joke

      • E. Ber
        E. Ber  1 days back

        only nolan can tell such stories in movies.

        • Charles Rast
          Charles Rast  1 days back

          I love the film but precise? Not even McConaughey is going into that black hole and coming back out to tell

          • liviu bardel
            liviu bardel  1 days back

            the end goes over complicated . and ruin the entire movie . for me .
            the black hole . the new planets . seeding humanity on other planet . no return . seeding ships are one way trip . seem ok . lets end whit that .
            no faking 5 dimension . is stupid .

            • ITSBAYSIDE
              ITSBAYSIDE  2 days back

              i thought the 4th dimension was time,so 5th is time? then whats the 4th? theres 11 dimensions,imagine what theyre like,i dont think we can comprehend after 5th.

              • Nestler
                Nestler  2 days back

                Honestly, i think this movie should pass on the cinema again for all the people who didn't have the opportunity at the time, let's make a petition!!! 😭

                • Archana Mishra
                  Archana Mishra  2 days back

                  • Ribeye Robert D
                    Ribeye Robert D  2 days back

                    Hire a voice with no understanding of science?
                    Try harder.

                    • Thunder Bolt
                      Thunder Bolt  3 days back

                      Whats the point of saving those who even didnt exist and endanger those who exist

                      • saljpal3
                        saljpal3  1 days back

                        Everything is technically irrelevant because everything in existence will inevitably come to an end. 😂

                    • Rocky Balboa
                      Rocky Balboa  3 days back

                      Bulk being is GOD

                      • Kubic
                        Kubic  3 days back

                        The narrator's voice is so soothing!

                        • Gerard Desilets
                          Gerard Desilets  4 days back

                          or it is just the delirium of a man dying slowly by being tear apart by gravity forces ??? trying to find a sense in all what had happen

                          • Peter Nachtwey
                            Peter Nachtwey  5 days back

                            The ending ruined the movie. It is too far fetched.

                            • PHELEEKS Eh
                              PHELEEKS Eh  6 days back

                              White people don't know what love is

                              • saljpal3
                                saljpal3  1 days back

                                Got that right 😂

                            • Mike L
                              Mike L  6 days back

                              It’s sad that there is channels like this that are a necessity to explain things to people who don’t care and are not looking for this new information.

                              • Ralph Hoskins
                                Ralph Hoskins  6 days back

                                Hands down ,, the best sy fi movie I have ever seen... 2010,, is great,, but I have never seen a movie that has stirred up emotions in me like interstellar,,,it’s just heart breaking and fantastic all at the same time...

                                • mouse2588
                                  mouse2588  6 days back

                                  I guess it's a good thing that climate change isn't effected by what WE do but is solely driven by our parent star, the Sun.

                                  • thomson ratnam
                                    thomson ratnam  6 days back

                                    I love this movie .it brings me tears and shows a great respect to scientific and ghosts as the same frame .one ethic movie that I have seen worth watching again and again but has always more and more passion towards showing the power of love,gravity and time ..........("ప్రేమ,ఆకర్షణ,సమయం ఎంతో శక్తివంతమైనవి) .thanks for explaining............

                                    • MD Baloyi
                                      MD Baloyi  1 weeks back

                                      Matt Damon in his suit from “The Martian.” 🤔

                                      • Joseph Weimer
                                        Joseph Weimer  1 weeks back

                                        Interstellar is my all time favorite movie. I have watched it SEVERAL times, and will watch it many more. However, I have a minor problem with the movie. It is a paradox (I hope I am using that right). How did Cooper and Murph see messages from the future Cooper, if past Cooper never would have gotten to the Tesseract, unless he accidentally stumbled onto NASA with Murph. I hope that makes sense. It does in my head, but I can’t find a good way to write it down.

                                        One theory I have, is that everything you see up until Branch 1 Coop entered the Tesseract, is an alternate branch of time, which I will call Branch 2. That means the Branch 1 Cooper got to where he was by accidentally stumbling upon NASA, one thing led to another, and he is now inside the Tesseract, where he would then affect multiple branches of time with his messages, and one of those was Branch 2, which was the Branch you were originally watching.

                                        Again, it makes more sense in my head.

                                        • Borja Etxebarria
                                          Borja Etxebarria  1 weeks back

                                          - Time paradoxes are hard to swallow. I think we just can't really understand that :-(
                                          - You are trying to reason this with branches in time, threads in time, as if time was linear and an effect has always a cause (which is what out limited brain gets).
                                          - But in the movie they present time as something non linear, as seen inside the tesseract - it is not really possible to visualize that in our 3-D brains but they try with all those Escher-alike views and rooms and infinite bookshelf.

