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O: Openshaw - outlaw
Wrestling Heritage A-Z
Arthur Openshaw
Arthur Openshaw came from Salford and played rugby league for Salford. Arthur later emigrated to Australia and defeated Ken Medlin to take the Australian lightweight title in November, 1966. He later appeared briefly in the UK during the early 1970s, working for independent promoters in the north.
Pat O'Reilly (Bernard Coward)
Heavyweight villain and one time challenger for Bert Assirati's title Pat O'Reilley was busy around the country for the best part of two decades. He was a giant of a man, standing 6' 3" tall and weighing in at over eighteen stones. His wrestling career began in 1947
O'Reilly met the best in the business, Bernard Assirati, Tony Mancelli, Ray St Bernard, George Gregory, Dave Armstrong, and the rest. Best remembered for a series of bouts with Jack Pye and Bert Assirati in the 1950s. He was the last man to challenge Assirati for his British title before the champion left Britain for his world tour in 1952. Although billed from Ireland O'Reilly was actually Chelmsford,s Bernard Coward, the name he used at his local hall. He assumed the Irish persona when working for a northern promoter. An Irishman failed to appear and so Bernard substituted as the fictional Pat O'Reilly, the so-called Irish heavyweight champion. Bernard died in 2002, aged 80.
Sheamus O'Reilly
The second of our three O'Reilly wrestlers, and possibly the one with the most likely Irish credentials. Sheamus was a 1960s worker for the independent promoters. The man behind the name was Coventry's Mick Macalasky, so it sounds like there may have been some Irish blood in him. He was trained to wrestle by Coventry's Freddie Barnes' gym in St Peters School in Yardley Street, Hillfields. A regular worker for independent promoters Jack Taylor and Lew Phillips, often in tag matches with "brother" Sprike O'Reilly, who was neither his brother nor Irish.
Spike O'Reilly (Les Riley)
A green dressing gown and trunks were the hallmark of this popular light heavyweight of the 1960s, billed from Donegal, though we are unsure of the connection as he was otherwise Les Riley, a plumber, from Langley Mill. Irish or not Spike was a formidable wrestler who learned the wrestling trade whilst he was in the Royal Navy. Serving in the Royal Navy at Chatham Les enjoyed body building, running and wrestling, and was said to be the Navy's Light heavyweight champion.
We first came across Les in 1951, performing a muscle control demonstration at the Heanor Festival of Britain celebrations. He would doubtless already know another local man, Jack Taylor, who was to later promote many of his matches. The local paper announced that Les had turned professional wrestler in July, 1955. Spike continued wrestling into the 1960s and met the likes of Randolph Turpin, Shirley Crabtree and Cowboy Cassidy. Wrestler Mick Collins remembers and admired Spike O'Reilly, ""He was one of life's characters,Spike, larger than life, arriving at the hall in his Mercedez and always keeping that dressing gown of his in immaculate shape."
Spike O'Reilly died in February, 2009
Sandy Orford
Edwin James "Sandy" Orford was a tough as nails Welsh heavyweight, born in Pontypool in the south of the country, turned professional in the 1940s, though he later moved to Yorkshire where he owned a farm. The move to Yorkshire, whilst still at school, deprived Sandy of an opportunity to play rugby for his country at schoolboy level, an injustice he reversed later in life by playing for Wales four times as a senior between 1939 and 1944. He pursued his interest in rugby whilst in Yorkshire, and played for Wakefield Trinity, Dewsbury and Bradford Northern Rugby League Clubs.
Whilst a schoolboy Sandy received the Royal Humane Life-Saving Certificate after rescuing a boy from drowning.
In 1955 Sandy wrestled in Rhodesia and South Africa, where he is reported to have defeated South African champion Wllie Leibenberg and South African idol Manie MaritzHe had two spans as a masked wrestler, for details of which see Top Masked Wrestlers' countdown Top Twenty Masked Men.
He wrestled all over the world and, like so many, seemed to just fade away.
Sandy seems to have had more "goes" at the great Lou Thesz than any other Brit when the American visited the Uk, managing one draw and two losses against the American.
Sandy Orford was born 5th December, 1911, died 1986.
Tony Orford
For the son of Sandy Orford it was a toss up whether he should pursue a career in rugby or wrestling, with the latter winning the day. Tony's father, Sandy, had played rugby at both club and international level. In 1966 Tony moved to Canada initially working for promoters Rod Fenton and Stu Hart. Most of Tony's remaining career was spent working in North America with occasional visits back home.
Franz Orlik
Heavyweight who frequently wrestled in Britain during the first half of the 1960s, including a 1961 loss to Steve Logan at the Royal Albert Hall. His career spanned more than twenty years from 1951 onwards and he died in June, 1981.
Jim Osborn
17 stones visitor from Oregon debuted in UK in October 1967 in a Lewisham bout with Johnny Yearsley, closing the win via the unusual route of a grapevine submission. His most notable British victory was a surprise Royal Albert Hall defeat of former British Heavyweight Champion, Geoff Portz. Such visitors brought to British rings useful worldwide links, Osborn being a case in point having faced Lou Thesz and Japanese champion the seven foot tall Great Babu. However, he exited from his British tour with a whimper, going down bloodied 0-2 to The Outlaw.
Eddie O'Shea
Londoner Eddie O'Shea was a popular middleweight across Southern England throughout the 1960s. His was another of those careers that seemed to hold promise that was never realised. His early career was dogged by injuries resulting from a car accident not long after he had turned professional. A very good amateur foundation at the United AWC led to a professional debut in the early 1960s, and Eddie was soon a favourite around Dale Martin Halls. In the years that followed he moved through the ranks from lightweight to light heavy, a regular worker mainly in southern England.
Shaun O'Shea
Our memories of rumbustious Manchester heavyweight Shaun O'Shea are in exciting bouts against some of the biggest and baddest on the independent circuit - Big Bill Coverdale and The Monster. Little did we know at the time that his pedigree went back more than twenty years to the Second World War. Shaun was also one of the myriad of Manchester based independent promoters of the 1960s. Here is a man who deserves recognition, and we would like to learn more.
Chic Osmond
Wandsworth's Chic Osmond worked regularly on Joint Promotion bills of the late 1950s and early 1960s, tangling with the likes of Pallo, McManus and Capelli. His main claim to fame seems to be that Adrian Street names him as his greatest influence, having trained him in the ways of the professional world at the London YMCA.
Pat O'Sullivan
Fiery young Irish wrestler came onto the scene in 1978. A frequent worker with a less than impressive record, subject to a surprising number of straight falls defeats. Fans found him entertaining and welcomed his place on the bill. Made three television appearances and sadly passed away in 2005. More information welcome.
The Outlaw
Way back in the 1960s when life was simpler us wrestling fans knew where we stood as far as masked men were concerned. They were mostly heavyweights, invariably dirty (as we called the villains in those days) and seemingly invincible. The Outlaw followed a path led by Count Bartelli, The Ghoul, and a number of other home grown hooded terrors.
The Outlaw was destined to tread paths that had not yet been opened to the masked Bartelli, Ghoul, or even Kendo Nagasaki. The British television viewing public was permitted to view this masked man in action on their television screens at the end of 1965, and a dozen or so more times over the next two years.
Although one half of the Wrestling Heritage team always considered the Outlaw fairly tame alongside The Ghoul, The Monster and Kendo Nagasaki we have to admit that he was a class act, and his tv opponents were top-notch, including Peter Maivia, Ian Campbell, Bill Howes, Steve Veidor, Pat Barrett, Jim Hussey, Gwyn Davies and Chati Yokouchi. We can think of no other long-term masked heavyweight who did not finally meet his match, but the original Outlaw disappeared from our shores some three years later unbeaten and unmasked.
Whilst the original Outlaw defeated all before him in Joint Promotion rings there were always imitations (Carl Dane a particularly good one) in independent rings. In subsequent years the name re-surfaced time and again in both independent and Joint rings.
Top Masked Wrestlers' identities are revealed only in the Wrestling Heritage countdown of Top 20 Masked Men.
Related article: Top 20 Masked Men on www.wrestlingheritage.com
Jack Owens
"The Lancashire Ace" from Leigh, weighed around 12 stones. Our first recorded appearance is in September, 1932, and the last in December, 1939. Our impression is that Jack was a more than capable catch wrestler who never rose above a supporting role yet was acknowledged as one of the country's best middle and light-heavy weights.. One discovery was a match at Preston on 21st May, 1937, when the Lancashire Daily Post reported "Capital wrestling was seen in the contest between Billy Riley and Jack Owens. Owens revealed mastery of leg holds and was too fast for the older man, who was unable to carry on after being counted out in the fourth round."


