You go to a mechanic to investigate a weird rattling sound, and suddenly the repair costs are stacking up for problems and replacement parts you never knew existed. Do you trust the knowledge and experience of the mechanic or do you investigate for yourself?
A little legwork can go a long way towards saving money on auto repairs. John Hutchinson of Red Rocket Auto Tech explains how mechanics are taking their customers for a ride using a technique called ‘dirty parts’. Dirty parts are parts that come from your car covered in grime and oil from use. A mechanic shows the dirty part to a customer as if there is something wrong with it, when really the part is perfectly good, if only suffering from a cosmetic problem.
When it comes to auto repairs you can save yourself some money, and grief, by being pro active and educating yourself. Follow these steps:
Ask Questions. Ask what tests were performed on the part, what the parts limits were, and why the part is not in good working order. If the mechanic can show you exactly what is wrong with it, rather than just the over all appearance you may be on the up and up. Ask how imperative it is to get the part replace and how your driving will be affected if it goes out, they may be making a mountain out of a molehill.
See The New Part. If the part needs to be replaced and you’re satisfied with the explanations from your mechanic ask to see the new part being put into the car. Sometimes shops will charge customers for new parts while using refurbished or junkyard parts in the actual repair. You want to see the part in its original packaging before it goes into your vehicle. Anything marked Original Equipment Manufacturer or OEM is preferable, as your brand’s company distributes these parts for use in your car.
Shop Around For Repair Costs. A recent study from the Northwestern Kellogg School of Management and AutoMD found that when a customer displayed knowledge of how much a repair should cost they were consistently quoted lower amounts. By calling other local repair shops and getting multiple estimates you could be able to get a lower price from your own mechanic.
Bernie Mitchell is a small business owner and real estate agent. He says he would have no problem hiring someone with a mental illness in his business Focus Property Management in Sydney.
That’s largely because he knows what it’s like to be in their shoes. Mitchell, 38, suffers from bipolar disorder. He is also author of Bipolar: a path to acceptance, about his diagnosis of bipolar disorder, and how he learned to manage his illness. As a father of four, Mitchell wanted to show it’s possible to balance running a business with raising a family, all while managing his condition.
He says he would hire someone with a mental illness “as long as it is managed responsibly”. Mitchell believes: “It’s important for everyone to know that you can get there in the end and triumph over your mental illness.”
When he has previously hired someone with a mental illness, he was proactive in supporting them. “On becoming aware of their illness I mentored them so that they could empower themselves to take the necessary action and ownership of their recovery plan,” he says. “Given that I had suffered from mental illness, I supported them rather like a coach offering encouragement. We would meet up regularly to check in on progress and any issues that presented in the workplace. In one instance, the role was modified to accommodate the sufferer.”
However, is this the responsibility of small business owners?
Melissa Jenkins (not her real name) doesn’t think so. Jenkins, 40, runs a fashion store in Melbourne. “Life as a small business owner already has so many challenges,” she says. “I know it’s not politically correct to say this but I really don’t think I would hire someone with a mental illness. I wouldn’t even put them on a short list of applicants. I don’t have the skills to help someone through their mental illness. I need highly functioning people who aren’t going to give me problems with absenteeism and who can perform their jobs well.
“Of course, I understand that life isn’t always easy. My staff go through difficult times and I try to support them because I care about them. But I don’t want to invite potential issues into the workplace if I don’t have to. I’m already working myself to the bone. I don’t have the bandwidth to deal with more challenges. So if there’s a choice between hiring a quality candidate with a mental illness and a quality candidate who doesn’t, I’m going to pick the latter for sure.”
Susan Bower, 41, owns Dressed for Success, a Brisbane-based property styling business. Like Mitchell, she would hire someone with a mental illness. “As a business owner that suffers from depression myself, I know that with treatment, people with mental illnesses can function just as well as anybody else.
“Mental illness is now emerging as a more common illness, so the likelihood of employing someone with a mental illness is much higher whether they disclose it or not.”
If you’re applying for a job, should you disclose that you have a mental illness?
Says Mitchell: “It’s important for everyone to know that you can get there in the end and triumph over your mental illness.”