                                      • Fra Diavolo
                                        Fra Diavolo  1 weeks back

                                        Majesterial movie

                                        • deucedeuce22oz
                                          deucedeuce22oz  1 weeks back

                                          "He would go and do calculations and find ways..."... Yeah, because their math (and science) is BS. They can make ANYTHING possible with numbers, even if it has no basis in reality (like a science fiction writer can make anything possible with words).

                                          • Approx
                                            Approx  1 weeks back

                                            That's not even true lol. Try and come up with an equation for a line that doesn't satisfy its graph. You can't. Physics and maths are a way to describe the universe perfectly as far as possible.

                                        • Namiko Sai
                                          Namiko Sai  1 weeks back

                                          Fuck this movie always makes me cry ;-;

                                          • ch3lo91
                                            ch3lo91  1 weeks back

                                            a beautiful movie

                                            • ツNogged
                                              ツNogged  1 weeks back

                                              This is the best sci-fi movie I have ever watched I will never another movie as good as this one again

                                              • Caelum Natura
                                                Caelum Natura  1 weeks back

                                                This is brilliant movie. From science perspective, but from emotional as well. One among the few pearls of modern filmography.

                                                • MrDjCombs
                                                  MrDjCombs  1 weeks back

                                                  Thats so funny how Matt Damon survived on an uninhabitable planet but Edmond died on a habitable one.

                                                  • sisir voruvuru
                                                    sisir voruvuru  2 weeks back

                                                    Tars:-Its impossible........
                                                    Cooper:-NO ITS NECESSARY!
                                                    this is the scene which shows us human spirit

                                                    • LordPredator 8
                                                      LordPredator 8  2 weeks back

                                                      How do we know that the bulk beings are the future humans? It's making a paradox.

                                                      • saljpal3
                                                        saljpal3  1 days back

                                                        Because they put so much effort to help the human race, it only makes sense doing so serves some form of self interest.

                                                    • Daniel Sosa
                                                      Daniel Sosa  2 weeks back

                                                      This has to be one of the greatest movies of all time

                                                      • micdoses1
                                                        micdoses1  2 weeks back

                                                        Watched inception today n damn overrated af

                                                        • Sharath Kumar S
                                                          Sharath Kumar S  2 weeks back

                                                          Why do THEY want to save the mankind when itself is suffering !!!

                                                          • saljpal3
                                                            saljpal3  1 days back

                                                            They save mankind to save themselves.

                                                        • Matej Manevski
                                                          Matej Manevski  2 weeks back

                                                          Personally I like the movie, the bad thing is that it's making a paradox. Look at 8:23. A bootstrap paradox, think, how could the the bulk beings or future humans exist? Because they can't exist without Cooper saving the humans in the first place. They also built the tesseract and the wormhole for Cooper and the Lazars Mission to go through. I am curious to see what do you think. :D

                                                          • Angshuman Bhattacharjee

                                                            The makers of interstellar are actually "They" , who are preparing the mortals on earth for the journey beyond stars and galaxies. "They" are preparing earthlings psychologically through cinema influencing our way of thinking or how we perceive the space travel and its challenges. The future humans living in fifth dimension are now preparing us to take that jump, the question is how prepared are we?? We need many more Coopers.

                                                            • Nino Dervisevic
                                                              Nino Dervisevic  2 weeks back

                                                              Loved the movie even when I didn’t get it first time 😊

                                                              • Haiden Geary
                                                                Haiden Geary  2 weeks back

                                                                Weird, not long after this came out scientists proved gravitational waves.

                                                                • Muddfish
                                                                  Muddfish  2 weeks back

                                                                  Of course someone’s gotta bring up climate change ...🤔

                                                                • Danielle vd Made
                                                                  Danielle vd Made  2 weeks back

                                                                  This is why I take Interstellar on a high spiritual level🌌🌟

                                                                  • Calvin Litt
                                                                    Calvin Litt  2 weeks back

                                                                    This movie is up there with the movies Artificial Intelligence and Cloud Atlas. They dont just convey a picture but take you on an emotiona journey while expanding your mind.

                                                                    • Eric Urraco
                                                                      Eric Urraco  2 weeks back

                                                                      14:10 I can´t find sense to that part

                                                                      • terry llolla
                                                                        terry llolla  2 weeks back

                                                                        I really like to watch this movie.