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Actually I've been pretty busy as I'm moving out this weekend! I'll be in Los Angeles from tomorrow till July 4th (yey for holidays!) and I will be going to Anime Expo for a bit over the weekend! I haven't been since.. maybe 4 years ago so I'm kind of excited !
Since graduation I've been nomming and going various places with people. I went to Venice Beach, LACMA, San Diego County Fair, an okonomiyaki restaurant, Redondo Beach, and Vegas (again)... I have so many pictures I'm dreading going through them so I'll just leave them till after I move... ( ̄▽+ ̄*)
Oh yes! I also caught a ko-rirakkuma in a UFO catcher recently.. So lucky! Needless to say I've been taking my new friend with me with me ! (^ε^)
Ok I'll stop trolling everyone now. I still have a little ways to pack and a long weekend ahead of me! (・ε・)
And random picture time since I'm too lazy to even sort through the new ones.. *Super lazy mode*
I'll get some reviews and catch up on some posts when I get back next week... !
Love & Peace ! ♥


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Rent & Sales
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Palm Springs
The Coachella Valley
Border Valley Trading Ltd. Compressed Natural Gas fueling station in north Palm Springs, Tuesday January 1, 2013, is expecting a mitigation fee grant of $900,000 for an upgrade. / Wade Byars, The Desert Sun Details...
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The Coachella Valley
Border Valley Trading Ltd. Compressed Natural Gas fueling station in north Palm Springs, Tuesday January 1, 2013, is expecting a mitigation fee grant of $900,000 for an upgrade. / Wade Byars, The Desert Sun
The Coachella Valley could soon see a major jump in cleaner-burning compressed natural gas vehicles on its streets — and fewer running on dirty diesel — all paid for out of the $50.9 million in air quality improvement funds from the upcoming Competitive Power Ventures' Sentinel power plant in North Palm Springs.
After an 11-month process, including a five-hour-plus public meeting in Palm Desert in October, the South Coast Air Quality Management District's Governing Board is expected to vote Friday on a list of 26 projects that could receive the funds.
Under the special law that created the fund, Assembly Bill 1318, 30 percent of the money must be spent on projects within a 6-mile radius of the plant and another 30 percent in "environmental justice" areas, mostly in the east valley, where more than 10 percent of the population lives under the federal poverty level and is exposed to high cancer risks.
The remaining 40 percent is going to projects in other areas of the valley, with the largest chunk, $17.4 million, earmarked for the Coachella Valley Association of Government's proposed cross-valley pedestrian, bicycle and electric vehicle path.
Nine proposals on the list, totaling more than $4 million, would provide funds to buy a range of new CNG vehicles — a fuel that cuts polluting emissions 20 percent to 30 percent compared to diesel.
Desert Sands Unified School District could get five new CNG buses, while the city of Desert Hot Springs could score 10 new CNG pick-ups and Angel View Crippled Children's Foundation could replace five of its aging diesel trucks with new CNG models for transporting donations for its resale shops.
"We're taking 12-year-old diesel vehicles off the road," said Catherine Rips, development director for Angel View, who looks forward to savings on fuel and maintenance costs.
The board will also vote on an additional proposal to spend $2.4 million from other agency funds for additional CNG buses for the Coachella Valley Unified School District and diesel retrofits for Desert Sands Unified — projects originally submitted for the Sentinel funds.
Source - My desert.com


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The finale episode of the stunt based reality show "Khatron Ke Khiladi 7 – Fear Factor" has been announced its final winner's name which has been leaked. As per reports, it is the handsome hunk of the television it is Sidharth Shukla has been taken the trophy in his home which is much appreciates worthy for this Keeda Ka Peeda in the show.
Sidharth firstly eliminated from the show but for the second time the actor makes a wild card entry in the to emerged as the winning contestant of the "Khatro Ke Khiladi – Keeda Ka Peeda grand finale. It is the host Arjun Kapoor's co-star Kereena Kapoor Khan makes a dazzling appearance in the show to motivate the participants.
In the grand finale of the Fear Factor it is Sidharth Shukla Competed with finalists like Sana Saeed and Mukti Mohan. And here he managed to defeats the two hottest girls to perform the stunts.
So tonight it is the Khiladis are ready to face a tough challenge in the reality based stunt show "Khatro Ke Khiladi" in which it is Vivian D'sena and Mukti Mohan to perform the stunt together. This stunt would be the tough one in which the patience of the participants will be judges.
It will be a super thrilling episode and eventually now the participants will be doing some kinds of the tasks with eggs.
In this egg task it is Mahi Vijj and Mukti give their best appearances', but still it is yet to clears who win the task. Anyway, Last week we saw that the TV actress Aishwarya Sakhuja get eliminated from the show and leaving Sana Saeed, Tanishaa Mukherjaa, Parvathy and Mukti in the danger zone.
It will be interesting to see among these girls Sana Saeed, Tanishaa Mukherjaa, Parvathy and Mukti who will be getting eliminated tonight and who will be giving her best performances in the stunts.
So don't forget to catch tonight episode of the stunts based reality show "Khatro Ke Khiladi – Fear Factor" tonight at the 9:00 PM only on the Colors TV!!!


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Christian Living
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Without Christ, all is lost
by Raymond Dickerson
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Apart from Christ, all is lost. My life, my hopes and my dreams, all that I think that I am, they are nothing, apart from Christ. If I attempt to fill a cup with anything that is not tied to Jesus Christ in some way, the cup may as well remain empty. The words that I speak, if they are not of my Christ, they are nothing more than meaningless sounds filling empty spaces, spaces that will remain void until Christ somehow fills them. For instance, I may feel that I have accomplished something or have done some great deed. If that deed was done without Christ, the deed may as well remain undone. Alas, it will just be another pointless endeavor, one of many awash in a sea full of others, tossed about by waves going nowhere, crashing upon shores that are littered with good intentions. For what is a deed done if it is done for the glory of anyone other than the Son of God Himself, Jesus Christ? It is nothing. Without Jesus Christ, the intregal part of all, it is nothing. Without Christ, all is nothing.
This is a concept not easily grasped without the help of the Holy Spirit.
"But the natural man does not recieve the things of the Spirit of God, for they are foolish to him; Nor can he know them, because they are spiritually discerned." 1 Cor. 2:14
For anyone who is apart from the body of Christ , it may be hard to view themselves as anything other than the center of the universe. They cannot do it. Only someone who has truly died to Christ can understand that there is no life apart from Christ. Christ is life for his is the only life that has defeated death and anyone or anything apart from Him is dead and will remain so until they or it comes into contact with Jesus Christ Himself. There simply can be no true life apart from Christ.
"And the Lord God formed man of the dust of the ground and breathed into his nostrils the breath of life; And man became a living being." Genesis 2:7
No breath from God, no life in man. Without God, man remains what he truly is; Dust. Everyone you see ariund you is dead if they are not connected to God by way of faith in the saving grace of Jesus Christ. They are walking piles of dust, they just don't know it yet. It takes the breath of God to make man live and without it, his works are dead, his words are dead,in fact, he is dead. If a mans grand endeavour is launched under the banner of anyone other than Jesus Christ, it will eventually crash upon the rocks of some distant shore, doomed before it even started. Oh, it may look good at first, it's clean, white saills billowing in the breeze, puffed up full of zeal and ambition, sailing briskly along on smooth seas and well wishes. But when the storm comes, and it will, it always does, the sails will be torn from the mast and sent spiining into the ocean, the waves crashing over the rails sweeping the feet out from under the deckhands, flooding the bowels of the ship till the seams burst and she slips slowly to the bottom. You won't have to look for a reason, it's always the same one. The captain never knew Christ, or forgot about him and as a result his ship was chritened for all the wrong reasons, it's bow bashed with a bottle full of self-glorification and it's course plotted on a map drawn by man, not by God. Any voyage undertaken for any reason outside of the glorification of God, or of his Son, Jesus Christ is a trip best left untaken, for it will never reach it's full potential, or at worst, will never reach it's destination at all. Withou the wind of God in it's sails, the ship may as well remained docked, rather than used as a tourist attraction to show people what not to do with a seaworthy vessel and it's able-bodied crew.
What then are we to say of a ship that was christened the right way and lauched for the right reason but decided to throw the compass of God overboard mid-journey and replace it with one of the captains and the crews design? Will she be lost? Will she end up on the rocks, A gaping hole in her hull, taking on water at an alarming rate? What do you think?
"It is the duty of all nations to acknowledge the providence of Almighty God, to obey His will, to be grateful for His benefits, and humbly implore His protection and favors...The proptious smiles of Heaven can never be expected on a nation that disregards the eternal rules of order and right, which Heaven itself has ordained... The hand of providence has been so conspicuous in all this, that he must be worse than an infedel that lacks faith, and more than wicked, that has not graditude enough to acknowledge his obligations... The foundations of our national policy will be laid in the pure and immutable principals of privat morality... Where is th security for property, for reputation, for life, if the sense of religious obligation deserts the oaths?" George Washington.
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How to donate
Online Donations
Donate any amount directly online to Whiteley Village by using Paypal, Visa, Mastercard, Maestro, American Express or Visa by clicking Virgin Money Giving
Cash, Cheque or BACS
- Cash or cheque, in person or by post to: Fundraising, Admin Building, Octagon Road, Walton on Thames, Surrey KT12 4EH. Cheques payable to "The Whiteley Homes Trust".
- Small change can be donated in our collecting boxes around the Village (Admin Building, Club House, Huntley House and Whiteley House)
- BACS: Account name: The Whiteley Homes Trust, Sort code 30-99-09 Account number 00026062.
Gift Aid: If you're a UK taxpayer, Gift Aid increases the value of your charity donations by allowing us to reclaim the basic rate of tax on your gifts now (in the past and in the future) at no extra cost to you. That's a valuable 25p for every £1 you give. To allow us to claim gift aid on your behalf, all we need is your full name, your full address, and your permission. This can be communicated by letter, email, over the phone or by downloading the form above.
To download a donation/Gift Aid form, please click Donations and Gift Aid Form
We have a number of opportunities for funders to be involved in special projects, capital builds, naming opportunities.
If you have already or, if you intend to make a donation to The Whiteley Homes Trust, please accept our warmest thanks for your generosity and support.
Text Giving
You can donate to Whiteley Village, instantly and simply by using your mobile phone with no extra charge or cost to you!
Simply text TWHT01 followed by the amount you wish to give to 70070. E.g. TWHT01 £5
If you have already or, if you intend to leave a donation to The Whiteley Homes Trust, please accept our warmest thanks for your generosity and support.
Legacy Gifts
We provide care, community and homes to enable older people of limited means to enjoy their last years in safety, with dignity and with choice.
A legacy gift will enable us to support even more older people and to enlarge and shape Whiteley's future. Your gift will make a considerable difference and allow us to be the best place to age in Britain.
Please click here for more information.
In Memory Giving
Giving in memory of a loved one or friend is a very personal way of honouring their memory.
Gift donations can be collected in lieu of flowers at the funeral. Most funeral directors are willing to collect the donations, handling the administration of the gifts for you, keeping you informed and making sure they are passed to The Whiteley Homes Trust.
Please click here for more information.
Celebration Giving
Celebration giving is a recognised way to mark a special birthday, wedding, anniversary or event and to support The Whiteley Homes Trust.
Many of us have "everything we need", so it makes sense to mark the special occasion and support others. Simply by asking for celebration donations instead of gifts is easier for your guests as well. Please accept our warmest thanks for your generosity and support.
If you have already or, if you intend to leave a legacy gift to The Whiteley Homes Trust, please accept our warmest thanks for your generosity and support.
- CDs, DVDs, games, ink cartridges, mobile phones and jewellery. Please bring to the Admin Building, Octagon Rd.
- Other items are recycled in the Whiteley Village Charity Shop, clothes, shoes, small items of furniture, bric brac (not duvets and pillows).
- Books books, audio books and DVDs are wanted in the Library in Circle Road.
- And we have a textile recycling bank at the rear of the Charity Shop, which takes clothes and shoes, but not duvets and pillows.
Do you own a vehicle that you want to sell or get rid of? Then please think about donating it to us through Giveacar!
Giveacar raises money for UK charities by scrapping and selling old cars. They provide a nationwide FREE service which: arranges the collection of the vehicle from your home for FREE; and recycles it at an authorised facility or sends it to auction (depending on its age and condition).
Scrap donations raise about £80 for us (depending on the price of metal) while auction cars can raise much more.
To arrange donation of a car, visit giveacar.co.uk or call 020 7736 4242, quoting (The Whiteley Homes Trust) as your preferred charity.
We are always looking for fundraising and events volunteers. If you have time and energy we would love to hear from you.
We have opportunities for micro-volunteering, one-offs or regular volunteering. Volunteer at fundraising events or in the office helping with admin, or from home with admin, find something that suits you. Please look at our Volunteering Opportunities (not all events and fundraising opportunities are listed).
Sue Lewin, Volunteer Coordinator will be delighted to discuss volunteering opportunities with you.
Raffle and Auction Prizes
The Whiteley Homes Trust holds a number of public fundraising events throughout the year and are always looking for raffle or auction prizes.
- Alms Race, Whiteley Village Races (June)
- Village Fayre (July)
- Charity Golf Day (Aug)
- Christmas Tree Light Switch-on (Dec)
If you have something that we could use, whatever it is, please bring it to the Whiteley Village, Admin Building, Octagon Road. Bottles of wine, spirits, hampers, vouchers, theatre tickets, money-can't-buy items or services, trips, restaurant meals, sporting equipment, toiletries, absolutely anything as long as it is in perfect condition!
Other Donations
If you would like to donate other goods we would be happy to discuss this further with you. Eg. office furniture, IT, desktops, laptops, tablets, telephones, paper, stationery, consumables.
Film and Photography
Whiteley Village is a stunning location. Set in 225 acres of mature woodland, our almshouse cottages and other buildings comprise the UK's largest collection of Arts & Crafts buildings.
The Whiteley Homes Trust is happy to make the Village available for film and photography, and this enables us to raise funds for the Trust. As a private estate we can often simplify issues such as access and road closures. We can also provide utilities and ample space for crew parking.
Venue Hire
Whiteley Village has a range of facilities available for hire to those inside and outside the Village.
All money raised from the hire of these facilities goes towards providing outstanding accommodation and care to the Village's 500 older residents of limited means.
For more details please click HERE.