Careers counsellor Jane Lowder from Max Coaching says the decision for job candidates regarding whether or not they will disclose a mental illness to a potential employer is one that needs to be carefully considered. “If the mental health condition will not affect their ability to do the role then the candidate is not legally required to disclose it. In this instance, the matter of self-care should come into consideration. A close read of the potential employer’s workplace diversity policy might reveal that support structures and workplace adjustments are available, and therefore an open discussion of any mental health matters upfront may see a new employee receive valued assistance in their role.”
However, this frank discussion does carry some inherent risks. “This potential benefit would need to be weighed against the risk of negative stereotyping or being overlooked for either the role or development opportunities down the track.The ultimate decision about disclosing, when not obligated to do so, will be unique to each individual and role, and so discussing it with a trusted GP, psychologist or career counsellor may help in weighing the options.”
The Fair Work Ombudsman declined to comment on this issue. However, its website states: “Under the Fair Work Act 2009, discrimination is disadvantaging someone in the workplace because of their…physical or mental disability.” It then provides the example of this as “being rejected from a job during the hiring process.”
However, it’s fair to say it would be hard to prove if an employer did not shortlist a candidate during the hiring process because of their mental illness.
Meanwhile, small business owners remain divided on the issue. Some are empathetic. But others, like Jenkins, say it’s not a wise decision. “I know I’m not supposed to feel this way. But I have enough on my plate as it is. It’s already a challenge to manage my existing staff. And I know there are enough people in the world without a mental illness who can fill the roles I need. Why would I hire someone who has one?”
Would you hire someone with a mental illness? Has this had a positive or negative impact on your business?
For Welland’s Leah Zahorchak, meeting Richard Dreyfuss runs in the family.
Her grandfather Michael, who opened Canada’s first drive-in in 1946 in Stoney Creek, met Dreyfuss decades ago. As did her dad Dennis while managing a Cineplex Odeon theatre. Now a Cineplex Odeon employee herself, Zahorchak continued the family tradition Friday night at the Pathstone Foundation Hope Award gala at Club Italia, where Dreyfuss was this year’s guest speaker.
“I told him, ‘Not to make you feel old …’” said Zahorchak, telling Dreyfuss about her family connection.
As he did with most guests, Dreyfuss laughed and told a few stories of his own while mingling in the VIP lounge.
“Honoured isn’t a strong enough word to describe how I feel meeting him,” said Zahorchak. “I’m blessed to have an opportunity like this.”
Dreyfuss is the star of a trio of 1970s classics — Jaws, Close Encounters of the Third Kind and American Graffiti — and won the Oscar for Best Actor for 1977’s The Goodbye Girl. But movies weren’t his top priority Friday night. Dreyfuss was invited to speak at the gala to discuss living with his bipolar disorder, a condition that causes extreme mood swings that can interfere with decision-making and ordinary life.
Speaking with media before his speech, Dreyfuss said he was diagnosed with the condition when he was 52 (he’s 65 now), but knew he had it when he was nine. He has never made it a crutch or excuse.
“It was the reality of my life,” said the Brooklyn-born actor. “So I made as much of it as I could. To me, it was like living from thrill to thrill to thrill. I never, ever thought of it as a stigma.”
Dreyfuss helped the annual Pathstone fundraiser sell out more than 600 seats this year, just as Henry Winkler did last year.
The night also honoured Carol Mae Maidens for her lifetime teaching children with mental health challenges.
Pathstone executive director Carrie Zeffiro said the Niagara agency faces a tough challenge with celebrity speakers every year – in addition to their popularity, they must have some experience with a mental health disorder.
“Who is connected with the cause is very important to us,” she said. “When we found out (Dreyfuss) had bipolar disorder, and he was speaking about it, we thought, ‘Wow, we’ve gotta get him.’
“He’s so kind and gracious and a guy you just wants to hang out with.”
Despite claims he has retired from acting, Dreyfuss is still busy appearing in two upcoming films, the drama Very Good Girls and thriller Paranoia, He admits it would take him a “long, long time” to explain the difference in today’s movies from the golden era of the ‘70s, when he enjoyed his biggest popularity working with the likes of Steven Spielberg and George Lucas.
“There was substance to the parts and the films, and there are none now. We make sequels, we don’t make movies. We make self-congratulatory films about science and movies … when an artist becomes disconnected from society, he can’t reflect it. And that’s his job.
