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by Phyllis - NY, NY
But they did have some protection from a large flower pot that was empty at the corner of the fire escape.
Finally it was evident that the egg or eggs had hatched although I couldn't see much.
For a long while I thought there was only one squab, but much to my surprise, I saw there were two as they both had their beaks down their parent's throat getting their pigeon milk.
Today I saw that for the first time neither parent was at the nest for awhile. They take turns caring for the squabs. Today I saw the whole family together.
It's been a great experience for me learning about life through the life of the doves. I'm going to miss them when they're gone.
Benny was cooing today, and it sounded like he was trying to coax one of the squabs out of the nest.
They're about ready to start their lives outside the nest. They didn't seem that anxious to go.
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by Phyllis
Penny getting ready for another family.
After the two squabs left the nest, one of them hung around nearby for about a week on the fire escape of my apartment (opposite the nest next to the flowerpot).
One day I noticed that a pigeon came by menacingly,and I think it threatened the baby, so it took off.
It was very lonely once the doves were all gone. I thought they would never return.
Then, on my 42nd anniversary, several weeks after not seeing the doves, my husband said he heard the sound of a mourning dove. We both looked and saw nothing.
But a little later on that day, I heard the sound of the mourning dove. Sure enough, when I looked this time, I saw Benny at the nest. I think he saw me looking at him and he flew off.
In the early evening I saw Penny sitting on the nest.
Today I saw Penny sitting there again and I took a photo. I'm looking forward to Benny and Penny's new family.
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by Phyllis
Henny, (I think) sitting on the nest next to the flower pot on the sixth-floor fire escape in NYC.
I submitted our story about our first nesting doves in 2008 -- Penny and Benny. Well, we are now on our third mourning dove family.
The new parents are Henny and Kenny. I haven't seen Kenny around much. He was on the fire escape with Henny when a loud chirping house sparrow came by and was very vociferous about something-- but Kenny finally took charge and defended the nest by physically bumping this nuisance until he flew off.
I saw Kenny for a minute the other day, but he doesn't stay for very long.
Now Henny is sitting on the nest. There seems to be less action at this time. I cannot see a change of birds at the nest. It always appears to be Henny, but I can't be sure.
I am sure I will be seeing some babies pretty soon. It's about two weeks since Henny started sitting on the nest full time.
I'm looking forward to seeing the new brood. I'll try to upload some photos of Kenny and the babies soon.
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The Wangensteen Historical Library holds a significant collection of manuscript materials (handwritten documents) ranging from the fifteenth to the twentieth centuries. The earliest book in the collection is a 1430 handwritten copy of the Thesaurus pauperum.
Medical Receipt Books
A growing collection of domestic receipt books is available in the library, dating from the 17th through the 19th century. Often written by the mother of the house, they were used to care for family and sometimes livestock. Some of the receipts are written by physicians for the pharmacist to fill, but most consist of components that were readily available in local fields or the apothecary's shop. This collection is also supported by a record book of ingredients purchased and sold at a French pharmacy in Toulouse. The recipe books have been digitized and will continue to be added to U Media. Read more about our digitization projects.
Pamard Archives
In addition to individual works, the library also holds the Pamard archives, representing the work of seven generations of a French family of ophthalmological surgeons founded in Avignon in the late 17th century. The Pamards achieved prominence in both medical and civic circles into the early years of the twentieth century. The collection includes personal and professional papers, students' notes, correspondence, hospital records, public health notices, and statistics, poetry, remedies, recipes, and diaries.
James H. Stuart Letters
The papers of James Stuart, a mid-1840s medical graduate from the Jefferson College in Philadelphia, are also in the Wangensteen Historical Library's collection. Shortly after graduation, Stuart joined Matthew Perry's expedition as a naval surgeon to the North China Sea aboard the Porpoise. The letters collected in the library were written home to his mother and detail his life while in school and his travels to Hong Kong. His vivid descriptions describe the regions and the peoples he encounters, as well as, the political situation aboard ship. Transcriptions of the letters have been completed and are available upon request.