                                                                        • terry llolla
                                                                          terry llolla  2 weeks back

                                                                          The interstellar, very good movie
                                                                          I like it.

                                                                      • The Black Baboon
                                                                        The Black Baboon  2 weeks back

                                                                        “We’re only here to make memories for our kids”...

                                                                        • _._.playz.19
                                                                          _._.playz.19  2 weeks back

                                                                          This is a really dumb question but I
                                                                          Had to ask, is Cooper daughter (Twentys Form) the same person of that one red head who made it to the ending and got domestic abused by her husband in "It Chapter 2"

                                                                          • _._.playz.19
                                                                            _._.playz.19  2 weeks back

                                                                            @Ben Wohlers Okay thank you!❤👍🏻

                                                                          • Ben Wohlers
                                                                            Ben Wohlers  2 weeks back

                                                                            Yes. Her name is Jessica Chastain.

                                                                        • Md Lipo
                                                                          Md Lipo  2 weeks back

                                                                          he loves his daughter but how about his other kids

                                                                          • RC Hobbyist Extreme
                                                                            RC Hobbyist Extreme  3 weeks back

                                                                            This movie is crap. What happened, Already happened. "They" already survived the end of the planet and any event that happened that made that event happen. There is NO WAY anyone can go back to fix something that already happened. Time can only flow forward, not backward. Only God has the power to go back and forth through time. Reading the bible, God showed us that. The devil himself showed Jesus future civilizations and offered him leadership over it all if Jesus gave up God's plans. The problem is the devil himself lied to Jesus. The Devil cannot force anyone to choose their fate. Jesus was already destined to die on the cross and knew it. If he hadn't, there would be no future generations. We are God's children, his design, his property. If Jesus hadnt died for us, there would not be a future because we would all die.

                                                                            • Chris Atwood
                                                                              Chris Atwood  3 weeks back

                                                                              Is this anime girl talking


text:
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Unanimous Juries (2018)

Louisiana: The State We're In

Genre: Newsmagazine

Place Covered: Louisiana

Copyright Holder: Louisiana Educational Television Authority

Date Issued: 2018-10-19

Duration: 00:06:58

Subjects: Constitutional amendments | Elections, 2018 | Criminal justice, Administration of | Jury

  • Moreau, Andre Host
  • Spires, Kelly Producer
  • Woods, Virnado Editor
  • Dilosa, Douglas Interviewee
  • Tarpley, Ed Interviewee

This segment from the October 19, 2018, episode of the series “Louisiana: The State We’re In” features Kelly Spires’ report on a constitutional amendment on the November 6th ballot requiring unanimous jury decisions for felony convictions. Spires reports that the current Louisiana law allows convictions on some felony charges with a 10-2 vote. She interviews Douglas Dilosa of Rising Foundations and Ed Tarpley, the former district attorney in Grant Parish. Host: Andre Moreau


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Average: 3.7 (869 votes)

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A+ Certification: Part 3 – Hardware: Upgrades, Troubleshooting and Preventative Maintenance

Section Objectives

After you complete this section you will:

Understand the troubleshooting process.

Understand what POST is.

Understand the different POST error codes.

Troubleshooting Issues and Problems

As an IT support person, you will need to work with customers throughout your career. Most often, you will hear from your customers when something isn’t working for them, and often times, they can be irate. As we used to say, “They never call the cable company when it’s working.”

Providing good customer service is extremely important in building a good relationship with your customers. Unfortunately, your troubleshooting job requires getting information from the customer who may not be in the frame of mind to provide it.

What problem are you experiencing?

First, you need to determine the user’s problem in their own words. Though you may know it is not as they are explaining it, allowing the customer to explain the problem will help in the process of solving and calming them down.

One of the principles I learned in support was that the user was never at fault. Most often, the problem occurred because of some action taken by the user, though when you are discussing the issue with them, you need to keep the mindset that it is not their fault. This helps prevent their egos from being hurt because of something they may have done.

My first job in IT support provided a great deal of experience and taught me a lot about support. On my first day of work there, I arrived a few minutes early. An employee in a different department came over and found me and told me she had a problem. I was, of course, gung ho about solving my first issue. She explained that her laptop would not turn on. I proceeded to plug the power supply in for her. She was so embarrassed, I explained that it happens all the time and not to worry!

Is it software or hardware related?

After you determine the user’s problem and ask some questions to understand it, determine at this point if it is a hardware or software issue. If it is a hardware issue, you will either need to send a tech or look at it yourself. If it is a software issue, many of these can be handled over the phone.