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I would like to use to NAS feature of it. Now I can connect a disk and read files from it, but I have tried 2 different USB drives now and both get the 'Access denied: Disk is write protected" error when trying to copy files to it. Obviously this is not ideal as I want to just leave it connected to the router and shift files to it as need be. I am guessing its something to do with windows access permissions but I cant for the life of me get it to work. Both drives have previously been on XP machines, and I seem to recall when connected to other Linux machines I also coulnt write to one of them.
I have tried making the only permission "Everyone" with Full Access still no go
Anyone have any ideas. I dont need any access control really just want a drive connected so that its contents can be accessed by all machines on the network.
Any help is appreciated


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Hi All,
I bought a New Lab Puppy which is just 35 days old, It is seperated from his mother. I stay in INDIA. It was not dewormed I got it done from my Doctor. I am giving him Verol, Calcium and 4 times Cerelac mixed with Milk. My dog started Vomiting, And Stool is watery, Doctor says It needs time to get used to food. Now the loose motion is stopped, from today morning his stomach is bloated, I am very scared. Dono what to do. Can any Expert suggest me what kind of Diet needs to be followed ? So that My Dog stay Healthy and Safe ?
Kindly Help,
Thanks much,
5 weeks old is much too young to be away from the mother - I don't know if that's the normal age in India, but here in the US and other countries, it is an accepted practice to wait until 8 weeks.
That said, between ~4-6 weeks, puppies should begin to accept solid food, such as canned dog food. I don't know what you have available, but I would talk to you vet about beginning to introduce dog food.
At 5wks, the puppy should be just fine on puppy kibble with some water on it. If you want to soak it or put a little wet food in, that's fine too. Stop with the milk, calcium and whatever else you're giving him.
Milk can cause diarrhea in puppies. Do you know what puppy food the puppy was eating before you got him? If you continue to feed the same food, there is less likelyhood of tummy upset. I would stop the calcium for sure. Cerelac is baby food (cereal) for human babies. It sounds like those you got your puppy from knew he was too young to leave his mother and are trying to suppliment him using this. Feeding really young puppies Cerelac is common in India. I would stop the Veral as well. If you feed a good quality puppy food, your puppy won't need the extra vitamins that can cause gastric upset. The puppy is only 5 weeks old and is barely weened. I would be careful giving him anything other that puppy food mixed with water.
Sophie DOB 04/13/2011 6 mo
8.5 mo.
Sophie 15 months, with Skye
Can any one suggest me with the best puppy food? Even My VET Doctor says give Dilute milk with Cerelac. But here people says stop milk. Can you please suggest me with a good puppy food? which is available in INDIA
Kindly help,
Hello again Harsha.... Most dogs and puppies are lactose intolerant. You can google it and see all kinds of answers that say this. Like I said, the vitamins can cause problems as well. Did you ask the people you got the puppy from what they were feeding him? It is best to use the same food and gradually switch to something new. I am not sure what is available in India. We do have a few members on here from your country and it seems like I remember them saying they found Purina Pro Plan.
Sophie DOB 04/13/2011 6 mo
8.5 mo.
Sophie 15 months, with Skye
Hi Sophiesmama,
I asked the breeder he says he used to give puppy, Cerelak and Milk. If I give the same it Start Vomiting. Doctor says nothing. Here in India. They wont give proper treatment for puppies no one guide us properly. I am a pet lover. Man No one here to help me that is so mean.
Thank much,
I am sorry it is so difficult for you there. I would get a good puppy formula. Here is a link to help you choose: Best Puppy Foods I hope this helps you to better understand what constitutes a good puppy food. Choose a good food you can get there, and stop everything else except water till his vomiting stops. The only other thing that might help is boiling up chicken breasts, and cooking some plain rice, chop the chicken up in the rice and feed that until the vomiting and diarrhea stop. The puppy is so young, his system wasn't ready for all these changes. I hope some of the other members see your post and answer here. I worry about your little puppy. Good luck.
Sophie DOB 04/13/2011 6 mo
8.5 mo.
Sophie 15 months, with Skye


