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Resin identification code

The ASTM International Resin Identification Coding System abbreviated RIC, is a set of symbols appearing on plastic products that identify the plastic resin out of which the product is made. It was developed in 1988 by the Society of the Plastics Industry in the United States, but since 2008 it has been administered by ASTM International, an international standards organization; the US Society of the Plastics Industry introduced the Resin Identification Code system in 1988, when the organization was called Society of the Plastics Industry, Inc.. The SPI stated that one purpose of the original SPI code was to "Provide a consistent national system to facilitate recycling of post-consumer plastics." The system has been adopted by a growing number of communities implementing recycling programs, as a tool to assist in sorting plastics. In order to deal with the concerns of recyclers across the U. S. the RIC system was designed to make it easier for workers in materials recovery and recycling facilities to sort and separate items according to their resin type.

Plastics must be recycled separately, with other like materials, in order to preserve the value of the recycled material, enable its reuse in other products after being recycled. In its original form, the symbols used as part of the RIC consisted of arrows that cycle clockwise to form a triangle that encloses a number; the number broadly refers to the type of plastic used in the product, by chronological order of when that plastic became recyclable: "1" signifies that the product is made out of polyethylene terephthalate "2" signifies high-density polyethylene "3" signifies polyvinyl chloride "4" signifies low-density polyethylene "5" signifies polypropylene "6" signifies polystyrene "7" signifies other plastics, such as acrylic, nylon and polylactic acid. When a number is omitted, the arrows arranged in a triangle form the universal recycling symbol, a generic indicator of recyclability. Subsequent revisions to the RIC have replaced the arrows with a solid triangle, in order to address consumer confusion about the meaning of the RIC, the fact that the presence of a RIC symbol on an item does not indicate that it is recyclable.

In 2008, ASTM International took over the administration of the RIC system and issued ASTM D7611—Standard Practice for Coding Plastic Manufactured Articles for Resin Identification. In 2013 this standard was revised to change the graphic marking symbol of the RIC from the "chasing arrows" of the Recycling Symbol to a solid triangle instead. Since its introduction, the RIC has been used as a signifier of recyclability, but the presence of a code on a plastic product does not indicate that it is recyclable any more than its absence means the plastic object is unrecyclable. Sources: Below are the RIC symbols after ASTM's 2013 revision In the United States, use of the RIC in the coding of plastics has led to ongoing consumer confusion about which plastic products are recyclable; when many plastics recycling programs were first being implemented in communities across the United States, only plastics with RICs "1" and "2" were accepted to be recycled. The list of acceptable plastic items has grown since and in some areas municipal recycling programs can collect and recycle most plastic products regardless of their RIC.

This has led some communities to instruct residents to refer to the form of packaging when determining what to include in a curbside recycling bin, rather than instructing them to rely on the RIC. To further alleviate consumer confusion, the American Chemistry Council launched the "Recycling Terms & Tools" program to promote standardized language that can be used to educate consumers about how to recycle plastic products. Modifications to the RIC are being discussed and developed by ASTM's D20.95 subcommittee on recycled plastics. In the U. S. the Sustainable Packaging Coalition has created a "How2Recycle" label in an effort to replace the RIC with that aligns more with how the public uses the RIC. Rather than indicating what type of plastic resin a product is made out of, the four "How2Recycle" labels indicate whether a plastic product is Widely Recycled. Limited. Not Yet Recycled. Store Drop-Off; the "How2Recycle" labels encourage consumers to check with local facilities to see what plastics each municipal recycling facility can accept.

The different resin identification codes can be represented by Unicode icons ♳, ♴, ♵, ♶, ♷, ♸, ♹. ♺ is the portion of the symbol without the number or abbreviation. Recycling codes List of symbols Thermoplastic—softens with heat Thermosetting polymer—does not soften with heat Recycling Symbols for Plastics has symbols used in plastics recycling available in various formats for use in graphics


Danziger Goldwasser, with Goldwasser as the registered tradename, is a strong root and herbal liqueur, produced from 1598 to 2009 in Danzig. Production now takes place in Germany; the most prominent characteristic of the drink is small flakes of 23 karat gold suspended in it. The beverage includes herbs and spices such as cardamom, cinnamon, thyme and juniper, has a syrupy texture. Alcoholic solutions were used by artists for gilding, believed to be the inspiration for the drink. Alchemy, at its high point in the late 16th century when Goldwasser appeared, held gold to have many desirable medical properties. Since the flakes are small and thin, the price is not prohibitive; when used as a food additive, Gold is labelled as E175. The drink was invented by a Dutchman from De Lier, Ambrosius Vermeulen who became a citizen of Danzig on 6 July 1598. In 1704 Ambrosius' grandson Salomon Vermöllen and his brother-in-law Isaac Wed-Ling moved production to new premises located in the Breitgasse. At that time it was common for houses to use animal symbols instead of numbers, the new factory featured a salmon on the façade.