Determine More Information

Find out if the user has experienced any error codes, beeps at bootup, or anything unusual. This can help in your troubleshooting when you have the equipment.

Also find out any symptoms the user may have been experiencing, or even more valuable, anything the user was doing when the computer started malfunctioning.

I once received a help desk ticket for a vice president who’s laptop stopped functioning. I picked it up from him to find out what the problem was. The computer would not turn on. I started removing components and coffee started dripped from the battery slot and hard drive. I called him and he explained that he “spilled a cup of coffee into the laptop and it stopped working then and he forgot to tell me.”

POST, or Power On Self Test is your first source of troubleshooting a problem. POST automatically runs when your computer is turned on and tests several components of your PC.

The Processor – if the test fails for the CPU, the system stops usually with no error code.

ROMs – POST checks the BIOS ROMs. If there is a problem, the system will stop, usually with no error code.

DMA Controller – if there are any problems with the DMA controller, the system will stop.

Interrupt Controller – if POST detects problems with the Interrupt Controller the system will give an audible error signal of one long beep then one short beep then the system stops.

System Timing Chip – this chip provides timing signals for the bus and processor. Any errors will produce an audible error signal of one long beep and one short beep then the system stops.

Video Card – if the Video Card fails, there will be one long beep then two short beeps then the system halts.

RAM – any RAM errors will generate a “201: Memory Error” message on the screen. Any error codes beginning with 2 indicate a memory error.

Keyboard – a problem with the keyboard will result in a “301: Keyboard Failure” error message followed by a short beep. System may halt or may ignore the error.

Floppy Drives – any problems will result i
n a “601: Floppy Disk” error code appearing on the screen.

Other Devices – POST checks the other ports and components of the computer, beeps, then continues. It also checks the Master Boot Record (MBR) on the hard drive. If it cannot find the MBR, it will freeze and not continue loading, otherwise it hands control over to the MBR (or DOS Boot Record (DBR) if it is booting from a floppy).

Summary of POST error codes:

Error Code Problem Description
1xx System Board problem
161 CMOS Battery Failure
164 Memory System Size error
2xx Memory related problem
3xx Keyboard problem
4xx Monochrome video problem
5xx Color video problems
6xx Floppy Disk problem
17xx Hard disk problem

After studying this section you should:

Understand the troubleshooting process.

Identify the problem with your customer. Is it hardware or software? Are they experiencing any error codes or indications? What were they doing when the problem started occuring?

Understand what POST is.

POST, or Power On Self Test is the test the computer runs when you power it on. It checks components and peripherals for problems and reports a problem using beeps or an error message.

> Understand the different POST error codes.

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How To Win Customers With Your Auto Mechanics Workshop

How To Win Customers With Your Auto Mechanics Workshop 2

The biggest challenge of any mechanical workshop is to win the loyalty and favor of the customers. That is the essence of being and what holds, at the end of accounts, to all business that is dedicated to services. The main value of an auto mechanic workshop is its ability to solve, quickly and at once, the problems and incidents that a person faces with their car, quickly and honestly. How can we prove this point to our customers: let them know that we are the best option in a competitive market, full of options and low prices?

Defend your image

In these days of social networks, any complaint can grow to become a real tsunami against a business. It is vital that you consider that you have the least ally of your mechanical workshop in each client, but that if you do not activate the right keys it will become your worst enemy, a being that will fill every unprepared ear with curses about the quality and honesty of your services. The best thing you can do against these intolerant is to have adequate supervision over each service you provide and several channels for customers to communicate with you and specify what was not satisfactory for your services. That is to say: you need an adequate quality control. Remember that the customer is not always right, but he does have the upper hand.How To Win Customers With Your Auto Mechanics Workshop

Have an easy-to-recognize facade

Something that seems obvious, but that certainly is not: for our workshop to be visited, it must be in full view of who is looking for it. And it is that so many social networks and web page have made us forget that what counts at street level is a colorful and informative facade. First, it must be clear that your business is an auto mechanic workshop, second: your name or business name, third: your certification and fourth: the services you offer. Any additional information on these points is appreciated (specialties, offers, schedules …), but it is important that they do not hide the essential information. You can also choose a painted facade in a cheerful and representative way.

