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Monday, December 31, 2012
Wishing You a Happy New Year!!!
Posted by Shirlee at 8:38 AM 16 comments
Saturday, December 29, 2012
Snow Again!
Two days of snow in the same week! I think this is more snow than we've received since we moved here! Flakes of love from heaven : )
Posted by Shirlee at 11:53 AM 19 comments
Thursday, December 27, 2012
Two Days After Christmas
This is the view out my diningroom window as I'm writing this blog post.
Posted by Shirlee at 11:02 AM 18 comments
Monday, December 24, 2012
Merry Christmas!
Posted by Shirlee at 3:36 PM 16 comments
Saturday, December 22, 2012
Gifts Given
I thought that this morning I would share some of the gift stitchings I have done this year. I have shared a few of these before. There are 2 that I can't share yet & the reason will be obvious when I do get to share them : )
Noel Pinkeep
Finished by me
Primitive 1839 Winter Pinkeep
Finished by me
Primitive Merry Christmas Cupboard Hanger
Finished by me
Primitive Sleigh Bells Cupboard Keep
Finished by me
Posted by Shirlee at 9:39 AM 34 comments
Friday, December 21, 2012
A Christmas Season to Remember
This is going to be a Christmas season to remember. It is, most definitely, one of my worst Christmas seasons ever, if not the worst, because of that very, very, very bad thing which I've eluded to recently. However, as bad as things are, the spirit of Christmas cannot be held back. Despite the hell I may have to live in for quite some time, I have been surprisingly functional through the stress of it all. Cookies & breads have been baked, crackers have been made, dinner goodies have been bought & are ready to cook on Christmas Eve. The house has been decorated, albeit very sparsely, but the sparseness is actually quite comforting. I think we've all heard it said, at least once, that "less is more." Whoever came up with that idea was onto something : )
Once again John & I will be alone for Christmas, but that's okay. We enjoy each other's company, most of the time ... lol! Our traditions are simple ones. On Christmas Eve the lights remain lit on the trees. The smell of turkey breast & ham taking their turns baking in the oven permeates throughout the house. We fill our stockings & put our gifts under the tree & admire how pretty everything looks. Before we go to bed, John reads me a Christmas book. Every year since our first Christmas together, he has bought me a Christmas book to read to me on Christmas Eve. Most of them are children's books & are quite short. Others are more for adults ... perhaps someone's remembrances of Christmases when they were growing up in the 30s or 40s or 50s, or perhaps some sort of humorous book. Whatever the theme, without fail, John reads a Christmas book to me on Christmas Eve. We then go to bed. When we wake up Christmas morning, once again all the lights are lit & we enjoy the contentment of another Christmas together. I make our traditional orange rolls for breakfast, then we open our stockings, then our presents. It's always a bit sad to start opening these things because we know it's the start of the end of Christmas. We take our time. We each open one gift, admire it, maybe play with it a bit if playing is something you do with that particular gift, then go on to the next one. We had our children open their gifts this same way when they were growing up & oh how they complained about it! But you know what? Our daughter has her children open their gifts the same way now ... lol! Our son is on his own ... he has always said from the time he was a little boy that he would never marry ... but I know he opens his gifts this way as well : ) We have never had a sit-down dinner on Christmas Day. I do all my cooking & baking, with the exception of the orange rolls, on Christmas Eve, & we just grab ourselves a plate & munch on whatever strikes our fancy throughout the day. In addition to the turkey breast & ham, I make potato salad. That's the extent of it! Nothing fancy. We make or receive a couple phone calls during the day, & we may watch a Christmas DVD or two during the day/evening. Then we sit back & talk about how lovely our Christmas has been & how we are looking forward to the next one.
I couldn't believe my eyes when I woke up this morning & saw snow outside! Now before you picture a blanket of white, I will tell you that on the rare occasions when it does snow here in the devil's playground, it looks as if God shook some powder from a talcum powder can onto the grass. Just a bit of powder. You still see the grass. You see more grass than powder actually. But, for what it's worth, it snowed & it's snowing now. It's very windy & the snow is falling sideways & nothing is falling to the ground, but it's snowing. You can't feel anything but happy when snow is falling ... even a pathetic snowfall like this. Fluffy flakes of Prozac falling from the sky : )
I have received some gifts that I would now like to share with you. I usually save any gifts I receive from friends or other than immediate family members & open them on Christmas Eve. However, this year I suspected that some of the packages I received from blogging friends might contain stitched ornaments for my tree, & since this year's tree was quite lacking in ornaments due to the fact that I didn't want to unpack any from the moving boxes where they have been residing since last year (some for quite a few years) anticipating Christmas in a different home, I decided to open these packages now.
June in England sent me this wonderful stocking ornament, an adorable sheep needle minder, a cupcake calendar bookmark assortment, yummy hot chocolate mix, & a beautiful handmade card : )
Posted by Shirlee at 11:37 AM 26 comments
Tuesday, December 18, 2012
Back in the Land of Fire & Brimstone
Posted by Shirlee at 8:51 AM 18 comments
Wednesday, December 12, 2012
500th Post
I can't believe this is my 500th post! I've been holding back posting anything the past couple days because I felt I should have something very special or exciting to share on such a monumentous occasion : ) What I could share with you is a horrific nightmare that has dropped like a giant boulder into my life in the past couple days, but that's certainly not a good thing to share on a 500th post. I will, however, ask for prayer. Lots & lots & lots of prayer. Lots of it. This is a bad, bad, bad thing that has happened & I may be dealing with it for quite some time. I need all the prayer I can get. Just so you don't worry, it's not medical, dental, or family related ... but it's bad ... very bad ... so please do remember me in prayer.
Posted by Shirlee at 11:41 AM 44 comments


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How old should I be to apply for IRONMAN events as a voluneer?
We do believe that volunteers at all ages can contribute - it is important to find suitable tasks. The youngest ones can volunteer with their parents at the energy points, where there is also a good opportunity to cheer the athletes. Transition area, bike and running course volunteers must be at least 18 years old. We also welcome the elderly people.
How do I register as a group?
If you would like to join us with your friends, colleagues or fellows from the sport club, please let us know via e-mail [email protected], and the volunteer coordinator will contact you directly.
Is there a possibility to help as a volunteer before event begins?
Sure, as the preparation work is going on during the whole year and we need a help of the volunteers at the media team already today. Volunteers of the construction and visual teams start working a week before the main day when a race center and transition zones are build up. In case of interest, please contact us: [email protected]
Is it possible if I want to volunteer together with my friend?
If the area of responsibility that is assigned to you allows it, it is certainly possible. In this case please write the name of the friend you want to volunteer with in the comments of the form.
I haven't been a volunteer at the triathlon event before, can I assign?
Prior experience is welcome but not mandatory. All our staff are experienced and helpful. We expecting from you being open, friendly and cooperative, and together we will be able to organize a great triathlon festival!

subset: commoncrawl


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Bike rental in Charlbury
You can rent a Donkey Bike for longer than just a ride.
How it works
Rent a bike in a few clicks
Get the app to rent a bike from many locations, in many cities.
Unlock your rental bike
Find your bike at the pick-up location and unlock with the app.
Ride and keep the bike
Short or long rentals. Lock and unlock your bike as much as you like.
Return the rental bike
Return the rental bike to an available drop-off location, lock it and end your rental with the app.