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General Electric J47
The General Electric J47 turbojet (GE company designation TG-190) was developed by General Electric from its earlier J35.[1] It first flew in May 1948. The J47 was the first axial-flow turbojet approved for commercial use in the United States. It was used in many types of aircraft, and more than 30,000 were manufactured before production ceased in 1956. It saw continued service in the US military until 1978. Packard built 3,025 of the engines under license.
|Preserved General Electric J47
|General Electric
|First run
|21 June 1947
|Major applications
|Boeing B-47 Stratojet
Convair B-36 Peacemaker
North American F-86 Sabre
North American B-45 Tornado
|Number built
|Developed from
|General Electric J35
|Developed into
|General Electric J73
Design and developmentEdit
This section needs expansion. You can help by adding to it. (February 2009)
The J47 design used experience from the TG-180/J35 engine which was described by Flight magazine in 1948[2] as the most widely used American-conceived turbojet.
Overhaul life for the J47 ranged from 15 hours (in 1948) to a theoretical 1,200 hours (625 achievable in practice) in 1956. For example, the J47-GE-23 was rated to run 225 hours time between overhauls. As installed on the F-86F, it experienced one in-flight shutdown every 33,000 hours in 1955 and 1956.[3]
- 4,850 pounds-force (22 kN) thrust
- (TG190-E) 6,000 pounds-force (27 kN) at 7,950 rpm, powered the North American FJ-2 Fury[4]
- (TG190-C) Powered the Boeing B-47A and B-47B[4]
- (TG190-C)Powered the North American F-86E Sabre & North American B-45C tornado[4]
- (7E-TG190-C) Powered the North American B-45C tornado[4]
- (7E-TG190-D) 5,425 pounds-force (24 kN) at 7,950 rpm dry, 7,350 pounds-force (33 kN) at 7,950 rpm wet, powered the North American F-86D Sabre[4]
- 5,425 pounds-force (24 kN) thrust
- (TG190-C) 5,200 pounds-force (23 kN), powered the Convair B-36D & B-36F[4]
- (7E-TG190-E) 5,800 pounds-force (26 kN), powered the Boeing B-47B and RB-47B[4]
- 5,970 pounds-force (27 kN) thrust dry, (6,970 pounds-force (31 kN) with water injection), powered the Boeing B-47E and RB-47E[4]
- (TG190-E) Production by Packard Motor Car Company
- (TG190-E) Production by Studebaker Corp.
- (TG190-E) 5,970 pounds-force (27 kN) thrust, powered the North American F-86F Sabre[4]
- (TG190-E) Similar to -27
- 5,550 pounds-force (25 kN) thrust, powered the F-86F & F-86K[4]
- Boeing B-47 Stratojet
- Boeing KB-50J Superfortress
- Boeing KC-97 Stratofreighter
- Chase XC-123A
- Convair B-36 Peacemaker
- Convair NB-36
- Curtiss XF-87 Blackhawk
- Martin XB-51
- North American B-45 Tornado
- North American F-86 Sabre
- North American F-86D Sabre
- North American FJ-2 Fury
- Republic XF-91 Thunderceptor
Ground-based vehicles that used the engine include:
- Spirit of America
- M-497 Black Beetle jet-powered railcaar
The nuclear-powered X39Edit
In the 1950s, interest in the development of nuclear-powered aircraft led GE to experiment with two nuclear-powered gas turbine designs, one based on the J47, and another new and much larger engine called the X211.
The design based on the J47 became the X39 program. This system consisted of two modified J47 engines which, instead of combusting jet fuel, received their heated, compressed air from a heat exchanger that was part of the Heat Transfer Reactor Experiment (HTRE) reactor. The X-39 was successfully operated in conjunction with three different reactors, the HTRE-1, HTRE-2 and HTRE-3.[5] Had the program not been cancelled, these engines would have been used to power the proposed Convair X-6.
Specifications (J47-GE-25)Edit
Data from [4]
General characteristics
- Type: turbojet
- Length: 145 inches (370 cm) (with tailcone)
- Diameter: 36.75 inches (93.3 cm) maximum
- Dry weight: 2,554 pounds (1,158 kg) dry, equipped
- Compressor: 12-stage axial compressor
- Turbine: single-stage axial
- Fuel type: JP-1, JP-2, JP-3, JP-4 or MIL-F-5572 gasoline
- Oil system: pressure feed spray with scavenge
- Maximum thrust: 5,970 lbf (26.56 kN) at 7950 rpm ; 6,970 lbf (31.00 kN) with water injection
- Overall pressure ratio: 5.35
- Air mass flow: 92 lb/s (42 kg/s)
- Specific fuel consumption: 1.014 lb/(lbf⋅h) (28.7 g/(kN⋅s))
- Thrust-to-weight ratio: 2.34 at take-off dry power
See alsoEdit
Related development
Comparable engines
Related lists
- ^ https://www.flightglobal.com/pdfarchive/view/1954/1954%20-%200996.html
- ^ https://www.flightglobal.com/pdfarchive/view/1948/1948%20-%201229.html
- ^ 1956 | 0590 | Flight Archive. Flightglobal.com. Retrieved on 2013-08-16.
- ^ a b c d e f g h i j k Bridgman, Leonard (1955). Jane's all the World's Aircraft 1955-56. London: Jane's all the World's Aircraft Publishing Co. Ltd.
- ^ Thornton, G; Blumbeg, B. (January 1961). "Aircraft Nuclear Propulsion Heat Transfer Reactor Experiments Fulfill Test Goals". Nucleonics. McGraw-Hill. 19 (1). ISSN 0096-6207.
- Gunston, Bill (2006). World Encyclopedia of Aero Engines, 5th Edition. Phoenix Mill, Gloucestershire, England, UK: Sutton Publishing Limited. ISBN 0-7509-4479-X.
- Kay, Anthony L. (2007). Turbojet History and Development 1930-1960 Volume 2:USSR, USA, Japan, France, Canada, Sweden, Switzerland, Italy and Hungary (1st ed.). Ramsbury: The Crowood Press. ISBN 978-1861269393.
- http://www.flightglobal.com/pdfarchive/view/1956/1956%20-%200590.html
External linksEdit
|Wikimedia Commons has media related to General Electric J47.


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My name is David Weglarz. I am the owner/operator of the St. Louis, Missouri distillery StilL 630. I believe that life should be filled with passion and intensity. That it is absolutely vital to live life to it's fullest. That's not only how I've lived my life, but it's also how I run StilL 630. Legends never die. Countless are the merely wealthy forgotten dead.
I've always wanted my life to be spectacular, to be something worth talking about and remembering long after I'm gone. I want StilL 630 to be different, not just some assembly line churning out product. We are different because we are passionate. We are different because we are bold and committed. To put it simply, we are different because we are the best. Our whiskey, bourbon, rum, and gin are flavorful, well-balanced, and extremely high quality. We work and play by our own rules because life is too short to do things any other way. In the end we will succeed where others have failed because mine is an Indomitable Spirit. I truly believe this and I truly believe I am living the American dream.
Distillery Awards:
ACSA Best Craft Whiskey in the Country for 2 of the past 3 years!
Top 3 Best Craft Whiskey Distilleries in the US - USATODAY 10Best -2016
Top 10 Best Craft Whiskey Distilleries in the US - USATODAY 10Best - 2017
Whiskey, Wine, & Moonshine Tasting 2016 - St. Louis - First Place
Whiskey, Wine, & Swine 2015 - People's Choice Award - Second Place
St. Louis Magazine 2016 A-List Editor's Choice Winner - "Best Distillery"
We know that the best things in life take time.
That's why we personally and patiently hand craft our spirits and age them in a variety of wooden barrels. We believe that doing things the right way is the only way, even if it takes longer.
William Shakespeare once asked, "What is in a name?" To us here at StilL 630, the answer to that question is …a lot. The St and the L represent and reinforce our pride in our hometown of St. Louis, Missouri. The 630 stands for 630 feet tall, which is the height and width of the St. Louis Arch. The arch is Missouri's tallest accessible building and the tallest man made monument in the United States. It was built as a monument to westward expansion. It symbolizes the pioneer spirit of the men and women who settled the west. To us, it is a symbol of the indomitable spirit of those pioneers. Believe us when we say, we know a thing or two about spirits.
We know that the best things in life take time. That's why we personally and patiently hand craft our spirits and age them in a variety of wooden barrels. We believe that doing things the right way is the only way, even if it takes longer. We know that being the best means using the best. We use as many of the best organic, local ingredients as possible. We believe in pushing conventional boundaries. We are constantly experimenting with unique distillation processes. Rather than use the most common distillation process, we use the old-world method of double distillation to capture more flavors. Since we are located in the best city in the world, we think it's only fitting to be the best distillery.
Visit us today to taste the very best whiskey, bourbon, or rum. We are located south of the Busch Stadium and just blocks from the Arch grounds. We hope to see you soon because we are proud of what we do, we love what we do, and we want to share it with you.


text:
Some birthday party food ideas include a cake or individual cupcakes, do-it-yourself English muffin pizzas, mud cups, ice cream cups and fruit cups. Some healthy food options also include watermelon slices, tangerines and baked tortilla chips.
Birthday party food ideas depend on priorities, such as healthful eating or the theme of the party. A huge birthday cake topped with lots of candles may be fun but a less healthy option. Themed cakes can engage guests and create drama, and cupcakes can be themed as well. One advantage of cupcakes is that they are smaller and can be served as a method of controlling portion size. Cupcakes can also be decorated and customized in patterns and can be made as healthful as possible by using less frosting.
For an interactive and engaging dessert, make mud cups by putting chocolate pudding halfway into clear plastic cups. Fill the upper halves of the cups with crushed cookies and gummy worms. The result looks like worms are wriggling out of the ground. For a hassle-free dessert, before the party, put scoops of ice cream into baking cups, and keep the single-serve dishes in the freezer. When it's time for ice cream, pass out the servings to each guest.