subset: commoncrawl


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Monthly Archives: March 2013
Area teams hope youth serves them well
by Aaron Burns firstname.lastname@example.com HUNTERSVILLE – One word was all Hopewell High baseball coach Chet Greeson needed to describe the key element to his team's 2013 season. "Consistency," he said. It's… Read more
Superintendent talks economy, diversity and safety
by Jackson Sveen firstname.lastname@example.com HUNTERSVILLE – Charlotte-Mecklenburg Schools Superintendent Heath Morrison answered questions from Charlotte-area residents during his latest community chat Feb. 11 at New Birth-Charlotte Church. The topics ranged… Read more
East Gaston boys bounced, W. Meck girls make playoff run
by Aaron Burns email@example.com MOUNT HOLLY – East Gaston High's basketball teams, in addition to West Mecklenburg and Hopewell High's squads, had plenty of positives to take away from the 2012-13… Read more
North Meck casino event supports veterans' homes
by Sandi Huddleston-Edwards firstname.lastname@example.com HUNTERSVILLE – For the North Mecklenburg Woman's Club, purple hearts are as important as the iconic red and pink hearts of Valentine's Day. The women will… Read more
State leaders make first push for revaluation refunds
by Jackson Sveen and Courtney Price email@example.com CHARLOTTE – A bi-partisan group of state legislators filed bills March 4 to correct the property values in areas that were deemed inaccurate from… Read more
Resident reflects on nuclear threats
Recently, I was surfing the channels for something of interest and ran across the meeting of the United Nations with the prime minister of Israel speaking. He was concerned with… Read more
How local restaurants fared in health inspections
The Mecklenburg County Health Department inspected the following restaurants Jan. 20-Feb. 15. 28214 zip code • Bamboo Garden Restaurant, 231 Mount Holly-Huntersville Road, Suite 130. Inspected Jan. 22. Score: 96.5…. Read more
Firebirds: Upscale chain shines with small touches
by Molly Reitter email@example.com CHARLOTTE – Executive Chef Steve Sturm holds a beef tenderloin in his gloved hands. It is oblong and cherry red in color. Sturm is explaining how… Read more


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Cancer: What is it?
Cancer is a complex group of diseases with many possible causes:
Genetics: Cancer is such a common disease that it is no surprise that many families have at least a few members who have had cancer. Sometimes, certain types of cancer seem to run in some families due to an abnormal gene that is being passed along from generation to generation.
Tobacco use: Smoking is responsible for nearly 1 in 5 deaths in the United States. Because cigarette smoking and tobacco use are acquired behaviors -- activities that people choose to do - smoking is the most preventable cause of death in our society
Poor diet and inactivity: Two key factors that can increase a person's cancer risk. Each year, about 570,000 Americans die of cancer; fully one-third of these deaths are linked to poor diet, physical inactivity, and carrying too much weight.
Environmental toxins: Substances and exposures that can lead to cancer are called carcinogens. Some carcinogens do not act on DNA directly, but lead to cancer in other ways. For example, they may cause cells to divide at a faster than normal rate, which could increase the chances that DNA changes will occur. It is estimated that over 80% of cancers are caused by environmental toxins.
If you feel you have a risk of getting cancer, or if you have already been diagnosed with it, we can help at our Clearwater clinic.
For an appointment or more information,call the New Patient Scheduler at 727-466-6789.
*Disclaimer: Individual patient results may vary based on a patient's medical history and other factors.


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Apr 6, 2017
I've used Covideo in the past, but I had to go into my Gmail when I used it and change some settings that set off all sorts of security warnings. Their answer was to send it through their website. In the end, I ended up not using it and eventually unsubscribed.
I tried creating videos in Camtasia and uploading them and sharing them on a Google Drive. That strategy was free, but it took forever. So the BIG thing that bomb bomb delivers on is speed.