Although they’re best known today for their lush, lyrically and musically profound (some would say bombastic) psychedelic-era albums, the Moody Blues started out as one of the better R&B-based combos of the British Invasion. The group’s history began in Birmingham, England with Ray Thomas (harmonica, vocals) and Mike Pinder (keyboards, vocals), who had played together in El Riot & the Rebels and the Krew Cats. They began recruiting members of some of the best rival groups working in Birmingham, including Denny Laine (vocals, guitar), Graeme Edge (drums), and Clint Warwick (bass, vocals). the Moody Blues, as they came to be known, made their debut in Birmingham in May of 1964, and quickly earned the notice and later the services of manager Tony Secunda. A major tour was quickly booked, and the band landed an engagement at the Marquee Club, which resulted in a contract with England’s Decca Records less than six months after their formation. The group’s first single, “Steal Your Heart Away,” released in September of 1964, didn’t touch the British charts. But their second single, “Go Now,” released in November of 1964 — a cover of a nearly identical American single by R&B singer Bessie Banks, heavily featuring Laine‘s mournful lead vocal — fulfilled every expectation and more, reaching number one in England and earning them a berth in some of the nation’s top performing venues (including the New Musical Express Poll Winners Concert, appearing with some of the top acts of the period); its number ten chart placement in America also earned them a place as a support act for the Beatles on one tour, and the release of a follow-up LP (Magnificent Moodies in England, Go Now in America) on both sides of the Atlantic. It was coming up with a follow-up hit to “Go Now,” however, that proved their undoing. Despite their fledgling songwriting efforts and the access they had to American demos, this version of the Moody Blues never came up with another single success. By the end of the spring of 1965, the frustration was palpable within the band. The group decided to make their fourth single, “From the Bottom of My Heart,” an experiment with a different, much more subtly soulful sound, and it was one of the most extraordinary records of the entire British Invasion, with haunting performances all around. Unfortunately, the single only reached number 22 on the British charts following its release in May of 1965, and barely brushed the Top 100 in America. Ultimately, the grind of touring, coupled with the strains facing the group, became too much for Warwick, who exited in the spring of 1966; and by August of 1966 Laine had left as well. The group soldiered on, however, Warwick succeeded by John Lodge, an ex-bandmate of Ray Thomas, and in late 1966 singer/guitarist Justin Hayward joined. For a time, they kept doing the same brand of music that the group had started with, but Hayward and Pinder were also writing different kinds of songs, reflecting somewhat more folk- and pop-oriented elements, that got out as singles, to little avail. At one point in 1966, the band decided to pull up stakes in England and start playing in Europe, where even a “has-been” British act could earn decent fees. And they began building a new act based on new material that was more in keeping with the slightly trippy, light psychedelic sounds that were becoming popular at the time. They were still critically short of money and prospects, however, when fate played a hand, in the form of a project initiated by Decca Records.
In contrast to America, where home stereo systems swept the country after 1958, in England, stereo was still not dominant, or even common, in most people’s homes — apart from classical listeners — in 1966. Decca had come up with “Deramic Stereo,” which offered a wide spread of sound, coupled with superbly clean and rich recording, and was trying to market it with an LP that would serve as a showcase, utilizing pop/rock done in a classical style. the Moody Blues, who owed the label unrecouped advances and recording session fees from their various failed post-”Go Now” releases, were picked for the proposed project, which was to be a rock version of Dvorák‘s New World Symphony. Instead, they were somehow able to convince the Decca producers involved that the proposed adaptation was wrongheaded, and to deliver something else; the producer, Tony Clarke, was impressed with some of the band’s own compositions, and with the approval of executive producer Hugh Mendl, and the cooperation of engineer Derek Varnals, the group effectively hijacked the project — instead of Dvorák‘s music, they arrived at the idea of an archetypal day’s cycle of living represented in rock songs set within an orchestral framework, utilizing conductor/arranger Peter Knight‘s orchestrations to expand and bridge the songs. The result was the album Days of Future Passed.