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Container sidewalls can be pre-printed and shipped flat for forming on site – reducing warehousing, shipping, and handling at every step. With in-plant forming and filling equipment from Huhtamaki, you can better control container supply, reduce your transportation costs, and get maximum value from your packaging and production facilities.
Huhtamaki's bulk ice cream container forming equipment was designed by experts in the frozen dessert packaging industry to create more packaging production options for our clients.
The Huhtamaki Bulkan® EX is 1.5 to 4 gallon metaless bulk container forming machine. On-site container forming helps reduce fuel and transportation costs associated with shipping of pre-formed containers. The Bulkan® EX weighs 5,900lbs. Requires 240 volts AC, 3-phase, 80amps.
The Huhtamaki FM-1800-RIP is a Ring-in-Place Bulkan® container assembler that can produce 1 to 5 gallon containers. Fuel, transportation, and warehousing costs can be greatly reduced by the use of this on-site former. The FM-1800-RIP weighs 725lbs. Requires 1hp, 230 volts AC, 1-phase, 60Hz, 4.5amps (optional transformer to meet international specs. is available).
The Huhtamaki FM-1800-ABA is an automated container assembler for Bulkan® containers. The FM-1800-ABA weighs 550lbs. Requires 1hp, 115/230 volts AC, 1-phase, 60Hz (optional transformer to meet international specs. is available).
Huhtamaki's forming machine equipment for Huhtamaki cups, containers, and lids provides an economical solution for many of our popular consumer packaging products.
The Huhtamaki FM-1400 is an on-site forming machine for straightwall, round paperboard containers that allows product manufacturers the freedom to assemble packaging in-house. The FM-1400 weighs 8,500lbs. Requires 240 volts AC, 3-phase, 60Hz, 60amps.
The Huhtamaki FM-1423P forming machine is an on-site assembling machine for round, straight-walled plastic containers. This in-house forming machine allows consumer product manufacturers to assemble containers as needed, as well as save on fuel and transportation costs. The FM-1423P forming machine weighs 8,500lbs. Requires 240 volts AC, 3-phase, 60Hz, 60amps.
The Huhtamaki FM-1600 forming machine can produce non-round, tapered or straight, flat-bottom paper containers at your manufacturing facility. This on-site forming machine allows consumer product manufacturers to assemble popular Vektor or Revelle® Huhtamaki containers when needed. The FM-1600 weighs 8,300lbs. Requires 240 volts AC, 3-phase, 60Hz, 50amps.
The Huhtamaki FM-4000 forming machine is an on-site assembling machine for flat bottom round and non-round, straight and tapered containers. Footprint: 7' x 9', weighs 15,000 lbs. Requires 480VAC, 3-phase, 60Hz, 100amps.
The Huhtamaki UL-4400 Quikspread® plug inserter/sealer is an on-site plug inserter and sealer for container manufacturing. The UL-4400 weighs 3,500lbs. Requires 240 volts AC, 3-phase, 50-60Hz, 60amps.
The Huhtamaki CF-3200 unscrambler/feeder is an on-site volume unscrambler and feeder that sorts and aligns covers and plugs for Huhtamaki containers. The CF-3200 weighs 780lbs. Requires 240 volts, 60Hz, 10amps.
The Huhtamaki FM-1300 Quikspread® table-top container forming machine is an on-site container forming machine. The FM-1300 weighs 1,000lbs. Requires 380 volts AC, 3-phase, 50-60 Hz.
The Huhtamaki UL-4300 is an on-site table top machine that plugs, seals, and crimps Quikspread® containers. The UL-4300 weighs 200lbs. Requires 220 volts AC, 1-phase, 50-60 Hz, 80amps.
The Huhtamaki FC-2300 ice cream filler is configured to run round or non-round nested containers, single or dual drop (for maximum speed, depending on shape). The FC-2300 weights 2,200 lbs. Requires 230 Volts AC, 3-phase, 60Hz, 10 amps.
The Huhtamaki FC-2320 filler/capper can be configured for single-drop or dual-drop (for maximum container drop rates, depending shape). The FC-2320 weighs 2,500lbs. Requires 440/480 volts AC, 50/60Hz, 15amps.


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This podcast I talk about how to make fresh sqeeuzed oj, plus physically googling Salvadordali, plus making out with your ex(istance).peaceout.
ydk 71
vince stephen
My name is vince Stephen, I was born in Muskegon, MI, when I was 2, I moved to Hampton, Virgina, I grew up in VA playing sports and loving music and art. I moved back to Muskegon in my twenties and started making music in 2003. Lived in Muskegon until 2014 when I moved to Los Angeles, a long awaited moved that I was going to make in 2004 but was talked out of it by family. Now, I blog from my website, podcast from my website, I also do a number of other things involving the website. Along with making music and even after all that still finding ways to expand my artistic education and value, after all, I live in Los Angeles.


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How do I log on to a computer in the Libraries?
Students, faculty and staff use their PODS username and password. You can use the BU Brain to verify your username and initial POD password. Please contact the ITS Help Desk for assistance. Courtesy borrowers and community patrons need to obtain a guest account from a Library service desk.


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We also had Wacky Wednesday, in honor of the book by the same name. (Although it's not a true Dr. Seuss book, I did explain to the kids that it was written by the same man using a different name.)
The book is filled with silly things that the kids have to find on every page, so for art they drew their own wacky pictures. Then they shared them with the class so we could all find the silly things.
Multiple suns was a common one, as well as floating things, like cars and trees.


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Welcome to our website for all Museum display . Hello everyone! In our website you will be able to find All the answers for Daily Themed Crossword Game. Sushma Vinod created a fun crossword game with each day connected to a different theme. Choose from a range of topics like Movies, Sports, Technology, Games, History, Architecture and more!So it is our pleasure to give all the answers and solutions for Daily Themed Crossword below
Museum display


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NETGEAR for
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500Mbps, 1 Port, N300 WiFi
Have a room where you need a stronger WiFi signal? Is your connectivity limited when using WiFi far away from your router? These powerline to WiFi adapters are ideal for covering your whole home. Simply plug the adapter into any power outlet and create new WiFi access right there. No more weak WiFi.
With a push of a button, NETGEAR Powerline 500 + WiFi can easily extend WiFi to the other side of your home by using Powerline technology and creating a new WiFi access point where you need it most.
Extend WiFi access to any part of your home using powerline technology. Great for connecting WiFi devices like tablets, laptops and smartphones
Powerline speeds up to 500 Mbps enable multiple HD video streams simultaneously while 300 Mbps WiFi connection
Convenient mini-design blends in nicely with any surrounding.
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Secures the Powerline network connection with the touch of a button, no need to remember passwords
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Automatically powers down when not connected or not in use, disables LEDs, less than 0.5 Watt in stand-by mode.
Extend your Powerline network by adding up to 16 adapters in total. Works with any Homeplug AV adapter
† Actual data throughput and data over distance will vary. Network conditions and environmental factors, including volume of network traffic, building material and construction, and network overhead, result in lower actual data through put rate.
Extend your home network and create a powerful WiFi connection by adding the Powerline 500 + WiFi
Connect your mobile devices to your network via WiFi.
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Monitor and Stay Secure with NETGEAR genie App. NETGEAR genie let's you see your NETGEAR Powerline devices on a network map, get connection status, data link rates and easily setup security encryption between Powerline adapters.
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FAQ038, September 2019
Does bleeding during pregnancy always mean that there is a problem?
Vaginal bleeding during pregnancy has many causes. Some are serious, whereas others are not. Bleeding can occur early or later in pregnancy. Bleeding in early pregnancy is common. In many cases, it does not signal a major problem. Bleeding later in pregnancy can be more serious. It is best to contact your obstetrician–gynecologist (ob-gyn) or other health care professional if you have any bleeding at any time during pregnancy.
Birth Control
Learn about choosing the right birth control method for you. Some examples
include the birth control pill, intrauterine device (IUD), patch, condom, or implant.
Cancer Screening
Learn more about breast cancer, colon cancer, or other types of cancer.
Get vaccinations against the flu, human papillomavirus (HPV), and more.
Health Screening
Get screened for high blood pressure, diabetes, bone density for osteoporosis, and more.
Depression Screening
Depression is a common but serious illness. Depression can be mild, moderate, or severe. To diagnose depression,...
FAQ134, July 2017
What is endometrial ablation?
Endometrial ablation destroys a thin layer of the lining of the uterus. Menstrual bleeding does not stop but is reduced to normal or lighter levels. If ablation does not control heavy bleeding, further treatment or surgery may be needed.
FAQ095, March 2017
What is a normal menstrual cycle?
The normal length of the menstrual cycle is typically between 24 days and 38 days. A normal menstrual period generally lasts up to 8 days.
FAQ193, June 2016
How common is heavy menstrual bleeding?
Heavy menstrual bleeding is very common. About one third of women seek treatment for it. Heavy menstrual bleeding is not normal. It can disrupt your life and may be a sign of a more serious health problem. If you are worried that your menstrual bleeding is too heavy, tell your obstetrician–gynecologist (ob-gyn).
American College of Obstetricians and Gynecologists
409 12th Street SW, Washington, DC 20024-2188
Mailing Address: PO Box 96920, Washington, DC 20024-9998