Their smallest package allows you to send video emails to 2500 people (unlimited emails and videos). It does not give you the ability to auto responders (drip), or create landing pages.
The individual plus plan $69 a month ($49 if you purchase a year) allows you to create landing pages, and send auto responders. It also gives you email and phone support. The smaller package you just have access to their tutorials (which are very good).
Check it out at www.weeklywebtools.com/bombbomb
Speed Up Videos For Free
As I was watching the tutorials for Bomb Bomb at 2X, I was euphoric I had the Video Speed Controller extension. It works on any HTML player (including Netflix).
Clean up the Typos
In the past, I've told you about Grammarly, but somehow I was not using it to its full potential. Now when I start an email message, a Facebook post, a forum post, etc. Grammarly is there to make sure I don't look like an idiot. As I type this now, i see that I have six issues in the above paragraphs that I will troubleshoot before publishing this. It's a great tool to stop those of us who are spelling challenged.
Thanks To Our Supporters
Josh at www.creativestudio.academy
Ileane at www.ileanesmith.com
Scott at www.computertutorflorida.com


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2 Piazza Colonna
The Man on Top
2 Piazza Monte Citorio
The Obelisk and The Clock
Piazza Colonna
2 Piazza Colonna
2 Piazza Monte Citorio
Piazza Colonna
Explore the world's greatest cities with our fun little videos! World traveller & founder, Jason, will guide you through the must-sees, the hidden gems, and the curious stories behind them.
Start your journey by picking a city. Stay up-to-date about new cities & stories by signing-up - it's free!
Our videos are laid out along walking trails - or "storytrails" - through different city neighborhoods. Just as fun for armchair travellers as urban explorers!
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Some combination of Mom and Dad has been taking Sydney to gymnastics for as long as I can remember. This week she was finally old enough to participate in the spring recital! Basically, all the different age groups come out one at a time to do their routine they have been working on. Sydney's group were the youngest performing. The … Read More
Colorado Baseball
Where are we going? This is fun! Guys bring you ice cream, food and popsicles! Look at me… Look at her…? Had to do whatever Sydney does!
Birthday Party
Mom planned a great birthday party this year at the Sunflower Farm. Its a small farm that has lots to do for kids. Sydney and Connor go for a spin. Why is it that kids can do this all day but adults will vommit after a couple rotations? Sydney really liked this horse swing. It had a really long chain … Read More
Cage Your Children
Nana and Papa pitched in a bought a cage for the girls for their birthday. Here are Sydney and her best friend Helene demonstrating how it works. Ok, a bird's eye view.
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Breast Cancer Channel
Topics & Medications
Related Channels
Faslodex Dosage
All women take the same Faslodex dosage, regardless of the severity or stage of cancer, age, or weight. The typical dosage is Faslodex 250 mg, injected once a month. Each Faslodex dosage is administered as one or two injections, and is given in the buttocks. Because there is a fairly large amount of liquid to be injected, the medication must be injected slowly.
Faslodex Dosage: An IntroductionThere is only one recommended dose of Faslodex® (fulvestrant), regardless of the severity of your cancer, age, or weight.
The recommended dose in postmenopausal women with breast cancer is Faslodex 250 mg, injected once a month.
General Faslodex Dosage InformationConsiderations for people taking Faslodex include the following:
- Faslodex injections are given once a month. Each dose is administered as one or two injections, given into the buttocks.
- Each Faslodex dose contains a fairly large amount of liquid to be injected and must be injected very slowly.
- For the medication to work properly, it must be taken as prescribed. Faslodex will not work if you stop taking it.
- If you are unsure about anything related to Faslodex or your Faslodex dosage, talk to your doctor, nurse, or pharmacist. Do not stop taking the drug without discussing it with your healthcare provider.