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The company set up by the Australian, State and Territory governments in 2005 to lead the transition to greater use of e-health in Australia, the National E-Health Transition Authority (NEHTA), has released its Strategic Plan to 2012.
In a statement, NEHTA chief executive, Peter Fleming said the plan outlines how the agency intends to drive e-health development and includes the migration to an Individual Electronic Health Record (IEHR) service.
"NEHTA has considered its future work program based on the National Strategy and other important work completed this year including the National Health and Hospital Reform Commission recommendations," he said in the statement.
"As a result we have produced our Strategic Plan to clearly show our stakeholders across the health sector the directions we are taking to drive the take-up and adoption of e-health.
"We are pleased to receive comments on the Strategy which is publicly available."
NEHTA's strategic plan is centred on four streams of activity. The first, foundations, is focused on developing Healthcare Identifiers, secure messaging and authentication, and a clinical terminology and information service.
The second stream is e-health solutions, which will "coordinate the progression of the priority e-health solutions and processes" with priorities being "referrals and discharge, pathology and diagnostic imaging and medications management".
The change and adoption stream will aim to accelerate the adoption and awareness of e-health iniatives, while the last stream focuses on NEHTA attempting to leading the way in the sector.
The full report (46 pages) can be accessed here.
Earlier this year, health professionals criticised Australian governments for a lacklustre investment in e-health claiming the nation has slipped behind many countries in the field because of weak funding and unresponsive departments.
Experts said a $218 million national fund allocation to NEHTA over three years to June 2012 should be increased to bolster what they say is an ailing e-health industry.
To contact the journalist on this story email Computerworld or follow @computerworldau on Twitter and let us know.


text:
Winner of the 1999 Honor Award for Excellence American Institute for Architects - Kentucky Chapter.
The African Outpost Restaurant is an 11,000 S.F. multi-purpose facility located at the end of the African Savannah exhibit at the Louisville Zoo. The primary program components consist of a small gift shop, commercial kitchen, serving area, dining areas, staff offices, and public restrooms.
To maintain the African village theme, the design includes natural thatch roofs with wide overhangs supported by heavy, timber eucalyptus poles and walls painted with tribal motifs. Three traditional African rondavel peaked-roof forms break up the scale and maintain the sensation of an African village.
The Boma animal contact area and the molerat/meerkat exhibits that have the same roofing materials further develop the context.
Arrasmith, Judd, Rapp provided design and construction administration services.
Awards / Recognition:
Honor Award for Excellence in Design
American Institute of Architects, Kentucky Chapter [1999


text:
Sunday Times HSBC International Track 200 awards
Excellence in Emerging Markets
We are delighted to announce that we have received The Sunday Times HSBC International Track 200 Award for Excellence in Emerging Markets, beating a high profile ranking of the top private companies in the UK with the fastest growing international sales.
We were included in the International Track 200 ranking for the first time in July, at 182nd place, in recognition of our stellar global expansion over the last 12 months. Of the 200 companies in the list, only four received additional recognition during the awards celebration this week.
In response to our latest accolade Vincent Clancy, CEO, commented "Over the last 12 months we have grown our global footprint and continued to invest where our clients are investing – including frontier markets in Latin America, Eastern Europe, Africa and Asia.
"Emerging markets are exciting, challenging places to operate and I would like to thank our people around the world for their hard work and commitment. This award demonstrates that the wider industry is equally as inspired by our results."
This latest award is a welcome addition to our bulging trophy cabinet, bringing the total number of awards this year to 13.
Some of our key wins this year have included Outstanding International Business at the British Expertise International Awards 2013, Construction Consultant/Surveyor of the Year at the Building Awards 2013 and Global Consultant of the Year at the 2013 NCE/ACE Consultant of the Year Awards.


