PRECISION CARPET. CARPET CLEANERS BOULDER CO.
Weight Watchers WW-11D Portable Precision Electronic Scale
Portable precision electronic scale engineered to the highest precision standards 5 weight memory for one user. Semi-conductor technology: single load cell system. Oversized, easy to read, 1.3" digital display. Displays weight in 0.5 lb or 0.2 kg increments. 330 lb/150 kg weight capacity. Large, non-slip 12" x 12" platform. "Tap-on" scale activator. Wide handle-easy to carry and store. Lifetime lithium battery.82% (8)
Endorsed by Weight Watchers, this electronic scale provides a large, easy-to-read, 1.3-inch digital display that shows your weight in half-pound or 0.2 Kilogram increments, up to 330 pounds/150 kilograms. It uses single load cell system semiconductor technology to determine the exact weight load on the platform. The scale comes in a pleasant, bathroom-white color, and even has a handle for easy carrying and storage.
UNHCR News Story: Weaving themselves back into the Afghan social fabric
Afghan returnee Naseema, 70, weaves a carpet to warm her UNHCR shelter at Qalinbafan, northern Afghanistan. © UNHCR/R.Arnold Weaving themselves back into the Afghan social fabric QALINBAFAN, Afghanistan, January 2 (UNHCR) – There's an old saying in Central Asia: "Water is a Turkmen's life, a horse is his wings, and a carpet is his soul." Historically a nomadic, desert-dwelling people, the ethnic Turkmen of Afghanistan may be accustomed to moving in search of water. But war forced them to flee their homes nearly 30 years ago, and they are now struggling to weave themselves back into the Afghan social fabric. Nowhere is this clearer than in the carpet weaving village of Qalinbafan outside Mazar-e-Sharif in northern Afghanistan. This government land allocation site is home to 85 Turkmen families who used to live in Pakistan as refugees. They returned to Afghanistan in recent years, but find it hard to cope back home. Many of the families here weave carpets that are sold to traders in Pakistan. In Turkmen tradition, the women weave while the men make the loom frames. Naseema was 13 when she learned to weave from her mother. Now 70 and a grandmother of four, her face is lined like old leather and her brittle bones jut out from under her loose Turkmen dress. But she is still weaving carpets, hunched over a wooden loom that occupies half of her two-room UNHCR shelter at Qalinbafan. "We were in Pakistan for 10 years. I was very comfortable there. Everything was cheap and we were paid well for the carpets. I don't know why we came back," she says bluntly. "This carpet will take me two months. It can sell for $10 but I'll keep it for myself. Winter is here and I have nothing." Her neighbours are more ambitious. They've erected a long tent in the compound to accommodate a massive loom. The carpet they are working on will take three people three months to complete. It can earn them $200 and sell for over $1,000 in the West. Perched on the far side of the loom and hidden under her burqa, Fatma's henna-stained fingers work with quiet precision and confidence. At 50, she's been weaving for 40 years and is teaching her granddaughters to follow suit. "Our traditions have changed over the years," says an Afghan elder at Qalinbafan. "Before, we used to make the girls start weaving as young as seven. Now they can go to school till they're about 15, then start to weave." The importance of girls' education was one of the lessons learned in exile. In the Afghan refugee villages of Pakistan, UNHCR funds primary schools for boys and girls, often giving the latter their only chance to learn how to read and write. Upon their return to Afghanistan, the availability and quality of education vary. Fatma's grandchildren are lucky to have a school at Qalinbafan, but many other young returnees either attend classes outdoors or not at all. Repatriation has also affected livelihoods. "The carpet business is not doing well," says Abdul Manam, an elder who returned from Jalozai refugee village in Pakistan last year. "We were paid $60 per metre in Pakistan, but now we're paid $40 because of the weak rupee." Commercial interests are slowly changing the culture. "In Pakistan, carpet weaving was our main source of income," says Abdul Manam. "In Afghanistan, manual labour pays better, so the men focus more on working outside – in the factories and brick kilns." Fatma's son Sharif remembers the good life back in Pakistan, where his wife weaved and he worked in a brick kiln, making enough money to rent a five-room house with a nice yard in Jalozai. "Life is difficult in Afghanistan," he says. "It's hard to find jobs or food. I make bricks from dawn to dusk. I can produce 10,000 bricks in 10 days for about 3,800 Afghanis ($76). But what happens after that? There is no regular work." With these challenges in mind, some of his relatives have chosen to stay behind in Jalozai on the request of the Pakistani