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Use this chic Rolling Bar Cart to serve your party guests their food and drinks. The cart features 4 wheels for stability and easy transportation between rooms and glass design. Frame Material: Metal Overall: 33.46 H x 15.75 W x 33.46 D Top Material: Glass Overall Product Weight: 28 lb. Total Weight Capacity: 28 lb.
House of Hampton bar cart is a product that is popular now. If you would like to own it. Please check prices and buy House of Hampton bar cart before the product is out of stock. If you're finding the technician information of bar cart, Sorry we can not display the technician information. But if you are looking bar cart to buy, We recommend a site that might be what you would like. If easier for you. We encourage you to click to view the bar cart price and more information of bar cart. Baird Rolling Bar Cart by House of Hampton Care and cleaning of bedding Always keep changing. Keep changing bedding And care of the new bedding as well as bedding, pillow cases, quilts and so on. Many people may worry about the color of the bedding. Will it suit us? Or to supplement the Hwang or offline. But in essence, Feng Shui is more important than color. It is the care of the clean. Or if it is in a condition that is not available to replace the damage often. And always clean. What is the power. The new power. New opportunities or new good luck in life with. Colors in the way of Feng Shui is composed of all five elements. 1. Water element - blue tone blue color suitable for retirement age. The age is a matter of leisure. Adults 2. Wood - green color The color of the trees is related to the age of growth. It is the color of creativity. Have creative ideas Suitable for working age or adolescence. 3. Fire element - Red, orange, pink color Active active color for teenagers studying in adolescence. Beginner Business Not recommended for mature adults who are retired. 4. Ground element - cream brown color, firmness, stability, peace to the Dining Room. Suitable for all ages available to anyone. 5. Gold - white color of business intelligence suitable for adolescents, students, working class students House of Hampton bar cart table at the head of the bed. In feng shui considered. It is a balance in life. To make money, we have good circulation. There is a good flow of money. We should have a bedside table on both sides of the bed. Choosing a bedside table should be a table with the edge of the table without a corner to avoid the power of feng shui to attack. Or a corner that hit us while sleeping on the sofa. House of Hampton bar cart lamp on the table should have Lamp on both sides of the mainstream of Feng Shui. The light in the Dining Room should be indirect light, it is In Direct Light should be avoided the fluorescent lights. The white light is very bright. It will balance or force in Feng Shui. But the lamp on the bed before bed, we may be open at the time of reading. When we sleep, we close. I like adjusting feng shui to a good balance. It is a good balance of health. Make a good balance in your finances. And fortune to us. The lamp should be chosen with the material of the crystals. House of Hampton bar cart wardrobe closet if the cabinet with a mirror, the cabinet should not be placed directly on the bed. Should be placed at another angle that does not match the bed. If it is a closet, the drapes will not be alright. Dressing table Should be located at the end of the bed, do not turn the mirror into the bed as well. It will make the power to reflect bad. Will result in fatigue.
Customer Reviews
Value Quality Price
ExcellentNow the flow of home-style Dining Room Japan clean up very well. Can be seen from the popular feed. We often see in the social network that everyone is flying to Japan. It's because there are so many interests. Whether it is technology. Arts and culture Attractions Including DIY food in Japan today, we will take you to experience a simple atmosphere. Beautiful in Japanese style. You do not have to travel too far with the Tokyo Collection. The room that Sara chose today is my bar cart . Tokyo style style is a simple Dining Room style clean clean look for a relaxed mood. Feel close to nature. And the important function is very much. The principle of the Japanese style room is three simple things, the first is to meet the simple use of space. Second, the function is very good. But it must be contemporary. And third, it must be close to nature. It will make us relax. If all items of this collection are noted, it will be a wooden style. The pattern and texture of the wood gives it a real feel to it, to the heart of the room. No matter which style you choose. Let's say you do not forget to put your own identity into it. For your style, Sara. She secretly whispered that a lot of people. Therefore, there must be a cabinet or storage that is quite functional. Like the Tokyo Collection, Sara Recommended is about Dining Room style, but it has a very functional cabinet as well. This is a very deep cabinet. All 3 layers, but if anyone says that is not enough. Mr. Sara says that it is a clean bucket. I still have the Dining Room . We will choose Dining Room . We can choose small pieces to decorate. The atmosphere in the room. Today Sara was chosen as a bedside table. The legs are black, the top is a wood, which will match the atmosphere of this room is very good anyway. Or if anyone wants to have a function that you have Sara has another piece to introduce. This laptop can be set and level. And let's say that the most versatile. It is a laptop or desk to work or eat it.
Value Quality Price
AmazingIt's over with the winter and the festivities. Now foliage in many countries will start to bloom for the spring. Thailand will start hot flashes. So before we enter the official summer. Let's find something fun to do with Springfield update better than before. Because of the colorful trend of spring has a great influence on fashion in Thailand. So it's another season not to be missed. In the colors of the year 2019, it must be the color of the natural color Dining Room color that will spell all eyes. Get the feeling of a baby buried in every heart out. Like a garden full of flowers. The trend of makeup. Fashion, dress, clothing, shoes, bags as well as the design of the interior and interior or even Dining Room of the decoration are all trendy pink and Dining Room are the elements of course. Dining Room and home decor items Index Living Mall design. Must be colorful. To welcome the brightness of the season. And ready for everyone to enjoy the refreshing fun of all areas of the house packed with happiness. Choose a design style in this season's collection of Modern style and use Pastel Pop tone with emphasis on attractive design. Equipped with the function. And it is indispensable to respond to the color of the flowers bloom. Today, I would like to take a room to shine the idea of a pop to be healthy. And this spring. No one can refuse to sleep, see the flowers bloom from the bar cart window to .. if we are ready to see it better. What kind of looks will the spring look like? Start at Dining Room just for a sweet pink bedclothes. Pair with bright yellow floor lamp. Add the original white sofa with pink, yellow and green cushions. Mint covered the area with a soft pink carpet. Tip & Trick: If you do not have a spring view, just pop in the pastel style of Pop Art. I can find paintings. Nice graphics on the wall. Immerse yourself in your own little gallery ... It's just another joy!
Value Quality Price
NicelyI got this bar cart for my girlfriend for Christmas and she absolutely loved it. Can be used for day or night. So nice that I bought it in 2 different colors. This bar cart is cute and high quality. Highly recommend it!
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Because Bar Cart can impact your health, your comfort, and your efficiency, it can change your life. While this realization can make buying Bar Cart a bit challenging, it is essential. You want to buy Baird Rolling Bar Cart by House of Hampton that fits, supports and enhances the way you live. If you are new to buying Bar Cart or have discovered that the furniture you have isn't helping you, here are some suggestions:
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The Trials of a Chubby Yogi
Let me tell you about the Scorpion pose. Picture this: You support your body on your forearms and kick your legs up in the air, handstand-style, then go into this incredible backbend as you reach your feet toward your hands and your head toward your feet. It sounds impossibly awkward (or impossible, period), but it's elegant. Even outside yoga class, I daydream about the Scorpion, envisioning myself striving for perfection.
We're not doing the Scorpion today. Today we're doing hip openers, and I'm trying to focus, until the teacher interrupts me. "Don't worry," she says, giving me a quick pat as she breezes by. "You'll get there eventually." The teacher doesn't urge anyone else to try again next time before she's finished trying now. I haven't given up by a long shot, but Buddha lady thinks I should give it a rest. And I know why: It's because I'm fat.
I also happen to be an extremely adept yoga student.
When I started doing yoga seven years ago, it wasn't what I expected. It wasn't a lot of chanting or relaxing. It was hard work, and it was emotional. The triumph of mastering a new pose, the disappointment of failing to stay in position, the euphoria that inevitably hits whenever I'm upside down for extended periods. When I got serious about yoga, my classes became a sanctuary where I trained my body to relax and my mind to concentrate. Yoga helped me conquer demons I used to medicate away with antidepressants. It made me feel free.
But after I got pregnant, I developed anemia. I felt so sluggish that I convinced myself yoga was less important than lying on the couch while my husband shoveled pierogies into my mouth. I gained more weight than was healthy, but I planned to go back to yoga and get in shape after I delivered my baby. Except the delivery didn't go quite as I had planned.
Truthfully, I can't say what I had planned except to have a cute baby and smile for the pictures afterward. Instead, I got 30 hours of induced labor followed by complications that ended in an emergency cesarean section. I also fell into a depression, started on Zoloft and gained more weight, partly as a side effect of the drug. But I was so grateful to feel like myself again that I almost didn't mind. Besides, once I felt better mentally, I was ready for yoga again. I wanted to get back into the game.
Of course, now that I had a baby, I had to make some changes to my old routine. Instead of going to my favorite studio, I bought an unlimited pass to one closer to home, with a class schedule that fit around my son's nap times. When I hit the mat at five months postpartum and 35 pounds above my optimal weight, it was painfully obvious that a few other things had changed, too. Moving into my first handstand, I felt the strain in my wrists, due to the extra pounds. My usually intense seated forward bend felt muted by a new roll of belly fat. My ankles ached in high lunges. I told myself I simply had to work harder, that there were advantages to starting over. I could rediscover the beginner's highs and appreciate the milestones I'd been taking for granted. Maybe the extra weight would turn out to be a blessing.
One change I hadn't counted on was the teachers' treating me differently. Over the course of three weeks, six different instructors approached me to offer extra encouragement. They'd stare at my sweaty face and bulging belly and say, "Remember, Child's pose is always available to you," or "You can do it!" Maybe I was being oversensitive, but I had more experience than many of my skinnier classmates did. So why were my teachers suggesting that I stay in a pose because I was doing so well in it, while urging others to try the more advanced variation?
My defenses kicked into high gear. Bent on proving myself, I'd assume a pose as soon as the teacher intoned its Sanskrit name, eager to show everyone that I didn't need the English translation. Whenever I crapped out of a pose, I'd mutter, always within earshot of the teacher, "I just had a C-section. My scar isn't healed." I was ashamed of myself for whining yet desperate for approval—or at least for the teacher to treat me like everyone else.
Then I saw an instructor do the Scorpion, and I fell in love. It incorporated all the things I adore about yoga: a backbend, being upside down and the fact that it looks much harder than it is. Once you're in it, you're supposed to lift one or both hands to support your chin, which makes the pose seem casual, as if you're hanging around, waiting for an actual challenge.
I jumped at the chance to try it. I was the first one at the wall, where you learn new poses. I went into Dolphin pose then kicked up my legs, loving the stretch, and rested my feet on the wall. Almost there, I thought. And then it happened: My teacher walked by and said, "I like your spirit."
As far as cruel and demeaning comments go, "I like your spirit" isn't too bad. Still, in my touchy state, the remark felt like a handshake at the end of a first date, code for "Thanks for a nice evening, but I won't be calling you." Everyone else was expected to be able to do this pose, to push themselves to the limit. I was the only one getting credit for merely trying. How about "Keep going!" or "Curl your tailbone in!"—which is what she was saying to the rest of my classmates. I felt totally demoralized.
My weight made it impossible for anyone to see my ability, it seemed. I didn't finish the Scorpion. I couldn't. Instead, I came down from the pose and made my usual lame apology: "I just had a baby." What I meant was, "You have no clue what it takes for me to stay here, despite everything I've been through. You say you like my spirit? Honey, you have no idea."
Later that night, when my husband asked about my bad mood, I sniped, "You try taking care of a baby all day!" Gently, he suggested that I needed to make more time for yoga. I didn't have the heart to admit that I'd been there that very day. But I began to wonder, Could it be that yoga—and not the demands of caring for an infant—was contributing to my bad mood?
Even when I was in top form yogawise, I'd never been the thinnest in the room, never been someone who floated into the poses. But I didn't mind that. Yoga was a challenge for me; I liked it that way. I hoped that meant it would never seem rote. Yet now, whenever I drove to the studio, I'd sit in my car for a few minutes before slowly trudging up the stairs. With dread. In class, when a teacher drew near, I'd pray she wouldn't comment. I was so tired; getting into shape felt so hard. Why couldn't they leave me alone?
With the baby, everything in my life had changed: my sleep schedule, my body, my freedom. I had counted on yoga to be the thing that stayed the same. But in my new body, the one I didn't recognize, I could no longer do what I used to do. Maybe that's what bugged me: I've always been an overachiever, and I still thought of myself as an advanced yoga practitioner. I didn't want the teachers to congratulate me for merely showing up.
I felt worn down from envy and need. I was also sick of stretching into Downward Dog and, once there, peering through my legs at my classmates to gauge who had more defined triceps or whose heels were closer to the ground. Did it truly matter what my classmates could or couldn't do? Wouldn't it be more gratifying to measure myself against my own abilities? If I wanted to move forward in yoga, I needed to stop wallowing in the negative. I couldn't let the drama of my son's delivery be the story of my life. I had to see the grace in starting over, to find the glory in doing something for the second time. If I kept relying on an arsenal of excuses for why I looked the way I did—the antidepressants, the pregnancy, the misery, the fear—I'd be denying the drive that kept me coming back to the studio, despite the humiliations, real or imagined. I wanted to feel healthy and happy again. If I pushed myself hard enough, maybe I could get there. Or maybe it was enough to know that right now, I was doing the best I could do, whatever anyone else might think of me.
I began making a point of keeping my mouth shut when I couldn't master a pose. No excuses. No worrying about other people's expectations or wondering what they thought of my weight. I needed all my energy to rebuild my body and repair my confidence. As I turned my focus inward, I began to ask myself if it had been my desperation, not my weight, that compelled my teachers to patronize my efforts in the first place. After all, yoga instructors, like the rest of us, are human. And most humans can't help but take a step back in distaste when they sense someone is too needy. It was time to call a truce with the teachers I thought condescended to me, the classmates who outshone me. I decided to forgive them. More important, I decided to forgive myself.
I am on my back in my new favorite teacher's yoga class. A few months have passed since that first failed Scorpion. I am not much thinner, but I am much stronger. Still, in the middle of doing core work, I get tired and quit. (Yoga possesses special ways of making your midsection scream.) My teacher stands over me, teasing, "C'mon, Cathy, just a few more. You're not here to rest." I don't tell her my name is Taffy. I don't feel especially guilty. After all, I've been through a lot—becoming a mother, beating depression. Not that I'm complaining. Time has built layers of tissue between me and my past hurts. My scars are healed, and I'm no longer willing to let my self-esteem depend on what others think. I'm learning to be kind to myself, in life and in the yoga studio, to focus on what I've accomplished and let the rest go. Besides, I've done the Scorpion today, and not even against the wall. I don't need anyone else to tell me that's awesome. I know it for myself.
Photo Credit: Allard de Witte/Hollandse Hoogte/Redux