text:
'All we need to get started is a suggestion.'
The audience—a few ounces of Southern Comfort already in their systems, empty Dixie cups littering the ground beneath their chairs—takes a moment. To swallow? To twist off a cap from one of the light beers they've brought? To be clever?
Forty in attendance (give or take), but only one, somewhere in the back row, way beyond the reach of the stage lights, speaks up. Two syllables, the first of which hangs like the string of saliva your big brother would dangle over your contorting face. The voice in the back row chuckles and the last syllable lands, gooier than any spit glob: Breakup.
'The suggestion is BREAKUP!'
The four capital letters stayed in my cell phone directory until a week ago. Until their erasure, I had tried to draw out every one of Rene's rings and vibrations—six months had passed before she pointed out the misspelling of her name.
'Where's the other e?' she asked, her lips stained purple from our four-dollar bottle of Californian red. Bob Dylan's 'Lay Lady Lay' played and I sat reasonably drunk on the hardwood floor, massaging her calves. I loved what years of soccer had done to those legs! She turned on my leather loveseat, 'Do you think I'm a boy?'
'I know you're not a boy,' I said, running my lips from the word 'wish' on her ankle to the elastic edges of her pink thong.
'Don't kiss my butt!'
I sank my teeth into her tush, making sure to wipe the spittle before going to work on her thighs. She continued to examine the contents of my phone—out of what I hope was jealousy. 'Ooh, who's Sharon? Victoria? …. Are you cheating on me?'
'Isn't that what we're doing right now? Cheating?'
'That's not funny.'
My palate was dry, so I went to the kitchen, ran the faucet water over my tongue, wishing the water were wine. I turned off the faucet and got a Budweiser from the fridge. Belle and Sebastian's 'If You're Feeling Sinister' was playing for my re-entrance.
'What are you doing?'
'Trying to fix my name,' she said as she sat up, her fingers panicking on the phone's buttons.
'Don't fix it! There's nothing to fix.'
'Every other girl in your phone's spelled right.'
I took the phone from her. 'You don't even know what the hell you're doing.' I scanned it, making sure all was in order. She took the Bud from my hand and guzzled half of it. I put the phone on my desk, and snuggled my face into her lap. She ran her dampened fingers through my hair, scratching the back of my neck with her short, unpainted nails.
'What are we doing, Rene?'
'I have a pretty name….'
'Prettier than mine.'
'….and I don't want you to forget how pretty I am….'
'Prettier than me.' I lifted up her gray t-shirt (one of the many she'd annexed from my closet) and pressed my lips to the roll in her tummy.
'….and you can't make love to a girl named Rene—with just one e—because then it's like you're making love to a boy….'
I kissed each hard, smooth thigh, and then I looked into her sleepy, brown eyes. 'You're not a boy, you're a pretty, pretty girl, and you're Rene with one e because I can't spell for shit, but you're my Rene with one e and nobody else's. Remember that.'
'I had too much wine,' she smiled. Her purple-stained teeth looked false.
I licked them, trying to get drunker. 'You gonna stay with me?'
'I can't tonight.'
Everything finds its way onto the stage.
In Improv, the suggestion will shock your mind into motion, reviving it from its otherwise detached walk over to the black box theatre on East 4th Street. Whether you like it or not – or realize it – you'll start associating events (Mr. Fitzpatrick's wake, a Halloween Party, the first time you made love) with the suggestion: Breakup. The words will have numerous connotations (hysteria, drunkenness, infidelity) and bring to mind so many traumatic specifics (the word 'wish' tattooed on an ankle, an 8' x 10' room full of Winnie the Pooh paraphernalia, dried blood on your mustache). These are the things that make scenes.
But I'm not the only one on stage. Breakup has an infinite number of meanings for the other members of The Baldwins. We each have our own first line to initiate the first scene, but I'm the quickest off the backline. I sit down in a chair, affecting a shiver, and say in my most delicate, child-sensitive voice possible: 'Oh Christopher Robin, it is so very cold!'
The audience reacts to my impersonation with a few titters, while I attempt to tacitly script the rest of the action to come:
Enter CHRISTOPHER ROBIN. He looks at quaking POOH with horrified eyes. Christopher Robin realizes what he must do in order to survive the Arctic winter.
POOH unintentionally rubs his russet fur. He has already licked the dregs of honey from his paws. A singular patch of hair falls to the cold floor. He tries to understand Christopher Robin's survival instinct—that this moment of separation was bound to come. Pooh scans the icy grotto, looking for the words to save the both of them.
POOH: My poor friend Christopher Robin. It is so very cold and you are only wearing shorts and a Polo shirt. I wish it were summer. I wish we were not in the Arctic. Then you would not have to skin me—But I am so very small, Christopher Robin! You will not even get a hat out of me!
CHRISTOPHER ROBIN (in tears): Pooh!
POOH: Christopher Robin, I am so very small….
But when Christopher Robin, as played by Dan, does break from the backline, the scene changes drastically: the icy walls of the grotto melt away to reveal the bare stage.
'Damn it, Pooh!' Christopher Robin says, pissed off. 'You know that you're supposed to handle all of the bills. It was your job to pay the heating bill…. Now what the hell did you do with the money?'
Pooh, no longer fearing the skinning knife, responds: 'I bought honey with it.'
The first big laugh comes, and Christopher Robin waits to deliver his next line: 'I knew it! Piglet told me not to trust you. Here I am, believing that you quit the junk, and then you go behind my back and cop honey—with my money!'
'I'm sorry, baby,' Pooh says, pawing at Christopher Robin's shoulder. 'This is my last time, I swear.'
'I've heard this all before, Pooh.'
In a later scene, Christopher Robin, Tigger, Piglet, and Rabbit will organize an intervention, but ultimately Pooh will overdose in the last scene of the night, succumbing to the same fate as his fellow user, manic depressive Eeyore.
The audience eats it up.
We were always drunk. I don't think Rene and I ever needed a sober moment. We had first met at a wake—well, at Donovan's Pub after a wake. Mr. Fitzpatrick had suffered a myocardial infarction. I was childhood friends with his son Walter, and Rene had dated Walter when she was at Binghamton. Walter had been a nice weekend screw, she'd tell me minutes after I'd drop my line on her: You know, I was gonna wear that dress tonight. I'm glad I didn't though. That would've been so embarrassing.
'That is the worst pickup line I've ever heard,' she laughed. 'Are you wearing Reebox? Those are the worst!'
I defended the honor of my sneakers, using words like 'hip' and 'dig.' I dug her right away. I liked her dress too, a black number that fell a little above the knee, her cleavage inviting.
'Are you looking at my tits now?'
She wore her hair pulled (always) into a ponytail, a few deviant strands behind her left ear. She was drinking Woodpecker Cider that afternoon, and bought me a Corona. She handled the lime for me, pushing the wedge through the mouth of the bottle until it broke the surface of the beer. She handed me the bottle, then ran her thumb once over my lips.
'Thank you,' I said. I can still taste the lime.
The pub—it wasn't even three o'clock yet—looked like Happy Hour in Midtown. Mr. Fitzpatrick's mourners crammed against each other, and someone's dollar bill found the jukebox. James's 'Laid' was the first song to hit the air and Bon Jovi's 'Livin' on a Prayer' wasn't too far behind.
Rene let me buy the next three rounds. She introduced me to her friends, and not a minute after handshakes did Rene pull me aside and tell me all about the venereal diseases her 'sluts' had contracted: Karol (Pollack, gap between her teeth—condyloma) and Moira (Irish, left-handed—Herpes Simplex Virus-2). I think it's safe to say that Rene wanted me all to herself.
'You're an actor?' she said, sips later. 'You gotta be kidding me, you're a fucking actor?'
'No. I'm a performer.'
'What's the difference?'
'If I could act I'd be an actor.'
'Funny guy!' she said, speaking into the mouth of her Woodpecker Cider. 'I bet the girls just love that.'
'Every single one of 'em,' I laughed and put the Corona to my lips. 'I'm fuckin' hysterical!'
She dictated her phone number, and I entered the digits into my cell. She didn't have to repeat her name, but she did: 'I want to make sure you remember the pretty Italian chick you picked up at a wake.' And then seconds later: 'I don't like your goatee.'
'Well, fuck you, honey. I already got your number.'
'I guess I'm stuck with you then, huh?'
'We're practically married.'
The chorus to 'Livin' on a Prayer' came on, and everyone in the bar sang along, their wake-wear loosened with drink. I raised my fist in mock salute. When I turned to Rene, she was wiping her eyes with a paper napkin from the bar.
'It's okay,' she said, a curt laugh breaking through her reddened cheeks. 'I do this all the time.'
I don't normally play the straight man in scenes, and tonight is no different, having already put Winnie the Pooh through a spin cycle of withdrawal and intervention. Greg edits the scene and I recede to the backline. A little sweaty from the stage lights, I wait to support the next scene.
My mind drifts to the bandage on my chest and the stitches inside my mouth—the traumatic evocations: Rene's scent on my t-shirt, her Irish boyfriend's bloody fist, Christopher Robin wearing Pooh's pelt.
These details, I like to think, would make for an interesting character. Someone you'd like to watch for a while. I try to tell myself that's the reason I stayed on for so long (nine months the lover). I try to chalk up the last nine months of my life to the performer in me—the ham who's always searching for hysteria and comedy—but that's too simple. I loved her.
I was wrapped up in her details. I loved her in parts: imperfections, peccadilloes, the word 'wish' tattooed on her ankle. Her name felt so good to say—still feels good—I felt like a poet pronouncing it.
Rene, I'm on the backline, for what feels like forever, Rene-ing to myself.
The audience quiets down.
We were always drunk, and she was always a bitch—I loved it.
'Your abs are disgusting,' she said one night, tracing my hard-earned four-pack with her fingertips. 'You should just stop working out and get a beer gut like Paul.' Then she peppered my stomach with kisses.
The first time we made love—after an afternoon stroll through Central Park ('You're really trying to make this romantic, aren't you?') and 60 ounces of Budweiser—she cried, something she 'always did.' At first I thought it was out of guilt, she having some poor mick bastard waiting for her at home, but then she kissed me so hard, caught my bottom lip between her teeth, and pulled me deep inside her, her legs wrapped so tight around my lower back that I couldn't move.
'Just stay inside of me!' she said, her face feverish. 'Just stay inside me.'
I kissed her cheeks as more tears slid out from the corners of her eyes, then cupped her ears, dampening my fingers with her sweat.
'Thank you,' I said. I buried my face between her neck and shoulder and wept. I wasn't on stage. We weren't on stage. We lay there until her legs slackened and her lips found my ear, then her tongue, her teeth—
She moaned, pulling my hair in order to get at my mouth, our tongues uncontrollable and sloppy. She made a motion, and then I was on my back, my head hanging over the edge of the bed. And she pushed and pushed—the red bed sheet slipping beneath us—until gravity yanked me to the floor and Rene went flying into the closet door. We were two thuds, drunken and naked on the cold hardwood. Rather than move to the bed, we lay there at the point of impact. She slid me neatly inside her again, and we remained motionless, examining each other: a pimple at her temple, the pads of her feet cool, a slight tinge of beer on her breath. Instead of saying, 'I love you' we laughed and kissed, until our laughter grew hysterical, until it hurt.
I come off the backline and Doug follows me. I want to relive the event, every single event that brought Rene and me to our first ridiculous moment. I wish I could shoot Rene into Doug's brain, give him all of her sweet complexities, every little detail.
'Rene,' I start, inadvertently addressing the audience. 'You know, I was gonna wear that dress tonight. I'm glad I didn't though. That would've been so embarrassing.'
I'm ready to play it all over again, ready to leave out the extra e from her name, ready to take her to Central park, ready to get drunk again—but of course, that's impossible. Rene's not on the stage with me—Doug is. And the cough in the crowd is another reminder of the impossibility.
'Yes, it would have been embarrassing, huh, Clara?' he responds, his voice and body attempting a feminine form. 'You know what else would be embarrassing? Huh? If you accidentally burned all of my dresses so I couldn't compete in the beauty pageant.'
'Rene, just one—'
Another cough.
'—more time, please.'
And then another. Doug waits.
I know I'm on stage, and there's nothing else for me to do but to take on the Valley girl archetype and respond, 'Well, like…you know how clumsy I am with matches'.
'No more chances!' Doug responds. 'It's over!'
'I know it is.'
The scene painfully rolls on—prays for an edit. The audience has definitely laughed harder.
By the last month we'd become ridiculous. We pumped the stereo but didn't listen to it. Rene cried more, and so did I, and there we were, weeping pathetically until we were in bed. Barred and buried in our afternoons, we napped like the old and drank like alks, splurging on bottom-shelf spirits. She'd always 'have to leave' the Cocoon—that's what I called the apartment. She called it the Honeycomb, a place for her to sleep and get fat. And like a girlfriend, she put on weight. I accepted the extra pounds because they were hers. I kneaded her softened muscles, her cellulite – another detail to love, another part of her in need of whatever I could give her. But I was not her boyfriend. She never let me forget that.
Paul would always call, P A U L lighting up the monitor of her cell phone, his ringtone the chorus to U2's 'Sunday, Bloody Sunday.' I'd sing along, fist in the air, until she'd tell me to be quiet, that she'd 'have to pick up.' Her voice would change (become more girlish), and she'd use words like 'baby' and 'love' while I'd be nibbling for attention at her ankles. This always pissed her off.
I would try to piece Paul together, to make a man out of the few details that I knew about him: beer gut, Irish, calls all the time. From Rene's side of their phone conversations I learned that she loved him 'so much;' she never hung up the phone without telling him. Even when they argued over rent (which happened a lot) she'd always let him know that he was loved. She never said she loved me, but there she was in my bed, in my arms. I never said, 'I love you,' either, but I was there.
He liked U2—the fucking guy was Irish, of course he did!—and Rene loved him. She loved him so much that she could not (would not) leave him. And I'd asked her a bunch of times, 'Why don't you leave him?'—not in those words—but I'd say, 'Just stay a little bit longer,' which meant the same thing to me. And she'd always respond, as if singing a refrain, 'I can't, I can't, I can't….'
I grew weary of her exits and tried to make it harder for her to leave—'Don't leave the Honeycomb, baby!' I'd say, playfully barring the door with my naked body and kisses, lifting her, then dropping her on the bed, hoping to screw her into a coma. But the sexual chloroform would never work, and she'd escape, one time saying, 'God, you're acting like you're in love or something!'
I grew jealous of Paul's ignorance—he never suspected a thing; even after the Halloween party. I bet he thought I was just some drunken asshole who'd gotten out of line. Fucking ridiculous! Who suggests BREAKUP!
Maybe none of it ever happened. Maybe Rene and I were just some improvised scene, some mutation off of a suggestion from the back row. I know I'm not the only one onstage. But there's a scene in my head:
I lie on my bed, denuded. RENE, wearing nothing but my gray t-shirt, exposes her buttocks as she turns over/away from me. I run my hands along her body—even though we've just made love, and I should know that she's real, I'm still thinking of the possibilities. I decide to push it.
ME (in my best brogue, which sounds quite Scottish): So, tell me about this guy. This guy you've been seeing. I know you have. I can see it in your eyes. Whenever you come home to me, you look like a new woman. A fair maiden, that's what you are. Aye! (I move her ponytail and kiss the back of her neck.) So, tell me, this lover of yours…does he fuck you proper? Do you come with him? Aye! (I move her hair again and kiss her ear.) Does he love you proper? Does he love you as much as I do?
RENE cries like she always does, and I'm there to spoon with her, until she has to go.
It's the last time she comes to the Honeycomb.
Dan and AJ roll around on the floor, and the audience comes alive again, their laughter almost sticky. Doug and Greg follow them downstage, and all four of them knock into the front row. Pretty soon they're growling and slowly clawing at the patrons' ankles, scratching the laughter out of their shins.
I'm lost on the backline.
The word 'wish' tattooed on her ankle. The last gray t-shirt of mine she wore. The way she chose her words: 'I don't want to see you ever again.'
Why didn't she just sing, 'I can't, I can't, I can't….'?
Two days without an R-E-N-E ring or vibration—I had to break the first rule! I had to run over to their apartment, bang on the door, force my way in no matter what the cost. I had to see where she slept when she wasn't sleeping with me. I had to see the alternative Honeycomb. I had to see this poor mick bastard she loved 'so much'—I had to see if my impersonation was dead on.
He wasn't there. But the bedroom was. Rene was, standing in the living room, crying like she always did—even though there was no music playing, even though she was sober, even though the place stunk of rettes and laundry, even though it wasn't my place. Not my Cocoon!
'This is where you live? This your Honeycomb?' I said, looking over the plaid loveseat. 'Where do you sleep?'
'The bedroom's in there.'
It was all bed. All bed and Winnie the Pooh. Figurines, birthday cards, posters, clock, nightlight. Every wall. Every inch of the place. 'I'm obsessed,' she'd told me one day. 'You should see my bedroom.'
Yeah. I sat down on the bed, felt smothered by the cartoon bear. She came to the doorway naked: paunch, pubic hair thriving, calves relaxed. She pushed me back onto a company of stuffed Poohs, unbuckled-unzipped me, then pulled my jeans and drawers down to my knees. I was pinned.
'Let me stay inside you,' I said, trying to bridle her hips. 'I just want to stay inside you.'
She held my arms at my sides, bared her unstained teeth, bit down on her lower lip, and closed her eyes. I went—shook till exhaustion.
She let me pull up my pants, and then she led me to the door.
'I don't want to see you ever again.'
Whatever the guys' scene is, it reaches its apex, so I edit it. With our 25 minute set coming to a close we probably have room for just one more. I have a scene etched in my mind already; I initiated it about a week ago:
I stumble—drunk of course—into Donovan's Pub, Halloween night. Unable to find an adult-size costume, I was forced to buy a children's size (6-8 years old) Winnie the Pooh suit. I cut it up and fitted the pieces to my frame as best I could: leg warmers, sleeves that covered my forearms, Pooh's torso worn like a backpack, his head as a helmet. A yellow polo shirt and blue shorts cover what Pooh's pelt cannot.
I get wrapped up in some synthetic gossamer that's been draped across the entrance. Witches, nurses, angels, devils, mullet wigs, false crooked teeth, etc. take up most of the space in the pub. James' 'Laid' plays on the jukebox.
RENE, hair pulled into a side ponytail, sips from a martini glass. She is surprised to see me.
ME: What are you doing here?
RENE: What did you do to Pooh?
ME: I had to, Rene, I was freezing to death. I had to survive. (Pause) So, who are you supposed to be?
RENE: Deb from Napoleon—
ME: You know, I was gonna wear that. Would've been embarrassing, huh?
RENE: Please leave.
ME: You here alone?
RENE: Just leave, I don't want there to be any trouble.
ME: Then what's the point of me staying?
I stumble into her, grab hold of her ponytail, and kiss her hard and sloppy. Her martini glass falls to the floor. She tries to push me away, but I have her by the hair. She cries.
I'm struck on the back of the head; then I'm thrown into a wall. I look up at PAUL, wearing his cheap costume. I've seen three others just like him already.
ME: Fuck you, Napoleon Dynamite!
I charge, my open palm connecting on Rene's reddened face. I'm soon on the floor, being stomped, bottles breaking around and under me. I cover my face and crawl to the door. Paul's on my back, breaking his hand on my head. Napoleon Dynamite is beating the shit out of Winnie the Pooh! Fucking ridiculous! Breakup!
At some point, I'm free to run away. It's so cold outside. The blood in my mustache is drying. I check the slice in my shirt, the gash runs deep under my skin. I've lost my Pooh head.
'I feel like Christopher Robin's crawled up my asshole and ripped me from the inside out.'
The audience takes this in, as do the rest of The Baldwins. I'm by myself for what feels like forever.
Dan springs forward and justifies my line: 'Pooh's overdosing! C'mon, everyone!'
I fall to the floor and do the OD-shake. Dan cradles my head in his lap, pretending to weep. The other guys come off the backline to support:
Stay with us, Pooh!
You can't die!
Dreams don't die!
Where's the rent!
The audience is in hysterics. I convulse for the last time and play dead.
'He's gone,' Dan says. 'Just like Eeyore.'
We bow and give thanks to the audience. There's some leftover Southern Comfort, which we offer to those who want it.
'That was my suggestion,' a white kid in a hooded sweatshirt says as he takes a Dixie cup. He downs the shot and leaves the room, happy with Breakup.
Really, he could've suggested anything and I would have thought of Rene. Try it. Pick a word, and try not to follow it back to your lover of nine months, try not to obsess over every detail, every traumatic, hysterical, ridiculous specific. The stuff that made your scenes.
*This story first appeared in the collection Born in the 1980s.