The record’s mix of rock and classical sounds was new, and at first puzzled the record company, which didn’t know how to market it, but eventually the record was issued, first in England and later in America. It became a hit in England, propelled up the charts by the single “Nights in White Satin” (authored and sung by Hayward), which made the Top 20 in the U.K.; in America, the chosen single was another Hayward song, “Tuesday Afternoon.” All of it hooked directly into the aftermath of the Summer of Love, and the LP was — totally accidentally — timed perfectly to fall into the hands of listeners who were looking for an orchestral/psychedelic recording to follow works such as the Beatles‘ Sgt. Pepper’s Lonely Hearts Club Band. Better still, the band still had a significant backlog of excellent psychedelic-themed songs to draw on. Their debt wiped out and their music now in demand, they went to work with a follow-up record in short order and delivered In Search of the Lost Chord (1968), which was configured somewhat differently from its predecessor. Though Decca was ecstatic with the sales results of Days of Future Passed and the singles, and assigned Clarke and Varnals to work with them in the future, the label wasn’t willing to schedule full-blown orchestral sessions again. And having just come out of a financial hole, the group wasn’t about to go into debt again financing such a recording.
The solution to the problem of accompaniment came from Mike Pinder, and an organ-like device called a Mellotron. Using tape heads activated by the touch of keys, and tape loops comprised of the sounds of horns, strings, etc., the instrument generated an eerie, orchestra-like sound. Introduced at the start of the ’60s as a potential rival to the Hammond organ, the Mellotron had worked its way into rock music slowly, in acts such as the Graham Bond Organisation, and had emerged to some public prominence on Beatles‘ records such as “Strawberry Fields Forever” and, more recently, “I Am the Walrus”; during that same year, in a similar supporting capacity, it would also turn up on the Rolling Stones‘ Their Satanic Majesties Request. As it happened, Pinder not only knew how to play the Mellotron, but had also worked in the factory that built them, which enabled him over the years to re-engineer, modify, and customize the instruments to his specifications. (The resulting instruments were nicknamed “Pindertrons.”)
In Search of the Lost Chord (1968) put the Mellotron in the spotlight, and it quickly became a part of their signature sound. The album, sublimely beautiful and steeped in a strange mix of British whimsy (“Dr. Livingston I Presume”) and ornate, languid Eastern-oriented songs (“Visions of Paradise,” “Om”), also introduced one psychedelic-era anthem, “Legend of a Mind”; authored by Ray Thomas and utilizing the name of LSD guru Timothy Leary in its lyric and choruses, along with swooping cellos and lilting flute, it helped make the band an instant favorite among the late-’60s counterculture. (The group members have since admitted at various times that they were, as was the norm at the time, indulging in various hallucinogenic substances.) That album and its follow-up, 1969′s On the Threshold of a Dream, were magnificent achievements, utilizing their multi-instrumental skills and the full capability of the studio in overdubbing voices, instruments, etc. But in the process of making those two LPs, the group found that they’d painted themselves into a corner as performing musicians — thanks to overdubbing, those albums were essentially the work of 15 or 20 Moody Blues, not a quintet, and they were unable to re-create their sound properly in concert.
From their album To Our Children’s Children’s Children — which was also the first release of the group’s own newly founded label, Threshold Records — only one song, the guitar-driven “Gypsy,” ever worked on-stage. Beginning with A Question of Balance (1970), the group specifically recorded songs in arrangements that they could play in concert, stripping down their sound a bit by reducing their reliance on overdubbing and, in the process, toughening up their sound. They were able to do most of that album and their next record, Every Good Boy Deserves Favour, on-stage, with impressive results. By that time, all five members of the band were composing songs, and each had his own identity, Pinder the impassioned mystic, Lodge the rocker, Edge the poet, Thomas the playful mystic, and Hayward the romantic — all had contributed significantly to their repertoire, though Hayward tended to have the biggest share of the group’s singles, and his songs often occupied the lead-off spot on their LPs. Meanwhile, a significant part of their audience didn’t think of the Moody Blues merely as musicians but, rather, as spiritual guides. John Lodge‘s song “I’m Just a Singer (In a Rock & Roll Band)” was his answer to this phenomenon, renouncing the role that had been thrust upon the band — it was also an unusually hard-rocking number for the group, and was also a modest hit single. Ironically, in 1972, the group was suddenly competing with itself when “Nights in White Satin” charted again in America and England, selling far more than it had in 1967; that new round of single sales also resulted in Days of Future Passed selling anew by the tens of thousands.