During his trip to Western Europe — the so-called Grand EmbassyRussian Tsar Peter I the Great visited the city of Danzig. He became a great lover of Danziger Goldwasser, he ordered permanent delivery of Goldwasser to Russia for himself. As the Free City of Danzig and East Prussia were separated from Germany after World War I by the Polish corridor, the Der Lachs company opened in 1922 an additional factory in Berlin to supply the main part of Germany and international markets with their products Danziger Goldwasser and Krambambuli from there. After 1945, when the city became part of Poland, only the Berlin factory continued to produce genuine Danziger Goldwasser. In 1971 Der Lachs was taken over by the Hardenberg-Wilthen distillery and production was moved to the town of Nörten-Hardenberg in West Germany, it is possible to buy the original brand of Danziger Goldwasser in the old town of Gdansk. The original Goldwasser distillery building, though not operational, has been rebuilt as it was before the war, is now home to the exclusive restaurant "Pod Łososiem".

Various Polish brands from Gdańsk sell similar drinks called Złota Woda. Legend has it that when King Sigismund II Augustus visited Gdańsk in 1549 after his coronation, part of the city's homage to the monarch was a gift of Goldwasser, he is said to have sung the praises of the golden drink along the rest of his tour. Another brand of Goldwasser, Schwabacher Goldwasser, other sorts of food embellished with gold, are produced in the city of Schwabach near Nuremberg. Goldschläger is a Swiss cinnamon schnapps which contains small flakes of 22 karat gold. Goldwasser is used to flavour a traditional Soufflé Rothschild. Goldwasser on Alcohol Among the Mennonites of Northeast Germany

Lee Benoit

Lee Benoit is a Cajun musician from Rayne, Louisiana. At the age of five, Lee Benoit was given an electric organ by his grandmother, he started to play Christmas songs on it, by ear. At the age of twelve, he formed a band, they played rock n' roll and were influenced by Lynyrd Skynyrd, Creedence Clearwater Revival, Hank Williams and others. Lee learnt to play the bass guitar during his teenage years. In 1976, he joined the Marines as an Automated Data Processor. After leaving the Marines in 1979, he returned to education. In 1985, he became a nationally registered paramedic, he worked as a paramedic on an ambulance for seven years and for another seven years on an oil platform. He continued to play country music in his spare time. At the age of 29, he was inspired to take up the accordion by hearing the Cajun performer Wayne Toups. Lee fell in love with playing Cajun music, he soon added Cajun songs to his set lists. In 1993, he signed to the Master-Trak label and in 1994 recorded his first CD; the album was nominated for "Best First Album" and "Valerie" was nominated for "Song of the Year" by the Cajun French Music Association.

Floyd's Record Shop, described Benoit as'the cream of the crop' of the new generation of musicians coming out of South Louisiana. Lee Benoit has one of the most active Cajun bands in South Louisiana performing five nights a week at some of the most popular Cajun venues from Breaux Bridge to New Orleans Louisiana, he takes his music on the road and performs at festivals and special events around the world. Lee is proud of his Cajun heritage and spends a great deal of his time promoting his culture and performing traditional and contemporary Cajun music. After the success of his first album, he continued to record his own albums as well as contributing to several CDs by other musicians. In 1995, he recorded on Hadley J. Castille's "La Musique De Les Castilles", he played on Hadley's "Forty Acres and Two Mules" album in 2000. He recorded with the group Les Amies Louisianaises on their La Musique Unique des Acadiens CD in 1997. Lee played accordion and guitar on Doug Kershaw's "Two Step Fever" CD in 1999.

He co-produced and played guitar on Hunter Hayes "Through My Eyes" CD in 1999 and co-produced Hunter's second CD, "Make A Wish", in 2001. In 2002, he played accordion on Don Haynie & Sheryl Samuel's songs God Bless Louisiana and Country Tavern on Saturday Night. In 1998, he released his second album, "Live at Vermilionville", nominated in five categories by the Cajun French Music Association: "Male Vocalist Of The Year", "Accordionist Of The Year", "Album Of The Year", "Band Of The Year" and "Song Of The Year", he won the latter award, for "The Visit", co-written by Richard D. Meaux and Freddie Pate, at the ceremony on August 13, 1999. In September 2000, Lee released his third CD, "Dis N Dat". In 2001, he was awarded "Accordionist Of The Year" and in 2002 earned the "Presidents Award" from the Cajun French Music Association. Lee recorded and mixed his fourth CD, "Ma Petite Femme" at his home and it was released in 2005; this album cemented his reputation, with Lee winning "Male Vocalist Of The Year", "Accordionist Of The Year" and "Song Of The Year" from the Cajun French Music Association.