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Inking is a pretty vital step to comic-ing, and there's thousands of different ways to do it!
Personally, I do my comic digitally on photoshop CS3 using the standard 'hard round' 2px with the 'pen tilt' control dynamic. I find that the pen tilt gives me a crisper line at most angles, however on the straight lines it gets a little fuzzy.
So, CG, what do you use to ink your comic?


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UCLA walked into Berkeley last year bearing a No. 25 ranking and slight edge in Vegas. It left with one of its most embarrassing efforts of the year, a sloppy 43-17 loss marked by six turnovers.
This Saturday, Cal visits the Rose Bowl as one of the worst teams in the conference, one battling numerous injuries to an already porous secondary. In normal circumstances, a potential trap game. Considering recent history, a chance at some measure of redemption.
Do the Bruins still carry a chip on their shoulders?
"Yes," left guard Xavier Su'a-Filo said.
UCLA did just about everything wrong at Memorial Stadium in 2012. Brett Hundley took five sacks and threw four interceptions, that latter number over a third of his season total. Meanwhile, they allowed the Bears' Zach Maynard — who most recently played for the Hamburg Blue Devils — to throw for four touchdowns on 25-of-30 passing.
"I think we just played terribly all around, for whatever reason," linebacker Anthony Barr said. "Offense, defense, special teams. Penalties, made mistakes. We have to play more disciplined this time around."
Starting left tackle Torian White's season ended when he broke a bone and tore a ligament near his right ankle last Thursday, jumbling what had been a surprising offensive line.
Replacement plans aren't yet cemented, but the most likely look could be what UCLA used in the second half against Utah: Simon Goines moving from right to left tackle, and freshman Caleb Benenoch sliding into right tackle next to fellow 2013 signee Alex Redmond. The noise in Salt Lake City often made communication difficult, forcing the Bruins to use a silent count; even if the two first-years are talented enough, the question of chemistry still looms.
"We don't really have time to get there," Su'a-Filo said. "We need it. We need to get a solid group. It needs to happen in practice this week. We're coming up on a big stretch of great opponents right in conference. It needs to happen this week."
Su'a-Filo said there are currently no plans to move him to left tackle, which means Redmond and Benenoch could be starting next to each other at the Rose Bowl on Saturday.
"There's a lot of growing up to do this week," Su'a-Filo said. "They're not freshmen anymore."
Last Thursday's 34-27 win at Utah was Su'a-Filo's first time playing in his home state as a college athlete. Nearly 60 family and friends showed up at Rice-Eccles Stadium to watch his return.
The junior has a cousin and a former Timpview High teammate on the Utes' roster, but there were no divided allegiances in the stands.
"They were all for me," he said. "I wouldn't have invited them if they were going for Utah."