In the midst of all of this activity, the members, finally slowing down and enjoying the fruits of their success, had reached an impasse. As they prepared to record their new album, Seventh Sojourn (1972), the strain of touring and recording steadily for five years had taken its toll. Good songs were becoming more difficult to deliver and record, and cutting that album had proved nearly impossible. The public never saw the problems, and its release earned them their best reviews to date and was accompanied by a major international tour, and the sales and attendance were huge. Once the tour was over, however, it was announced that the group was going on hiatus — they wouldn’t work together again for five years. Hayward and Lodge recorded a very successful duet album, Blue Jays (1975), and all five members did solo albums. All were released through Threshold, which was still distributed by English Decca (then called London Records in the United States), and Threshold even maintained a small catalog of other artists, including Trapeze and Providence, though they evidently missed their chance to sign a group that might well have eclipsed the Moody Blues musically, King Crimson. (Ironically, the latter also used the Mellotron as a central part of their sound, but in a totally different way, and were the only group ever to make more distinctive use of the instrument.)
The Moodies‘ old records were strong enough, elicited enough positive memories, and picked up enough new listeners (even amid the punk and disco booms) that a double-LP retrospective (This Is the Moody Blues) sold extremely well, years after they’d stopped working together, as did a live/studio archival double LP (Caught Live + 5). By 1977, the members had decided to reunite — although all five participated in the resulting album, Octave (1978), there were numerous stresses during its recording, and Pinder was ultimately unhappy enough with the LP to decline to go on tour with the band. The reunion tour came off anyway, with ex-Yes keyboardist Patrick Moraz brought in to fill out the lineup, and the album topped the charts.
The group’s next record, Long Distance Voyager (1981), was even more popular, though by this time a schism was beginning to develop between the band and the critical community. The reviews from critics (who’d seldom been that enamored of the band even in its heyday) became ever more harsh, and although their hiatus had allowed the band to skip the punk era, they seemed just as out of step amid the MTV era and the ascendancy of acts such as Madonna, the Pretenders, the Police, et al. By 1981, they’d been tagged by most of the rock press with the label “dinosaurs,” seemingly awaiting extinction. There were still decent-sized hits, such as “Gemini Dream,” but the albums and a lot of the songwriting seemed increasingly to be a matter of their going through the motions of being a group — psychedelia had given way to what was, apart from the occasional Lodge or Hayward single, rather soulless pop/rock. There were OK records, and the concerts drew well, mostly for the older songs, but there was little urgency or very much memorable about the new material. That all changed a bit when one of them finally delivered a song so good that in its mere existence it begged to be recorded — the Hayward-authored single “Your Wildest Dreams” (1986), an almost perfect successor to “Nights in White Satin” mixing romance, passion, and feelings of nostalgia with a melody that was gorgeous and instantly memorable (and with a great beat). The single — along with its accompanying album, which was otherwise a much blander affair — approached the top of the charts. They were boosted up there by a superb promotional video (featuring the Mood Six as the younger Moody Blues) that suddenly gave the group at least a little contemporary pop/rock credibility. The follow-up, “I Know You’re Out There Somewhere,” was a lesser but still impressive commercial success, with an even better secondary melodic theme, and the two combined gave them an essential and memorable pair of mid-decade hits, boosting their concert attendance back up and shoring up their contemporary songbag.
By the end of the ’80s, however, they were again perceived as a nostalgia act, albeit one with a huge audience — a bit like the Grateful Dead without the critical respect or veneration. By that time, Moraz was gone and the core group was reduced to a quartet, with salaried keyboard players augmenting their work (along with a second drummer to back up Edge). They had also begun attracting fans by the tens of thousands to a new series of concerts, in which — for the first time — they performed with orchestras and, thus, could do their most elaborately produced songs on-stage. In 1994, a four-CD set devoted to their work, entitled Time Traveller, was released. By that time, their new albums were barely charting, and seldom attracting any reviews, but their catalog was among the best-selling parts of the Polygram library. A new studio effort, Strange Times, followed in 1999 and the live (at the Royal Albert Hall) Hall of Fame was issued a year later, but it was the 1997 upgrades of their original seven albums, from Days of Future Passed to Seventh Sojourn, that attracted far more attention from the public. In 2003, Ray Thomas retired, and the Moody Blues carried on as a core trio of Hayward, Lodge, and Edge. They were still going strong as a touring band in 2009, the same period in which their live performance from the 1970 Isle of Wight Festival, was released as a CD and a DVD. That same year, Hayward‘s “Tuesday Afternoon” began turning up as an accompaniment to commercials for Visa.