Lee received nominations for "Best Recording Of The Year" and "Peoples Choice 2006". On August 19, 2011, Lee was the recipient of the Heritage Award at the Le Cajun Awards Show by the Cajun French Music Association for outstanding contributions and dedication to the preservation of the Cajun culture. On August 16, 2013, Lee was the recipient of the Award Of Excellence at the Le Cajun Awards Show by the Cajun French Music Association for being a musician's musician. A musician that other musicians try to emulate; this award is for his overwhelming talent in his craft. On April 30, 2014, Lee released his all original Cajun album titled "Pour Les Générations À Venir"; this album was nominated in five categories with the "Cajun French Music Association" for 2015. "Best Album Of The Year", the song "Le Garsoleil" was nominated for "Song Of The Year, "The People's Choice Award", the group was nominated for "Band Of The Year". Lee won the "Male Vocalist Of The Year" award at "The Le Cajun Award Show" on August 21, 2015.

Lee was inducted into The Cajun Music Hall Of Fame on August 15, 2014. On April 30, 2018, Lee released his 6th CD titled "Louisiana Cajun Style", it contains covers of Country songs about Louisiana. Cajun Music History of Cajun Music List of Notable People Related to Cajun Music Cajun French Music Association Cajun accordion Avec Amis Live At Vermilionville Dis'N' Dat Ma Petite Femme Pour Les Générations À Venir Louisiana Cajun Style Lee Benoit Official Site Facebook Page Facebook Fan Page Allmusic Page Les Amies Louisianaises Don Haynie & Sheryl Samuel Zydeco Cajun Byway

Heroes and Horrors

Heroes and Horrors is a collection of fantasy and horror short stories by American writer Fritz Leiber, edited by Stuart David Schiff and illustrated by Tim Kirk. It was first published in hardcover in December 1978 by Whispers Press, in paperback in August 1980 by Pocket Books; the paperback edition omits the illustrations. The book collects nine short stories and novelettes by the author, together with an introduction by Stuart David Schiff and an essay by John Jakes; the first two stories showcase the Gray Mouser. The other pieces were published in the magazines The Dragon Magazine for December 1977 and Fantastic Stories of Imagination for February 1962 and October 1964, the collection The Second Book of Fritz Leiber, the magazines Fantastic for February 1969 and Worlds of If for August 1974, the anthologies The Disciples of Cthulhu and Superhorror. "Preface" "Fritz Leiber: An Appreciation" "Sea Magic" "The Mer She" "A Bit of the Dark World" "Belsen Express" "Midnight in the Mirror World" "Richmond, Late September, 1849" "Midnight by the Morphy Watch" "The Terror from the Depths" "Dark Wings" Richard A. Lupoff described Heroes and Horrors as "a lovingly crafted production a wealth of fantasy and horror material ranging from the modern, psychological variety... to the all-out Lovecraftian slithering-monstrosity variety."

Heroes and Horrors was nominated for the 1979 World Fantasy Award for Best Anthology/Collection. The story "Midnight by the Morphy Watch" was nominated for the 1975 Hugo Award for Best Novelette. Heroes and Horrors title listing at the Internet Speculative Fiction Database Fantastic Fiction entry

Beth McCarthy-Miller

Beth McCarthy-Miller is an American television director. Shows she has directed include Saturday Night Live and 30 Rock. McCarthy-Miller was born on September 1963 in Elizabeth, New Jersey, she attended the University of Maryland, where she was a DJ and majored in radio and film. While in college she interned at CNN and MTV. McCarthy-Miller worked as a line producer's assistant and assistant director at MTV and began directing in 1988. During her nine years with MTV, she worked on MTV Unplugged with Nirvana, Neil Young, Elton John, Tony Bennett, k.d. lang. She worked for The Week in Rock and The Jon Stewart Show, she was the director of NBC's Saturday Night Live for eleven years. She left SNL in 2006 at the end of season 31, replaced as director by Don Roy King, she became a director for Viacom's MTV again in 2003. She works through her own companies, Catalyst Entertainment and McBeth Productions as a director and producer. 30 Rock Abby's America: A Tribute to Heroes Bob Hearts Abishola Brooklyn Nine-Nine Californication The Colin Quinn Show Community Eagles: Hell Freezes Over Go On The Good Place Great News Important Things with Demetri Martin In the Motherhood The Jon Stewart Show Shania Twain: Up!