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Currently, it seems, Jane Austen is hotter than Quentin Tarantino. But before we try to establish what the Austen phenomenon is, let us first establish what it is not. About eighteen months ago, I went to see "Four Weddings and a Funeral" at a North London cineplex. Very soon I was filled with a yearning to be doing something else (standing at a bus stop in the rain, for example); and under normal circumstances I would have walked out after ten or fifteen minutes. But these weren't normal circumstances. Beside me sat Salman Rushdie. For various reasons—various security reasons—we had to stay. Thus the Ayatollah Khomeini had condemned me to sit through "Four Weddings and a Funeral"; and no Iranian torturer could have elicited a greater variety of winces and flinches, of pleadings and whimperings. One was obliged to submit, and absorb a few social lessons, in agonizing surroundings. It felt like a reversal of the Charles Addams cartoon: I sat there, thoroughly aghast, while everyone about me (save the author of "The Satanic Verses") giggled and gurgled, hugging themselves with the deliciousness of it all. The only good bit was when you realized that the titular funeral was going to feature Simon Callow. I clenched my fist and said yes. At least one of them was going to die.
"Well," I said, when it was over, "that was bottomlessly horrible. Why is it so popular?"
"Because," said Salman, "the world has bad taste. Didn't you know that?"
Still, bad taste doesn't quite cover it. I can see that the upper classes might enjoy watching the upper classes portrayed with such whimsical fondness. But why should it appeal to four hundred berks from Hendon? In any postwar decade other than the present one, "Four Weddings" would have provoked nothing but incredulous disgust. A sixties audience would have wrecked the cinema. Yet now it seems that the old resentments have evaporated, and "the million," as Hamlet called them, feel free to root for the congenital millionaires. They can lapse into a forgetful toadyism, and abase themselves before their historical oppressors. Class is harmless, class is cute; class is even felt to be . . . classy. "Four Weddings" is of course deeply "sentimental" in the colloquial sense: it displays false and unworthy tenderness. But it is also sentimental in the literary sense: an exhausted form has been speciously revived. Houses, parties, house parties, amorous vicissitudes in opulent drawing rooms and landscaped gardens, do's and don'ts, "p"s and "q"s, old money and unlimited leisure. To get in the mood for "Four Weddings," imagine you are the Reverend Collins on laughing gas. It is Jane Austen, in a vile new outfit.
"Persuasion" has recently been filmed, and so has "Sense and Sensibility," and there are three versions of "Emma" in the works (not to mention "Clueless"), and no doubt someone will soon knock off the amiably mock-Gothic "Northanger Abbey," and someone else will find the nerve to tackle the problematic austerities of "Mansfield Park," and that will be that. For "Pride and Prejudice" has been most comprehensively taken care of, in the BBC's six-part, nine-and-a-half-million-dollar serial, which has been emptying the streets of England every Sunday night (and which will arrive on American screens on January 15th). Austen fever, or more particularly Darcymania, is upon us. Features editors have been reduced to commissioning interviews with lorry drivers and insulation engineers who happen to be called Darcy; tourist pilgrimages to Jane Austen's house (in Chawton, Hants) were up about two hundred and fifty per cent in October, and sales of Austen tote bags, Austen crockery, Austen sweatshirts, Austen tea towels, and Austen aprons were comparably brisk; while you're listening to "The Jane Austen Music Compact Disc" (stuff she might have heard or played), you can rustle something up from "The Jane Austen Cookbook" (all ingredients have been modernized); and so on. Much of this enthusiasm is, of course, collateral enthusiasm, or Heritage enthusiasm: a blend of disembodied snobbery and vague postimperial tristesse. No doubt, too, many of the serial's ten million viewers watched it in the same spirit as they watched "Four Weddings"—contentedly stupefied by all the eccentricity and luxe. But such wastage is inevitable, and even appropriate. "Sense and Sensibility" and "Persuasion" play at the art houses. "Pride and Prejudice" plays in your living room; and—true to the book—it comes at you with a broad embrace.
Some may be funnier than others, but all Jane Austen's novels are classical comedies: they are about young couples finding their way toward a festive conclusion, namely marriage. Furthermore, all Jane Austen's comedies are structurally the same comedy. There is a Heroine, there is a Hero, and there is an Obstacle. The Obstacle is always money (not class—Mrs. Bennet's origins are in "trade," but so are Mr. Bingley's). With the exception of Emma Woodhouse, all the Heroines are penniless and have no dependable prospect other than comfortless spinsterhood. As the Hero heaves into view, he will appear to be dogged by a female Rival—schemer, heiress, or vamp. The Heroine, for her part, will be distracted, tempted, or merely pestered by a counterfeit hero, a Foil—seducer, opportunist, or fop. The Foil can be richer than the Hero ("Persuasion," "Mansfield Park") and, on the face of it, much better fun ("Mansfield Park"). The Hero can also be uglier than the Foil. In her adaptation of "Sense and Sensibility" (which has a double Heroine), Emma Thompson does what she can to spruce up Colonel Brandon—the part is given to Alan Rickman—but the novel makes it plain that he is a pitiable old wreck of thirty-five. Brandon represents authorial punishment for Marianne's unrestrained infatuation with her Foil, John Willoughby (played in the film by the charmlessly handsome Greg Wise). The flaws of the Foil will highlight the Hero's much solider merits. While the Heroines have foibles, the Heroes are all paragons. Two of them—Henry Tilney and Edmund Bertram—are vicars.
In "Pride and Prejudice," Austen turned up the dial that controls the temperature of comedy, giving it some of the fever of what we would now call romance. Both Rival and Foil are almost melodramatically garish figures: the self-woundingly feline Caroline Bingley, the debauched and self-pitying George Wickham. They create logistical difficulties, but neither is capable of mounting the slightest threat to the central attraction. For Elizabeth Bennet is the most frictionlessly adorable Heroine in the corpus—by some distance. And, as for the Hero, well, Miss Austen, for once in her short life, held nothing back: tall, dark, handsome, brooding, clever, noble, and uninhibitedly rich. He has a vast estate, a house in town, a "clear" ten thousand per annum. His sister Georgiana has thirty thousand pounds—whereas Elizabeth's dowry amounts to about a quid a week. No reader can resist the brazen wishfulness of "Pride and Prejudice," but it is clear from internal evidence alone that Austen never fully forgave herself for it. "Mansfield Park" was her—and our—penance. As her own prospects weakened, dreams of romance paled into the modest hope for respectability. "Persuasion" was her poem to the second chance. And then came death.
This autumn, as the new serial got into its stride, distressed viewers rang up the BBC in tears, pleading for the assurance that fate would smile on the star-crossed pair and all would yet be well. I was not among these callers, but I sympathized. And I quite understood why the "Pride and Prejudice" video, released midway through the run, sold out in two hours. When I was introduced to the novel, at the age of fourteen, I read twenty pages and then besieged my stepmother's study until she told me what I needed to know. I needed to know that Darcy married Elizabeth. (I needed to know that Bingley married Jane.) I needed this information as badly as I had ever needed anything. "Pride and Prejudice" suckers you. Amazingly—and, I believe, uniquely—it goes on suckering you. Even now, as I open the book, I feel the same panic of unsatisfied expectation, despite five or six rereadings. How can this be, when the genre itself guarantees consummation? The simple answer is that the lovers really are made for each other—by their creator. They are constructed for each other: interlocked for wedlock.
Andrew Davies, who adapted the novel for television, was shrewd enough to regard his function as one of artistic midwifery—to get the thing out of the page and onto the screen in as undamaged a state as possible. After all, he had before him the example of the Olivier-Garson version of 1940 (based on a script by Aldous Huxley, among others): cold proof that any tampering will reduce the original to emollient inconsequentiality. Huxley's reading is disastrously winsome; even Lady Catherine de Bourgh is a good egg. Still, the adapter has to do what the adapter has to do. The pious and vigilant Janeite looks on, ever ready to be scandalized by the merest breach of decorum.
Very early on, we see Elizabeth in the bedroom she shares with Jane, saying, "If I could love a man who would love me enough to take me for a mere fifty pounds a year, I should be very well pleased." This puts us in the financial picture (and we will soon be seeing Mr. Bennet sighing over his account book); but it commits Elizabeth to a predisposed mooniness quite at odds with her defiant stoicism. Later, when the scandal of Lydia's elopement breaks, and Darcy gauntly takes his leave of Elizabeth in the inn near Pemberley, Austen writes, "Elizabeth felt how improbable it was that they should ever see each other again on such terms of cordiality as had marked their several meetings in Derbyshire." This translates as a one-line soliloquy: "I shall never see him again." Austen's lines show a brave face in adversity, Davies' an admission of a love Elizabeth does not yet feel. Each shifted brick threatens the whole building.