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Two weeks in and it seems like forever since we climbed on board that late night flight from Accra. We've had adventures in Elon and Asheville so far and Robyn is off to London.
The kids are excited to finally be snuggled into bed with their cousins. (ok, not excited about the in bed part, but the with their cousins part)
I actually had to pause and think about what we did that first week, but now I remember. It was full of appointments, the thrill of opening a pile of Amazon boxes, and loving some time with Grandma and Pops. Oh, and I spent a couple of days in Raleigh at an AppsEvents Summit.
Then it was off to Asheville. Ah, Asheville. What a week. We had a fantastic house right next to the river. Each morning I got up, progressively later, and had a morning meditation on the porch with the sounds of the rushing river and singing birds. Coffee and breakfast outside with Sig and Robyn while the kids lazed about on their couch/bed getting their Disney channel fix. We got to spend a day with Poppa Geoff and Rhona and visits from old friends from our Greensboro days as well. I could have easily stayed the summer in that house.
Belalaluu Bealallaloooo (that's the time warp sound effect)
So we're three weeks in now, and the kids are jumping on the trampoline next door now and my belly is full of quiche. Actually, their bellies are too, so I'm glad I'm not on the trampoline with them.
I just got back last night from DC where I was working with a group on the World Virtual Schools project. Five guys in a room meeting for three days (actual guys, not the burgers) was an interesting experience, but a really cool one too. It was in the midst of the JOSTI conference so there were educators there from around the world. Its always fun to hang out and swap adventure stories and school reviews.
Robyn's in London being awesome and facilitating a CTC course (sorry for acronym soup in this post) and we miss her like crazy, but life continues at top speed when you're at Grandma's house with your cousins and the neighbors have three kids in the playable with age range. I'm still amazed that these kids can go at 100 mph and 150 decibels all freakin day long. But they do and they pass out happy every night.
Robyn returns on Saturday (can't wait) and the Harwood summer adventure turns south on Monday. Before that, we've got some laser tag to play and a movie in the park to go to. Can't stop won't stop.
One love.


text:
Continuous wave MRI diffusion study of water in bentonite clay
File Type:PDF
Item Type:Journal Article
Citation:A. J. Fagan, N. Nestle and D. J. Lurie `Continuous wave MRI diffusion study of water in bentonite clay? in Magnetic Resonance Imaging, 23, (2), 2005, pp 317 - 319
Download Item:
Continuous Wave MRI Diffusion Study of Water in Bentonite Clay.pdf (published (author copy) peer-reviewed) 56.55Kb
A novel NMR technique for imaging materials exhibiting extremely short T2 relaxation times is described and some examples of its application to materials of scientific and industrial interest are presented. The technique employs continuous wave (CW) radiofrequency irradiation of the sample together with continual detection, and thus the experimental deadtime inherent in pulsed techniques is effectively eliminated. The mechanisms which broaden the NMR linewidths of materials in the solid state and liquids in confined geometries are described, and the resulting difficulties which these broad linewidths pose to NMR imaging are outlined. A brief review of existing NMR imaging techniques is then presented. The CW-NMR approach to imaging is expounded, and the CW-NMRI system is described in detail. 1-D and 2-D images of the ingress of water (1H imaging) and brine (23Na imaging) into various cementitious materials are presented, together with images of the solid 27Al phase of a high-temperature refractory cement. The inter- and self-diffusion coefficients of a clay mineral, bentonite, were successfully measured, and the 2-D and 3-D imaging performance of the system was demonstrated on phantoms of poly(methyl methacrylate) (PMMA, Perspex / Plexiglas).
Grant Number
Engineering and Physical Sciences Research Council
Author's Homepage:http://people.tcd.ie/faganan
Author: FAGAN, ANDREW JOHN
Type of material:Journal Article
Series/Report no:Magnetic Resonance Imaging
Availability:Full text available