Live in Chicago 2008, 2009, 2010, 2011 Kids' Choice Awards Happy Endings House of Lies The Kominsky Method LA to Vegas Lip Sync Battle Mad Love Man Up! The Marriage Ref Marry Me Match Game The Maya Rudolph Show The Mindy Project Modern Family Mr. Sunshine MTV Unplugged 1996–1999, 2001–2003, 2005 MTV Video Music Awards Night of Too Many Stars: An Overbooked Event for Autism Education Nirvana: Live And Loud The Oprah Winfrey Show Parks and Recreation People Magazine Awards Samantha Who? Saturday Night Live The Sound of Music Live! Super Bowl 35 & 38 half-time shows Taina Trophy Wife Unbreakable Kimmy Schmidt Up All Night Veep Work It Young Sheldon Primetime Emmy Award, nominee 10 times Daytime Emmy Award, nominee 2008 Cable ACE Awards Directors Guild of America Award, winner 4 of 12 nominations Beth McCarthy-Miller on IMDb Wake Forest University profile: Beth McCarthy Beth McCarthy-Miller at The Interviews: An Oral History of Television

Paperwork Reduction Act

The Paperwork Reduction Act of 1980 is a United States federal law enacted in 1980 designed to reduce the total amount of paperwork burden the federal government imposes on private businesses and citizens. The Act imposes procedural requirements on agencies that wish to collect information from the public, it established the Office of Information and Regulatory Affairs within the Office of Management and Budget, authorized this new agency to oversee federal agencies' collection of information from the public and to establish information policies. A substantial amendment, the Paperwork Reduction Act of 1995, confirmed that OIRA's authority extended over not only agency orders to provide information to the government, but agency orders to provide information to the public; the predecessor statute to the Paperwork Reduction Act was the Federal Reports Act of 1942. That statute required agencies to obtain approval of the Bureau of the Budget before imposing information collection burdens on the public.

However, large departments such as the Internal Revenue Service and the Government Accountability Office were exempted from the requirement, the statute neglected to include sanctions for agencies' noncompliance. Moreover, OMB chronically understaffed its responsibilities: in 1947, there were 47 personnel reviewing agency requests for the entire government, but by 1973 the number of reviewers had dwindled to 25, these few reviewers had a number of additional responsibilities; the result of the lack of resources was longer delays. Some agencies refused to submit requests for approval; the Act imposes a number of procedural requirements on an agency that wishes to implement a reporting or recordkeeping requirement on the public. For instance, the agency must determine a specific objective met by the collection of information, develop a plan for use of the information, in some cases test the collection method through a pilot program; the agency must ensure that forms include certain items, for instance: an explanation to its audience of the purposes of the information collection, an estimate of the paperwork burden, whether response is voluntary.

In most cases, agencies are further required to publish notice of a proposed requirement in the Federal Register and allow at least 60 days for public comments on the need for and burden of the requirement. The Paperwork Reduction Act mandates that all federal government agencies receive approval from OMB—in the form of a "control number"—before promulgating a paper form, survey or electronic submission that will impose an information collection burden on the general public; the term "burden" is defined as anything beyond "that necessary to identify the respondent, the date, the respondent's address, the nature of the instrument." No one may be penalized for refusing an information collection request that does not display a valid control number. Once obtained, approval must be renewed every three years; the process created by the Paperwork Reduction Act makes OIRA into a centralized clearinghouse for all government forms. Thus, it is able to assess the overall impact of the government bureaucracy on American citizens and businesses.

This is done in an annual document called the Information Collection Budget of the United States Government. The 2009 Collection Budget reported that the Federal Government generated 9.71 billion hours of mandatory paperwork burden. The burden in 2016 was 9.78 billion hours. Plain Writing Act of 2010 Funk, William F.. "The Paperwork Reduction Act: Paperwork Reduction Meets Administrative Law". Harvard Journal on Legislation. 24. OMB Guide to the Paperwork Reduction Act 44 U. S. C. §§ 3501–21 annotated Paperwork Reduction Act from in the Internet Archive 104th Congress laws passed OMB Form 83-I – Paperwork Reduction Act submission form