TV is TV, and TV Man wants visual equivalents for every "it" and "the." And the visual is always literal, funnily enough. Any protracted passage of background explication is accorded a lavish collage. Darcy's letter to Elizabeth, with its revelations about Wickham's character, inspires a scene set in Cambridge: Darcy in his gown and mortarboard, striding through a colonnade, mounting the stairs—and surprising the smirking Wickham with a half-clad scullery maid on his lap. We see Lydia and Wickham's midnight flit (la, how they cuddle in the carriage!), we see Darcy pacing the festering streets of London in search of them, and we see the runaways in their bedroom at the rude tavern. Elizabeth and Darcy don't just think about each other, they have hallucinations about each other. They've got it that bad.
Davies' more minor interpolations are usually pretty deft and sometimes downright felicitous. But every Janeite is like the Princess and the Pea. Wickham doesn't say that Darcy "refused point blank" (though he might have done—the epithet is sufficiently elderly). Elizabeth would never say (skeptically), "Astonish me!" Even Lydia would not wonderingly repeat the (invented) line, "A whole campful of soldiers. . . ." Nor would she say, "We shall have some laughs." When Elizabeth refuses Darcy's first offer of marriage, he notes that she spurns him "with so little effort at civility," whereas the book has the clearly superior "so little endeavour at civility." A few pages earlier, a nifty subjunctive is lost when "I expected at least that the pigs were got into the garden" becomes "the pigs had got into the garden." I could go on. But by now I feel I am trespassing on the reader's patience. Then again, I would argue that these tiny precisions, these niceties, are the atoms that constitute Jane Austen's universe. And after a long immersion in her work, I find that her thought rhythms entirely invade my own. Normal social intercourse becomes increasingly strained. People look at me oddly. If, for example, the editor had called, to inquire after the progress of the present piece, I would have been like to reply, "Nay, Madam, I find I get on excessively ill. I need more time alone with Jane. May I extort, then, the indulgence of a further se'nnight?"
In David Lodge's novel "Changing Places," a tweedy little British academic goes to teach at Euphoric State University, on the West Coast, while a big brash American academic goes to teach at a rain-sodden redbrick called Rummidge. The American, Morris Zapp, wearily begins his seminar:
"What are you bursting to discuss this morning?" "Jane Austen," mumbled the boy with the beard. . . . "Oh yeah. What was the topic?" "I've done it on Jane Austen's moral awareness." "That doesn't sound like my style." "I couldn't understand the title you gave me, Professor Zapp." "Eros and Agape in the later novels, wasn't it? What was the problem?" The student hung his head.
The immediate joke here is the contrast in critical styles: the British still locked in the ethical battlefields patrolled by F. R. Leavis, the Americans soaring off into the architectonics of myth and structure. But Lodge's deeper point is that Jane Austen is weirdly capable of keeping everybody busy. The moralists, the Eros-and-Agape people, the Marxists, the Freudians, the Jungians, the semioticians, the deconstructors—all find an adventure playground in six samey novels about middle-class provincials. And for every generation of critics, and readers, her fiction effortlessly renews itself.
Each age will bring its peculiar emphasis, and in the current Austen festival our own anxieties stand fully revealed. We like to wallow in the accents and accoutrements of Jane's world, but our response is predominantly sombre. We notice, above all, the constriction of female opportunity: how brief was their nubility, and yet how slowly and deadeningly time passed within it. We notice how plentiful were the occasions for inflicting social pain, and how interested the powerful were in this infliction. We see how little the powerless had to use against those who might hate them. We wonder who on earth will marry the poor girls. Poor men can't. And rich men can't. So who can? We fret and writhe at the physical confinement (how desperate these filmmakers are to get their characters out-of-doors). Of all virtues Jane Austen valued "candour"; but candor, as we understand it, has no arena in which to exercise itself. One honest exchange between Anne Elliot and Frederick Wentworth and "Persuasion" disappears. We long to give them our pleasures. We wonder at their self-repression. And we are terrified by their circumambient boredom.
The BBC's new serial has been touted in the press as revealing the latent "sensuality" of Jane Austen's imagination; naturally it reveals much more about the blatant sensuality of our own. Austen, after all, is notoriously cerebral—a resolute niggard in her descriptive dealings with food, clothes, animals, children, weather, and landscape. But we in the nineties will not have it so. Thus at the outset, on our televisions, Darcy and Bingley thunder toward Netherfield Park on their snorting horses, while Elizabeth enjoys a hearty tramp on a nearby hillside. Later, climbing from the bath, Darcy looks out of the window and sees Elizabeth romping with a dog. Lydia is surprised half-clad by Mr. Collins—and gigglingly confronts him with her cleavage. In the throes of his imprudent passion for Elizabeth, Darcy takes up fencing. "I shall conquer this," he mutters. "I shall." Returning to Pemberley, unshaven, with the hot horse between his thighs, he dismounts and impetuously plunges into a pond. Here, clearly, we are moving away from Jane Austen, toward D. H. Lawrence—and Ken Russell. "There is a lot of pent-up sexuality in Austen's work," Davies has said, "and I have let it out." But why stop there? Why not give her some Vitamin C and a backrub? Austen's characters resist the ministrations of the therapy age. As literary creations, they thrive on their inhibition. It is the source of all their thwarted energy.
Now for the performances, which are a testimony to phenomenal strength in depth and to the accuracy and inconspicuousness of Simon Langton's direction. Jennifer Ehle (pronounced "Ely") is not quite the perfect Elizabeth, for such a creature could not exist in nature; Elizabeth, simply, is Jane Austen with looks, and such a creature could never have created Elizabeth. Ehle has the spirit and the warmth; she has a smile of almost orgasmic sweetness; she contrives to look voluptuous and vulnerable in the egg-cozy maternity outfits that "authenticity" has clothed her in; and she has the eyes; but she cannot quite inhabit the surrogate intelligence. Colin Firth is an insidiously persuasive Darcy, as he makes his journey from probity to right feeling. To know her heart, all Elizabeth needs is the facts before her. Darcy has to complete two centuries of evolution. The ensemble players are led by Alison Steadman. Some dull dogs have found her Mrs. Bennet too broad, too Dickensian, but in fact she establishes a miraculous equipoise between bitterness and boiling vulgarity (and this balance is sustained by the memory of her physical allure). Susannah Harker makes a languid, comfortably ponderous Jane; Julia Sawalha gives us Lydia's "high animal spirits"; David Bamber is a marvellously contorted and masochistic Mr. Collins; and Anna Chancellor locates an unexpected pathos behind Caroline Bingley's expert barbs. The one important failure is Mr. Bennet. Benjamin Whitrow's line readings are thoughtful and confident, but he is too quick to take refuge in wryness and twinkle. The most cynical character in all Jane Austen, Mr. Bennet is the dark backing behind the bright mirror. He, too, is very close to his creator, and Jane Austen feared his weakness in herself. Mr. Bennet makes sport with his own despair.
The sensualism imported by Davies and Langton brings one unarguable gain: all those creamy, dreamy scenes in the bedroom shared by Elizabeth and Jane, with the candles lit and the hair down, make us feel the crucial heaviness of their sisterly love. We are reminded that the emotional argument of the book is intimately bound up with this relationship; and we feel its weight without realizing why it weighs so much. Watching Marianne's near-death scene (lovesickness, fever) in "Sense and Sensibility," I wondered why I was so pierced, and so desolated, when Elinor addresses her sister as, simply, "my dearest." We are moved because the endearment is literally true—and may well remain true, for life. For the unmarried, no reconfiguration awaits the pattern of their love; their nearest are their dearest, and that is the end of it. In "Persuasion," we sense Anne Elliot's further privation as she probes for warmth in the humorless solipsism of her sister Mary. And we naïvely console ourselves that Jane Austen, whatever else she lacked, at least had Cassandra.
"Four Weddings and a Funeral" had something to be said for it; as a result of one typically embarrassing scene, an opportunist edition of ten Auden poems climbed into the best-seller lists. This book was called "Tell Me the Truth About Love" and had a photograph of Hugh Grant on its cover (and Grant, incidentally, makes a creditable Edward Ferrars in "Sense and Sensibility"). On Jane Austen, Auden was great but wrong:
You could not shock her more than she shocks me;
Beside her Joyce seems innocent as grass.
It makes me most uncomfortable to see
An English spinster of the middle-class
Describe the amorous effects of "brass,"
Reveal so frankly and with such sobriety
The economic basis of society.
We of the nineties would most certainly shock Jane Austen, with our vast array of slovenly and unexamined freedoms. Nonetheless, there is a suspicion of cant in Auden's lines. "Brass" made Charlotte Lucas accept Mr. Collins ("disgracing herself" with a prudential marriage), but it didn't make her love him. Elizabeth turned down Mr. Collins; and, with so little endeavor at civility, she turned down Mr. Darcy, too, with his ten thousand a year. Writing about Gray's "Elegy," William Empson said that the poem presents the condition of provincial oblivion as pathetic without putting you in a mood in which you would want to change it. But "change" is the business of satire. Satire is militant irony. Irony is more long-suffering. It doesn't incite you to transform society; it strengthens you to tolerate it. Jane Austen was indeed an English spinster of the middle class. She died in unrelieved pain at the age of forty-one. On the other hand, she has now survived for nearly two hundred years. Her lovers are platonic lovers, but they form a multitude. ♦