Webmaster’s note: The Moody Blues Tour will show at the Riverside Theater in Milwaukee WI USA on Oct. 3rd and 4th, 2013. The Friday show (the 4th) has been sold out for some time. The Thursday show(the 3rd) is selling quickly. Buy your tickets now. If you snooze you lose.
The following is an actual question given on a University of Washington chemistry mid-term. The answer by one student was so ‘profound’ that the professor shared it with colleagues, via the Internet, which is, of course, why we now have the pleasure of enjoying it as well:
First, we need to know how the mass of Hell is changing in time. So we need to know the rate at which souls are moving into Hell and the rate at which they are leaving.
THIS STUDENT RECEIVED AN A+.
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Why ASE Certified Automotive Technicians?
Some people would rather see their dentist than take the car into a repair facility. Some fear the possibility of being ripped off or facing a large repair bill. Most feel helpless when their car is in the hands of the “mechanic.”
ASE is an abbreviation for the National Institute of Automotive Service Excellence. ASE is an independent, nation-wide, volunteer organization that certifies technicians’ competencies. Certified technicians must pass written tests in specific areas of automotive repair. There are eight areas of repair for automotive technicians and the tech can get certified in one or more of the areas. A technician that passes all eight tests becomes a Certified Master Automotive Technician or CMAT.
Besides the automotive certification there are separate tests for heavy duty trucks, paint and collision repair, alternative fueled vehicles, school buses and other specialize areas of wheeled vehicles.
ASE certified technicians are required to do more than just pass tests. Technicians must recertify every five years. They must also have a minimum of two years auto repair work experience or a combination of work experience and formal automotive training before they can receive their certification.
So why go to a shop that employs ASE certified repair technicians? Integrity and professionalism. An ASE certified tech has voluntarily participated in a program which takes him/her to a higher level of professionalism in automotive service repair. Perhaps they take more pride in their work and are devoted to customer satisfaction. All certified technicians nation wide work to the same standards. I like to think that the ASE certified technician is proud of their achievement and that pride shows up in the work they do.
I look for a repair shop with ASE certified technicians when it’s time to repair my vehicle. I have more confidence in the work I will get.
I am an ASE certifed Master Automotive Technician or CMAT and have been since 1975. My five year certification is good through 2016. I once held a Certified Master Truck Technician rating and have passed L1 which is a special category for advance driveability.
National Automotive Technician Education Foundation
The National Automotive Training Education Foundation or NATEF was founded in 1983 as an independent, non-profit organization with a single mission: To evaluate technician training programs against standards developed by the automotive industry and recommend qualifying programs for certification (accreditation) by ASE, the National Institute for Automotive Service Excellence.
The purpose of a training certification program is to improve the quality of training offered. NATEF does not endorse specific curricular materials nor provide instruction. It does, however, set standards for the content of instruction, which includes tasks, tools and equipment, hours, and instructor qualifications. Program standards are developed based on ASE task lists and are designed to bring training programs to a level at which participants are properly trained for entry level into the industry. Once a training program meets the established standards and goes through the certification process, it can be certified as a program that actually teaches technicians to today’s industry standards.
Program Accreditation Process
Program Self Evaluation- The accreditation process begins with an extensive self-evaluation performed by training program instructors, administrators, and advisory committee members. Members of this group compare the program to national standards, and have the opportunity to make improvements before submitting evaluation documents to NATEF.
NATEF Review- Self-evaluation materials are then sent to NATEF, where they are reviewed to determine if the program qualifies for an on team evaluation.
On-Site Evaluation- If the program qualifies, an Evaluation Team Leader (ETL), an educator certified by ASE and trained by NATEF, is assigned the program and an on-site visit is scheduled.
Recommendation for Accreditation- When industry requirements are met the program will become accredited for a period of five years.
Areas of Accreditation
|Automobile Training Programs|
|Schools must apply for accreditation in at least the four required areas|
* Electrical/Electronic Systems
* Engine Performance
* Suspension and Steering
|Automatic Transmission and Transaxle
Heating and Air Conditioning
Manual Drive Train and Axle