Faslodex Drug Information
Written by/reviewed by: Kristi Monson, PharmD; Arthur Schoenstadt, MD
Last reviewed by: Kristi Monson, PharmD


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Work has always been a tricky environment for me when it comes to dealing with questions like "How does God use what I do?" or "Does what I'm doing day in and day out really matter?" or "Am I making God's world a better place?" What I spent most of my career years doing looks nothing like the work we do at church, on mission fields, in hospitals, or in inner-city work for the poor or marginalized.
Editor's Note: Contributing writers at Pacific Crossroads Church in Los Angeles recently announced a blog series for this month that "seeks to address the struggle so many of us feel in connecting our workplace lives to our walk with Christ." The writers state in their introduction to the series: Pacific Crossroads Church has partnered with PCC members Steve and Margaret Lindsey to start an exciting new project called the Center for Faith + Work Los Angeles to minister to this need. The center will launch this month and the 1st Annual Conference is Saturday April 1st. You can find out more and register for the event by clicking www.faithandworkLA.com.
Previous articles in the 4-part series can be read by clicking: The Daily Grind, Get Rich (and/or Die Trying); But What Is God's Will? and here: 'I May Have Carpal Tunnel and Tennis Elbow.' Also, Together LA's interview story on Steve Lindsey and the center is found here: Ministry Launches to Help Firmly Place Faith Alongside Your Work. 'Piles of Bureaucracy'is the final article in the series.
I remember being mid-career as a systems engineer designing satellite communications electronics. As one project wound down, I transitioned to a new group to work in an unfamiliar area on a large research and development project full of future cutting-edge technology. It was an exciting challenge but a bit daunting, as there was so much to learn. I was surrounded by world-class talent, and I wondered whether this narrowly trained engineer could broaden enough to keep up. It took about two years of learning, design work, and trial and error before I saw results confirming my work was paying off. Needless to say, I was elated! My boss, a brilliant systems design engineer himself and pioneer in this field, was also pleased (though I often wondered if he inwardly smiled to himself "What took that guy so long?!"). But something bothered me. Did it really matter?
I think, as Christians, many of us experience the struggle of a long-fought-for-result, pouring our life's energy and passion into our work, feeling the hopes and fears of whether or not our labors will be accepted, and sensing the nagging concern along the way: "Does God really care about all this?" That was certainly a question I struggled with. Sure, I knew that we work in relationship with a bunch of people God loves and cares about in whatever our work context, and that God can use those relationships for his Kingdom. But what about all those thousands of hours of diligent and focused engineering, the results of which remain mostly unseen by anyone? Certainly no one would ever see the details of my contributions with hundreds of lines of simulation code, massive data files, test results, volumes of work stored on some server somewhere, backed up on another server somewhere, likely never to be accessed again. And what's worse is all that work was likely to be repeated in the fairly near future by smarter engineers with better tools on a newer project that will outperform the best work envisioned in my project.
The words of the preacher in Ecclesiastes haunted me during times like these: "All things are full of weariness; a man cannot utter it; the eye is not satisfied with seeing, nor the ear filled with hearing. What has been is what will be, and what has been done is what will be done, and there is nothing new under the sun." (Eccles. 1:8-9)
But, then again, there were also those moments… pure joy, deep satisfaction, a sense of worth and purpose, being part of a larger enterprise, building something, something new, better, more efficient, more capable, and never done before. I could have sworn that in some way God was there, he cared, and it mattered. But why would he care? Yet a gnawing sense that my contributions somehow did matter was very present and very real. Though I'm perfectly capable of regular self-aggrandizement and pride, I don't think most of what I felt was rooted in a sense of superiority or selfishness. It's hard to describe, but I think it was closer to a sense of deep gratitude. In some way, I wanted to thank God. To sing about it. Party over it with my believing friends, and not just the office buddies. But I didn't feel like I should. It didn't connect well with my concept of what God wanted from me. I didn't have a language yet for what God thinks of the daily grind of our hard work. You know, the stuff you do when you're not sharing the gospel, you're not showing compassion to a colleague in need, you're not doing some extra-curricular service project, and you're not leading or attending a workplace Bible study. The stuff you do well when no one is looking; hours fly by and you are buried in a spreadsheet, a complex problem, or tedious piles of bureaucracy. In fact, for a lot of us these kind of efforts take up much of the best of our actual career life. Is it possible the Lord of Glory cares about this too? Is my joy somehow a sharing in his joy?