Cleaning and transparency

They look like two identical values, but it is not like that, and they play the same for you or against you if you do not know how to respect the rules that each one marks for an auto mechanic workshop. For cleaning we talk about the state of the workshop and its staff: order, hygiene, uniformity are its keys. Nothing out of place, nothing strident, nothing dangerous … Regarding transparency, we refer to the need for the client to be informed clearly about the faults of his car and the charges that maintenance and repair must cause, including all concepts and no surprises at the last minute. You can be aware that

if your workshop does not respect what they order cleanliness and transparency, you can forget your clients …How To Win Customers With Your Auto Mechanics Workshop

Car reception

In order for your auto mechanic shop to obtain a greater number of customers, there is a crucial point: the way in which the cars that will be subject to review and service are received. It is vital to reduce waiting times and solve all your doubts in the presence of the client so that in this sense your best strategy will be to have a person (or a crew, according to your possibilities) to receive the vehicles and personalized attention to the client. It is also necessary to have a workshop area exclusively for newly arrived cars. The time you save the client and the way you solve your doubts becomes your tranquility and your preference for your auto mechanic workshop.

Check This Out: Know the 5 Basic Tips for the Maintenance of Your Car

Exhibit your technology

Today the owner of the car distrusts the eye of the traditional mechanic. What now gives a prestige to an automotive mechanic’s workshop is the technology that it possesses and applies in the review and diagnosis of cars. For this reason, regardless of the quality or the updated status of your measuring and diagnostic devices, always keep them in sight: wherever you let your client know that you have an interest in being at the top of the table when it comes to attention and service: from everything that has to do with the electrical system to cranes and assembly equipment. Remember: technology is the new showcase of your skills.How To Win Customers With Your Auto Mechanics Workshop

Respect the budget

What most takes away prestige from an auto mechanic workshop (and if that’s what we’re going to do to the entire sector) are the budgets that grow back to the customer. No doubt, new breakdowns always arise once you start with the thorough review of a vehicle, but to act in this way is much like a fraud (even if it is not). To avoid this unfortunate trance for the client and for the workshop, we recommend three strategies:

  • Do not rush to give a budget: if you have doubts, better wait for a more thorough review of the car,
  • If new charges arise a budget already made, consult with the client before taking a step.
  • If there is a discussion on added charges, you prefer to lose a few Dollars than the prestige of your auto mechanic workshop.

What diagnostic and repair techniques worked best? Which mechanics have the most consolidated achievements? What areas of the workshop give a better service in the shortest time? What services are the most conflicting in your auto mechanic workshop? If you keep track of what your workshop does well and where you need to improve, it will be much easier to undertake improvement in all areas.

What defines the success of an auto mechanic workshop? The number of services it provides, the number of vehicles it rehabilitates, the number of satisfied customers it has. These are the brands that you must strive for day after day.

The writer of this article, currently manages his own blog moment for life and spread happiness and is managing to do well by mixing online marketing and traditional marketing practices into one.

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Lemay to contribute six presentations to World Design Summit

October 16, 2017

Lemay is honoured to be contributing six expert speakers to the first-ever World Design Summit, taking place at Montreal’s Palais des congrès from October 16-25, 2017.

Andrew King, Partner and Design Principal
Topic 23: Methods and Processes – October 18 2017
Performing Architecture | Challenging the normative in design conceptualization by radically transforming critical methodologies.

Dedre Toker, Partner and Workplace Strategist
Zarina Ramal-Shah, Associate and Director of Workscale

Topic 27: Collaborative and Participatory Practices – October 19 2017
Workplace Architecture: A re-envisaged approach | Overview and case study of WorkscaleTM to engage, define and customize workplace strategy.

Lucie St-Pierre, Principal and Landscape Director
Patricia Lussier, Landscape Architect and Design Manager

Topic 68: Remaking the Uniform, the Unloved, and the Banal – October 19 2017
Urban Continuum | Towards resilient land stewardship and practice (presentation in French).

Camille Plourde-Lescelleur, Landscape Architecture Designer and Junior Landscape Architect
Topic 98: Crisis and Resilience Design – October 19 2017
Landscamp | The importance of landscape architecture in the development of refugee camps.

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    Description:   **Seller is Motivated** MULTI FAMILY LOT!!! Bring your design ideas and build a great income generating multi-plex! Great price for a great opportunity in the heart of Seattle, don't miss out call today!!

    Water: Available
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    City: Seattle
    State: WA
    Zip Code: 98115
    Area: 710
    County: King
    School District: Seattle
    Latitude: 47.69453300
    Longitude: -122.30451700

    School District: Seattle

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    Lot Details: Paved Street
    Lot Sq Ft: 2,095 ft²
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    Community Name: Maple Leaf
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    Terms: Cash Out

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    Tax Expense: $216
    Tax Year: 2018

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