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Lab 4: When Precipitation Patterns Change
The lab activity described here was created by Betsy Youngman of Phoenix Country Day School and LuAnn Dahlman and Sarah Hill of TERC for the EarthLabs project.
Summary and Learning Objectives
In this activity students develop a practical understanding of the causes and symptoms of drought. They read background articles and prepare a physical model to illustrate the role that soil moisture plays in preventing or promoting drought. Students use Google Earth to examine precipitation and streamflow data and use them to predict locations that are experiencing drought. They check their predictions by comparing them to a drought monitor map. In the final section, students examine and interpret the current map of the Palmer Drought Severity Index.
After completing this investigation, students will be able to:
- Interpret climographs
- Write a practical definition of drought
- Use Google Earth to visualize precipitation and streamflow data
- Correlate current streamflow and drought datasets
- Interpret drought index images to read moisture conditions
Context for Use
This lab defines drought and how it is measured and tracked. Students build on and use the knowledge they gained about water availability, watersheds, and climate (Labs 1, 2, and 3, respectively) to understand that drought occurs when precipitation falls below normal in a watershed, leading to lower soil moisture, higher temperatures and eventually to reduced streamflow.
Time Required
- Part A: 50 minutes, could be assigned as homework
- Part B: 30 minutes for hands-on activity, 50 minutes for Google Earth exploration
- Part C: 30 minutes, could be assigned as homework
Activity Overview and Teaching MaterialsOpen the Student Lab »
Part A of the activity introduces students to the concept of deviation from "normal" precipitation patterns. Students view and interpret and accumulated precipitation graphs, generated from this page at Southern Regional Climate Center. Students read articles to learn how drought is defined, what the indicators of drought are, and how drought is tracked.
Part B begins with a hands-on activity that demonstrates the role of soil moisture in preventing or promoting drought. The activity could also be performed as a demonstration: it requires 2 small containers, plastic wrap, potting soil, and water. Students also use Google Earth to explore images that show actual precipitation and departure from normal precipitation and streamflow levels. They make predictions about areas of drought and check themselves by examining a Drought Monitor map image.
In Part C, students read articles and examine drought index maps to gain practice interpreting drought index maps and to develop a fuller understanding of the concept of drought monitoring.
Printable Materials
You may want to provide a hard copy of the activity sheet (Acrobat (PDF) 48kB Dec18 18) on which students can record their answers. A
This file is only accessible to verified educators. If you would like access to this file, please enter your email address below. If you are new to the site, you will be asked to complete a short request form. If you have already been verified by the EarthLabs project, you will be taken directly to the file download page.
Teaching Notes and Tips
If students have access to Internet-connected computers outside of class, Parts A and C can be assigned as homework assignments. The hands-on lab activity in Part B will take most of one class period to set up and record observations. Teachers may decide to do this lab as a demonstration.
Students need basic skills for navigating and controlling which layers are visible within Google Earth. The lab also involves downloading new data sets. If limited bandwidth is an issue, teachers may decide to complete this step ahead of time in order to make sure that the computer lab time is used efficiently. Another option is to have one student in each team set up the hands-on activity while the other downloads the data sets for the Google Earth portion.
To assess student understanding, you may decide to collect and grade student answers to the Stop and Think Questions. Another option is to have students capture and describe screen shots of their work in Google Earth.
State and National Science Teaching Standards
Applicable California Science Teaching Standards
Earth Science - Energy in the Earth System
Climate is the long-term average of a region's weather and depends on many factors.
Investigation and Experimentation Standards
g. Recognize the usefulness and limitations of models and theories as scientific representations of reality.
- Select and use appropriate tools and technology (such as computer-linked probes, spreadsheets, and graphing calculators) to perform tests, collect data, analyze relationships, and display data.
Applicable Massachusetts Science and Technology Standards (PDF - 1.3 Mb)
Earth and Space Science - Earth Processes and Cycles
- 1.4 Unequal heating of Earth and the Coriolis effect influence global circulation patterns and impact Massachusetts weather and climate.
- 1.8 Ground-based observations, satellite data, and computer models are used to demonstrate interconnected Earth systems.
Applicable New York Core Curricula
Physical Setting/Earth Science (PDF - 135 Kb)
STANDARD 4 - Students will understand and apply scientific concepts, principles, and theories pertaining to the physical setting and living environment and recognize the historical development of ideas in science.
- Key Idea 2. Many of the phenomena that we observe on Earth involve interactions among components of air, water, and land.
- 2.1g Weather variables can be represented in a variety of formats including radar and satellite images, weather maps (including station models, isobars, and fronts), atmospheric cross-sections, and computer models..
STANDARD 6 — Interconnectedness: Common Themes. Students will understand the relationships and common themes that connect mathematics, science, and technology and apply the themes to these and other areas of learning.
- Key Idea 2. Models are simplified representations of objects, structures, or systems used in analysis, explanation, interpretation, or design.
Applicable North Carolina Earth and Space Science Standards
1.02 Design and conduct scientific investigations to answer questions related to earth and environmental science.
- Analyze and interpret data.
- Communicate findings
5.02 Evaluate meteorological observing, analysis, and prediction; meteorological data depiction.
5.03 Analyze global atmospheric changes; changes in weather patterns.
Applicable Texas Essential Knowledge and Skills (TEKS)None Identified.
Applicable National Science Education Standards (SRI)
Science as Inquiry (12ASI)
Abilities necessary to do scientific inquiry
- 12ASI1.3 Use technology and mathematics to improve investigations and communications. A variety of technologies, such as hand tools, measuring instruments, and calculators, should be an integral component of scientific investigations. The use of computers for the collection, analysis, and display of data is also a part of this standard. Mathematics plays an essential role in all aspects of an inquiry. For example, measurement is used for posing questions, formulas are used for developing explanations, and charts and graphs are used for communicating results.
Understandings about Science and Technology
- 12EST2.2 Science often advances with the introduction of new technologies. Solving technological problems often results in new scientific knowledge. New technologies often extend the current levels of scientific understanding and introduce new areas of research.