I now think so, and have been on a journey exploring God's good purposes for our work. Come share the journey with us at the Center for Faith + Work Los Angeles.
Note: This post originally appeared on Pacific Crossroads Church website blog.
On The Web
Center for Faith + Work Los Angeles
Ministry Launches to Help Firmly Place Faith Alongside Your Work


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Some Context
This interview took place on the phone, so we didn't do any video recording. I actually called him while I was at work. We spoke a few days after his gig at the Musical Instrument Museum in northern Phoenix, AZ. This was the second time I'd seen him perform live and it was even more mind-blowing than the first.
I think Terry is a genius. He's invented all sorts of cymbals, drums, hardware, and electronics. He's an incredible virtuosic drummer. He paints. He knows architecture and psychology. He's toured all over the world. He's a true artist. As I sat there watching him perform, I felt like I was watching Picasso paint a picture in front of my eyes and ears.
Thank you to Billy James at Glass Onyon PR for coordinating the interview.
Special thanks to Jack Rosenkrantz for his transcription of this interview. I am extremely grateful to Jack and his support of the site.
Don't know who Terry Bozzio is? Check out his website!
Be sure to check out our interviews with other Zappa alumni: Steve Vai, Mike Keneally, and Morgan Agren.
Interview video
Here's a video containing the audio and pull quotes from this interview:
Interview Audio (Podcast)
(NOTE: hitting the "play" button requires a hefty download of the entire audio file!).
Or, download an mp3 .
Interview Transcript
Anthony: Hi, this is Anthony for MakeWeirdMusic.com and on the phone we have Terry Bozzio, the incredibly innovative musician, composer and drummer. Terry thank you very much for joining us, I appreciate that.
Terry: Thanks, I'm glad blushing doesn't show up on the audio recording.
A: So I have been following you for some time and I just saw you out with your solo drum tour at the Musical Instrument Museum in Phoenix for the second time, and it was just such an incredible show. Thank you so much for doing what you do and I really appreciate you bringing music and art to the stage.
T: Thank you, it is really my pleasure and I can't say enough about that facility. It's one of my favorite places in the world to go and check out and also to be able to play there in such a beautiful theater… So I was talking about how a theater is a church of music. I love the fact that my audience is above and can look down and see me and also be comfortable and in such beautiful surroundings to be able to give themselves to whatever comes out of me in the moment on that night.
A: So one thing that I picked up on is a real sense of inner peace and focus. I see a lot of musicians perform and I don't see them so attuned to what they're doing and focused in the moment. It seems like a lot of what you do, particularly with ostinato work, is a meditative practice. Can you talk about your approach to stress and anxiety while performing as a musician and some of your meditative practices on the instrument?
T: Well yeah, I think that's a good description, and I should say before we start that that's the only place in my life where I have that kind of peace. [Laughter] You have a strength in one area and gaping deficits in other areas of your life. But I do my best to try and take that kind of zen attitude of just being who I am. I can't be better than I am in the moment and be in the moment.
We can get into that I guess to begin. With the ostinato, it's like a meditation, it's like a mantra, and so what happens–I believe, I'm not a practitioner or PM specifically–but I believe there is this entrainment phenomena that happens that puts you in this altered state and the mind kind of abhors a vacuum so it kicks you into this imaginative sort of thinking and space.
And on top of that is where insight and these kind of things things come, so in holding an ostinato it sort of kicks you into this creative space and then because it's a repeated thing, the contrast against that and that sort of intuition that comes from that is the creative part and that would be the melodic aspects and the improvisation that happen over it.