text:
Transit is a content delivery engine for Rails using MongoDB. Content delivery engine is not just a fancy word but more clearly defines the purpose that the gem aims to solve. Most Rails based CMS solutions are "ready to go" applications, where a few simple configurations will get you up and running with a full (often well designed) admin interface and all.
The goal of Transit is to be more developer-oriented, for use in situations where you still want to develop custom content managed applications, but avoid having to do a lot of the same routine development thats common to most if not all content management systems.
Transit operates around the concept that all content management can be broken down into two basic types of models (called deliverables): a Post or a Page.
Each deliverable can embed one or many
contexts which are representations of a particular type of content included within that deliverable.
Posts are your standard blog/article/etc posts, which consist of a
- title
- post date
- published/un-published status
- a body which defines the content that post contains.
- a teaser which is used as a "preview" of the post.
- a slug which represents the url to the post. On creation, this field is automatically created from the title unless already provided.
Pages are the "standalone" version of a post. Whereas posts operate on a feed type system, pages are singular in nature and consist of
- a url (ie: slug).
- a name (whether internal or for use in a heading tag)
- a page title
- optional keywords
- a page description
- one or more body areas depending on the layout of the particular page.
Deliverables associate (ie: embed) one or more
contexts which, when combined, represent the content a particular package contains. Each context is assigned
any number of attributes, and a
position which defines the order in which that context exists in the flow of content.
Instead of cramming content into some wysiwyg editor (which is generally good for nothing except butchering a well-designed layout), multiple contexts can be created and chained together, limiting html/rich-text editing to basic formatting.
For instance, a basic blog post can be broken down into a primary heading, and some body content. In terms of contexts, this can be broken down into a
InlineText and
TextBlock. When creating your custom Blog cms, you could then specify that each time a new post is created, it should initially contain
these two contexts, as well as the order (ie: InlineText > TextBlock). When users create new content, they then have these two fields available to them.
The true benefit of contexts is in the output. Given the example above, you now have a way to cleanly output a blog post, with a proper heading (ie: h1) and well formatted body copy. Output is left to the discretion of the developer, not the end-user.
Should you want to provide additional functionality, any number of contexts can be added to a deliverable. Your users want to add video or audio to
their blog posts? No problem. In addition, since each context contains a
position property, by simply sorting/and arranging each context, the
resulting output can be altered to whatever desired result.
Content is delivered by using the
deliver method in your views, passing a particular deliverable containing contexts.
<%= deliver(@post) %>
- If a
delivermethod exists on a context model, the result of that method will be output, unless that method explicitly returns
- Rendering a partial found under
There are 4 basic contexts included in the core engine:
- InlineText: Text that is best represented by a single html node, such as a heading (h1, h2, h3, etc).
- TextBlock: Used to represent body copy / content. This is usually managed with a wysiwyg editor
- Video: Allows inserting video from multiple sources, whether file upload, youtube url, etc.
- Audio: Same function as video... but included separately to allow for more customization.
Creating Custom Contexts
To create a custom context, simply create a model that subclasses the Context model.
Additional Items
Content Blocks
Content blocks are similar to pages, but are simply wrappers for storing/delivering a set of contexts. Content blocks are useful for things like sidebars or areas of content that are used in multiple places within the site, providing a single point of access and management in your back-ends.
To provide support for file and image uploads, an Asset model is provided. This model can accept any type of file upload, stored as the
file field.
The asset model also provides methods to determine whether a file is an
video?, or
Copyright (c) 2010, 2011 Brent Kirby / kurb media llc
Permission is hereby granted, free of charge, to any person obtaining a copy of this software and associated documentation files (the "Software"), to deal in the Software without restriction, including without limitation the rights to use, copy, modify, merge, publish, distribute, sublicense, and/or sell copies of the Software, and to permit persons to whom the Software is furnished to do so, subject to the following conditions: The above copyright notice and this permission notice shall be included in all copies or substantial portions of the Software. THE SOFTWARE IS PROVIDED "AS IS", WITHOUT WARRANTY OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE AND NONINFRINGEMENT. IN NO EVENT SHALL THE AUTHORS OR COPYRIGHT HOLDERS BE LIABLE FOR ANY CLAIM, DAMAGES OR OTHER LIABILITY, WHETHER IN AN ACTION OF CONTRACT, TORT OR OTHERWISE, ARISING FROM, OUT OF OR IN CONNECTION WITH THE SOFTWARE OR THE USE OR OTHER DEALINGS IN THE SOFTWARE.


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Tuesday, December 31, 2013
Another Year Over: Goodbye 2013
13 comments:
I think 2013 has been up and down for a lot of people but it's important to focus on the positive. Wishing you a very Happy New Year Lucy xReplyDeleteReplies
Exactly right, Sarah. I hope you had a lovely New Year! xxDelete
Hi, dear Lucy! Thank you for this marvelous recap of the year 2013 and a look back at some of your lovely outfits. Every year of our lives is a mix of good and bad. We should all remember the good times - the times we laughed and acted like children and felt most alive. I am grateful for having met you in 2013 and for the opportunity to learn about your life and interests via your fine blog. I wish you health, happiness and success in 2014.ReplyDelete
Happy new year, Lucy in the Sky!Replies
Those are very wise words, you are very right. It was so lovely to have met you too, and I wish the same to you and your loved ones for this new year.Delete
Happy New Year Shady! xx
A gorgeous round-up of outfits. Hope 2014 is much better for you! xxxReplyDeleteReplies
Thank you Vix, I hope this year is wonderful for you! xxDelete
Happy New Year! Love your outfits. <3ReplyDeleteReplies
Thank you very much! Happy New Year to you too! xxDelete
Happy New Year, I hope 2014 treats you well!ReplyDeleteReplies
Happy New Year! The same to you and your loved ones! xxDelete
you've certainly had a wonderful year Lucy! Thank you for being having such interesting and fun content to read and for being such a nice person as well! Lets have lots more 60s adventures in 2014! xoxoReplyDeleteReplies
Thank you to you too - I've loved your blog and I've loved meeting you. Here's to more 60's adventures! xxDelete
my dear you are so pretty and you had such a fabulous and stylish year!!!!ReplyDelete
love and kiss,mary


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Cannalope Haze Strain
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Cannabissearch.com Buzz Rating: Just as the name implies, the inhale of this delicious medication is reminiscent of fresh cantaloupe with undertones of berries and Haze. The exhale is Hazy and fruity with hints of pine. This bud feels more like a 50/50 hybrid, or maybe just a touch on the Sativa side.
DNA Genetics brings us yet another wondrous strain with Cannalope Haze. This pure Sativa was brought about by backcrossing in order to have a shorter vegetation and flowering time, while producing higher yields. Flowering for 8 to 9 weeks when indoors and being ready for harvest in mid-October when grown in warm climates, this Haze strain is unlike many other Sativas. It has one main top cola with smaller side branches, making it a great candidate for the Sea of Green method. When cultivated in this style, it should be vegetated for two weeks and then forced to begin flowering. Sea of Green growers can expect to harvest ˝ an ounce to ľ of an ounce per plant.
Also unlike most Sativas, Cannalope Haze can deliver a strong, powerful high, capable of inducing couch-lock or other sedative effects. This is a great medication for treating pain relief, inflammation, migraines, nausea, eating disorders, diabetes and more.


text:
What Urbanalys does
Urbanalys has a tool-box from social anthropology and human geography. The main competence is in constructive research in and about urban contexts, particularly the built environment's planning, geography, politics, and energy and resource economy. In other words: research on processes of change for all kinds of actors in the city. This kind of work can be handled in two different ways: as knowledge feedback and as basic data.
Knowledge feedback
A key question for many actors is why projects seldom turn out quite as expected. By research on planning, policy, and sustainable technologies implementation in the urban context, I have trained myself in and developed methods to understand innovative projects often surprising turns. Innovative projects comes with a relatively high degree of unpredictability and open outcomes: their developments are hard to calculate and predict in advance. Because of this, project-owners and interested parties needs and asks for knowledge feedback either to reflect on what measures to take during a project's run or to learn from a project once it is finished.
Basic data
Urbanalys also specialises in investigating and mapping social topographies in and between cities. This means to define and gather knowledge on an urban context's, a group of actors', or a network's shape and dynamic: relations criss-crossing between what is commonly known as sectorial or essential categories (for instance, ethnicity, identity, nation, economy, ecology, society, culture, history, nature, human, object, thing, etc.). Such general categories are not necessarily wrong, but are often to coarse and misleading in order to understand many urban phenomena. This speciality also include lecturing, teaching, and to organise or help out on excursions.
Urbanalys sees itself as a mediator between the commissioner and its object of interest: a neighbourhood, a community, energy issues in the city, public spaces, project development concerning the built environment, eco-tech, etc..
Commissioners are:
Formal public institutions and authorities such as planning agencies.
Business actors who wants to broaden their knowledge base generally or for a particular project.
Academic institutions, where research on the built environment is carried out, such as architecture and planning departments at universities.