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- Performed by Qualified Professionals
- Professional and friendly staff
- Latest Industry Standards
- #1 in Bee Control
Reducing unforeseen surprises
You will need to be well informed with regards to Bee Control in Sammamish, WA. We won't inspire you to put together unwise choices, as we understand what we are working on, and we ensure you know very well what to expect with the task. That is why we try to make every attempt to ensure you are aware of the strategy and aren't faced with any sort of surprises. Start off by dialing 888-339-3632 to talk about your project. We will talk about your concerns whenever you contact us and help you get arranged with a meeting. Our team will show up at the appointed time with the appropriate materials, and will work together with you through the entire undertaking.
Bee Control Crew is here for all your Bee Control in Sammamish, Wyoming goals
You will have many good reasons to consider Bee Control Crew for your requirements when it comes to Bee Control in Sammamish, WA. Our company is the most suitable choice when you need the most beneficial cash saving strategies, the best materials, and the highest rank of client satisfaction. We're here to serve you with the greatest skills and practical experience in the field. Contact 888-339-3632 to reach Bee Control Crew and discuss all your expectations regarding Bee Control in Sammamish.


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main(713) 222-2273
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Primary Office
Phone: (281) 367-0400
Fax: (281) 367-1201


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Here's a video clip I made to go along with the first 10 minute segment of my December 2012 radio interview with the lovely Jill Hickey of Not So Soccer Mom Radio. We discuss hosting, parties, recipes, my book, pinup culture, and marriage.
The video has images from my book and blog. Check it out!
Coming soon: a second video to go along with the second segment, where we discusses the process of the book design and marketing, and includes a special guest call-in by one of my favorite people.


text: It may not be as challenging as climbing some of the great peaks of the Himalayas, but the AquaClimb is a hell of a lot warmer and safer than a mountain—plus it offers up a great upper body / core workout. The fiberglass panels include hand-sculpted rock features and the ability to be rotated 90 degrees or even reconfigured to customise the level of difficulty. There is even a a non-slip, textured surface, interchangeable handholds and a 10 degree angled design to ensure saftey. I just wouldn't be following right behind that kid in the red trunks if you want to survive. Available for a whopping US$8,000. [Hammacher Schlemmer and AquaClimb via BornRich]


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iPod Video Click Wheels
Выбери свою модель iPod Video:
Parts that work with iPod Video:
iPod Video Click Wheel Button (Black)
Plastic button only, electronics on logic board
4,99 $
iPod Video Click Wheel (Black)
Replace the click wheel and the center button plastic face.
9,99 $
iPod Video Click Wheel Button (White)
Plastic button only, electronics on logic board
4,99 $
iPod Video Click Wheel (White)
Does not include button.
9,99 $
Показ товаров 1 - 4 из 4
Информация об устройстве
The iPod Video (or 5th Gen iPod) is Apple's first iPod with video playback capabilities.
Unfortunately, the iPod Video is the trickiest Apple MP3 player to diagnose when trouble arises. Use our iPod Video troubleshooting guide to figure out what ails it.
Determined what is wrong? We carry parts to fix it, whether display, logic board, or anything else! We also offer free repair guides to allow you to resuscitate your device!


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TruXedo TonneauTraX Tonneau Cover
- All the great features of the LoPro Tonneau Cover plus a heavy duty cargo management system
- Sleek, low-profile soft roll-up tonneau cover
- Heavy duty adjustable clamping system ties down up to 1,000-lb. loads
- Track mounts under tonneau cover for no-profile looks
- Automatic Tension Control keeps cover at the perfect tightness through any weather
- Quick, easy installation
- Easy Trigger Latch for one-finger release
Take the best selling tonneau cover in North America, add the functionality and security of a heavy-duty cargo management system, and you've got yourself the new TonneauTraX from TruXedo. The TonneauTraX boasts all of the great features and design of the original TruXedo LoPro Tonneau Cover with a rail-mounted anchor system. With the TonneauTrax you're ready to haul just about anything.
The TonneauTraX gives you complete cargo control with strong and secure clamps and anchors. With a 1,000-pound load limit*, you can tie down and secure virtually any cargo. Anchors are easy to position, lock, and secure along the bed rails. When not in use, the TonneauTraX anchors sit out of the way under the tonneau cover.
The Truxedo TonneauTraX cover is the same as the famous Lo Pro tonneau cover. This soft roll-up tonneau mounts on the inside of the bed, giving you a sleek appearance. The automatic tension control and floating velco keep the cover tight through any temperature with minimal wear and tear. It installs easily without drilling and operates even easier with its easy trigger latch. It's a reliable cover that keeps your gear safe and even improves your gas mileage!
Truxedo backs your heavy duty TonneauTraX Tonneau Cover with a Lifetime Warranty on everything - even the fabric!
*NOTE: Each individual anchor has a rated working load limit of 250 pounds, with a combined anchor load limit of 1,000 pounds.
TruXedo TonneauTraX Tonneau Cover Customer Reviews
Overall Rating:5.0 of 5
Average Install Time: Under 30 minutes
The Truxedo TonneauTrax cover was extremely easy to install and it fit like a glove. It ads a nice look to the appearance of my truck, I purchased it to haul gear for camping this summer and can't wait to use it. I live in Maine and installed it mid winter with temps below zero and the cover rolled right up like it was 70 degrees. I would recommend to anyone
Install Time: 30-60 minutes
Great product and great customer service. First received the cover with a small tear, talked to customer service and they where fast with fixing the problem. Got my new cover and put it on my truck and the cover is amazing. Would definitely recommend to others.
Install Time: Under 30 minutes


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The Canon and Its Double: Elfriede Jelinek in Translation and Performance
Elfriede Jelinek's deconstructive linguistic strategies, which earned her the 2004 Nobel Prize for Literature, are a great challenge to translators and theatre artists. Her interweaving of quotations from the canon of German Poets and Thinkers, European literature and philosophy, popular culture and political spin reflects the feminist writer's struggle to emancipate her mother tongue from the overpowering rhetoric of her fatherland. In this talk Gitta Honegger focuses on translating Jelinek's performance texts or "texts for speaking," as she calls them, into English and examines if and how Jelinek's linguistic project can be transferred into the diverse languages of stage and cultural performance.
Gitta Honegger has translated plays by Elfriede Jelinek, Peter Handke, Thomas Bernhard, Elias Canetti, Franz Xaver Kroetz, and Marieluise Fleißer, among others, and is the author of a cultural biography of Thomas Bernhard, The Making of an Austrian. She is currently translating Elfriede Jelinek's opus magnum, the novel The Children of the Dead. She was resident dramaturg at the Yale Repertory Theatre, where she also directed, and professor of dramaturgy and dramatic criticism at the Yale School of Drama. A Guggenheim and Fulbright fellow, Dr. Honegger is Professor of Theatre at Arizona State University.