And as far as I've read and understood, which is not much, Jung talked about man's fivefold psyche. Psyche means soul . Your soul is made up of your intellect and your emotions and your physical body and your intuition. And then he talks about the fifth element being the divine, or you know, that that's outside of us that holds this whole thing together. The energy in between the matter that makes us who we are and things as they are so when you think about these psychological types and aspects, all four of them–well plus the divine, you have to accept that part because that's reality, but all four of those aspects have to be somewhat in balance.
You have to be physically able to perform. You have to be intellectually aware and keyed into what's happening with an idea that just kind of comes out of subconscious and you play it. You can't just go, "Wow that was great!" You've got to be paying attention in order to repeat it and develop it and do something with it that makes sense. And then emotionally you have to play with feeling but you can't get too emotional and overactive in that area. And then you have to play with this openness and an intuitiveness that allows for something to come through that isn't what you necessarily planned and kind of go with that. So to the best of my ability that's that's how I describe the feeling of playing and being on stage.
I've seen a lot of drummers play who are good examples of each one of those aspects but maybe out of balance. There's a physical animal who's just faster, stronger than anybody but once you've seen five minutes of fast and strong that's all there is. And there's emotional guys who are capable of playing with great feeling, but God forbid if they get in a fight with their girlfriend before they go on stage and then they can't play. And there's the intellectual who can read fly specs but if you estimate the feeling he can't do that.
And then there's the intuitive who might play something amazing one time, but not know where it came from not know what it was and not know how to repeat or develop it, and then be a very sort of inconsistent player where one night he's touched by God and the next night he can't play to save his life. So all of these things I have felt within myself and have tried to balance. That's kind of the angle of what you do. And on a very practical and humble note, you just try and show up and do the best you can and let it go and live to play another day.
A: I imagine this is a thought process and the personal development that's taken decades of effort. Have you always felt this way about performing on the drums or is this a recent evolution in your life?
T: I would say it's from reflection and you don't read Jung unless you're in some kind of psychological pain, and I think is the touchstone of all growth. We don't do anything until it becomes painful for us and we have to change. Our instincts are that strong and we don't come out of the womb with this kind of a fully developed or growth oriented result. It just happens in life when you're young you play a certain way; you have certain motives.
Like for me I wasn't good-looking, I wasn't good in sports, I wasn't that smart, I wasn't popular, but when I played the drums in eighth grade at a graduation party some band was playing and I got to sit in. The whole class of 50 people stood around me with their mouths open and applauded. When you get that sort of feedback I'm sure it's like selfish and egotistical and you go, "Okay, well maybe this is where I can now share something with somebody else.""
These realizations don't come until many many years later. First you have to practice and learn and go through the pain of that. It's not always fun to just focus, especially for a guy like me with ADD, to just focus on these practice regimes that you have to learn and memorize. I suppose if your motives are "nobody will like me" or are fear-based like "I'll never get a job," "I will never be a drummer" if I don't do this…
Motives are okay and they are what they are and they're all okay if you are aware of them and know that everything is a growing experience. So you just follow whatever happens and I've been very lucky in my life to have had certain experiences that have made me curious or afraid of what not having what a dream or goal is, so I just sort of chip away at it. When we are young you play to impress people play maybe to impress a girl or to feel good about yourself or be rich and famous get material things, but after a while–and having had a little bit of success I found that was like a shipwreck and you will end up beached somewhere and nobody can prepare you for how you'll handle any kind of fame–so now I try to live a private life and just live like a poor person–not bottom level poor but just a normal sort of frugal kind of life–Sorry I just had another thing, you still there?
A: Yeah.
T: Okay, yes, so, live like a poor person and have a rich inner life. One of the great artists and a teacher mentor of mine, Efrain Toro , who is a brilliant percussionist and multitalented musician and educator–he is many many things. He always says, "After food clothing and shelter, what's the next thing?" And then he says, "People are curious." And that's what I found: you can have this rich inner life if you find something you love. It doesn't become a painful thing to work towards it. I try and look at it like setting up my kit: it's just an OCD nightmare like a checklist on 747. But that's my instrument and I developed it to this point and every little nut and bolt's got to be at the right place because if I'm playing and I want to do something and something's not right, I mess up.