authorities. "They have been asked to help set up a carpet village near Peshawar. The Pakistan government promised to give them documents so they could stay. Land, electricity, water will also be provided," says elder Abdul Manam. "Personally I'm not interested, but I heard of some families that have gone to join their relatives there." The Turkmen community's unique skills mean that they are in demand on both sides of the border. Some are lured by the opportunities in Pakistan while others just want to put their refugee lives behind them. "I really hope peace will come to Afghanistan and that things improve here so that we can stay," says Sharif. In the next room, his children weave after school, their fingers dancing between the weft and warp pulled tightly across the loom. It's clear that home is where the heart – and art – is. One can only hope that Sharif and the five million Afghan returneesCustomized Fender "Sting Signature" Reissue of 1953 Precision Bass
This is my primary bass guitar that I bought in 2007. This is (an almost) reproduction of Sting's 1953 Fender Precision bass with a sunburst ash body and maple neck. This is an old-school 50's bass with a single coil pick up and a two-color sunburst finish. It has that pre-1957 neck and vintage style pickguard. It is part of Fender's 50th "P-Bass" Anniversary Series. Fender started (re)producing a series of signature model basses that were reproductions and/or reissues of some very famous bass guitars and this "Sting Signature" bass guitar was one of the series based on what he frontman of The Police plays in concert and his albums. It even has Sting's autograph in the 12th fret set in pearloid. This retro-single coiled '53 style "Sting Signature" Fender bass has been modified from what was sold with the release of this limited edition. My bass was given a new coil pick up. The stock single-coil pick up was changed to a Seymore Duncan SP3 pickup for a much better sound which greatly improved midrange punch. The stock bridge was replaced with a Badass III bridge instead to improve the sound. Another modification made is the addition of a 1950's-style chrome bridge cover, a coil pickup cover and a replacement pearloid pickguard that was added to give it some pizazz with "the look" that I always dreamed of having if I had ever owned this model bass guitar. It is somewhere a mesh of a 1951 and 1953 model. I just love that classic 1950's stock look with all the chrome. Even though I am a Sting fan… I wasn't necessarily trying to emulate having an EXACT replica of Sting's famous bass. From what I've even seen in concert with Sting in person and in some of his videos this past decade, he has removed his white pickguard these last few years to leave just the exposed wood. Sting's bass didn't have the 1951-style chrome covers like mine has. Sting's bass is also nicked to death. A note of interest, Sting's bass had a thumbrest and the Fender reissue of Sting's signature bass did NOT have a thumbrest. My bass was customized and given one. I'll use it if I'm picking (which is a rarity) or if I'm slapping a little funk to make my bandmates hoot and holler. Pictured just below the bass is my Fender "Rumble 25" bass amp with tweed Fender guitar strap and a heavy pick that I rarely use. I mostly play with my fingers only. Not pictured in a retro 1950's tweed case with plush red carpet lining. The guitar case matches my strap. This is the primary bass guitar that I play on most of the time and covers all genres of music well. Goofing off with my pal and fellow bandmate Ken Reese, we've nicknamed my main squeeze by calling her "Comfort". He gave me a pair of "Ernie Ball" guitar strap locks so it would quit popping off the strap during our shows when we played out live. Mr. Reese also fixed my amp. Good to be friends with such a handyman and fellow karateka! I could not dream of having a better bass guitar than this one. This was the one that I always wanted and I could never top. This one gets me through the night on my bass playing.
Put the Monster in Your Music! Introducing Monster Standard 100 Microphone Cable A quality connection starts with quality cable. And with Monster Standard 100, youll use a cable that sounds as good as it looks. So, whether youre gigging, tracking in the studio, or jamming in the garage, Standard 100 is a great entry-level cable to get you started. All the pros know cable makes a difference...thats why a lot of your favorite bands are using Monster. Standard 100 delivers the quality, durability, and reliability every Monster musician needsits always ready to perform when you are. Monster-Quality Instrument Cable At An Affordable Price Heavy-Duty Injection Molded Connector Specially designed strain relief increases cable durability and resists damage Easy-to-ID Color-Coded Rings for easy identification when youre plugging in multiple cable.See also:
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