I focus on that and you're bending and stretching and warming up as you as you go and then you are prepared to go out there and just be free. So a lot of the things didn't come to me until I had crises of my own to go through and start looking for other ways of behaving and ways of being other attitudes in order to live comfortably and accept life on life's terms.
A: And I'm assuming you're happier now than you used to be as a result of these kinds of constraints that you set on yourself to be more pure inwardly and happy?
T: I suppose. I don't know. Happiness, define happiness. Abraham Lincoln says most people are as happy as they make up their minds to be. So I don't know if life is all happiness. There's things you can change and there's things you can't change and you have to know what the difference between those things are and you after a while you start to say, "Okay, it's not so important to be rich and famous and probably the best thing I do is to play the drums so let's focus on playing the drums."
There's always been some impetus there. Some feedback, some payback I get from from doing this and be it peace of mind or sense of accomplishment or taking responsibility for yourself or the rewards of getting to perform, that are enough to enough to motivate me. And that's that's been a long process to get to that point for me and to cut out the extraneous stuff.
A: Can you can you talk about the connection between your art, the the painting art and the music and the physical drum set? I would imagine one thing influences another or one thing pushes another or takes away from another. How has art changed your drumming and your musical composition?
T: Well I think the element of space in my art is–I'm very influenced by Japanese calligraphy. I recently seven years ago married a beautiful Japanese woman Mayumi, my wife, and that was a great thing I'd been living part-time in Japan and just seeing the beauty of what would be the equivalent of 7-Eleven's or any other sort of communicative signs are are beautiful to me over there. I don't know what they mean but the shapes and the space is really great so there's something that I've always liked about that. My mom liked Japanese art too and I didn't know the difference until I had gone there in the 70s. So there's subtlety and space. It's this thing they call it ma , which is sense of space and that's always been there in my art, in the good art.
When I first started doing this, I took art classes in high school but was never really good at it and I was okay at pottery and not very good jewelry, but that was all the techniques of perspective. It was more of a science and I could never relate to that. What I related to was just this natural space and how nothing in nature is straight, it's all curvy and modeled. You look at rocks in the desert or trees and mountains and the ocean–it's just constantly changing. So that kind of thing has influenced me.
I started seriously drawing–or pursuing it because I was curious and enjoyed it–when I met Captain Beefheart, Don van Vliet. He was a great fine artist and he encouraged me. The things he would say, like, "This is really free." "I like this here." But other things I'd show him that were more linear or had shading, he didn't really respond the same way, even though pretty much everything I do is abstract. So I started to get a feeling for this looseness, something that doesn't need to be, it just is. Like it is in nature. So I followed that and somehow developed my own style, which leaves this space and uses normally only one or two colors and some black and leaves the white space.
As I did this more and more and collected works that I've done over the years, I would look at my paintings and say, "I wish I could make music like that." And of course, when it's the beginning of the 80s and the new wave and the punk stuff is happening, that's the opposite of space. It's like density and rebellion and all that kind of stuff. So I think I have developed more of that sense of space. Another influence that way was some Miles Davis and Weather Report in the 70s. That music to me is still some of the best that was ever made. They had such a broad spectrum of influences that they brought into jazz that jazz was no longer "ding ding-ading ding-ading." It was like film music.
It had a mood to it, it had ambience and everybody's playing at the same time, nobody's soloing but everybody is soloing and leaving space. Just these concepts I finally was able to develop myself and in my compositions and so I think it did influence me that way.
A: You have a very hands-on approach to building your sets, your drum set, your equipment.
T: Yeah that's something that started from the very beginning too. When I wanted to be a drummer–I can remember back in the 50s black and white TV, I can remember the Little Ricky on the I Love Lucy show and Cubby O'Brien on the Mickey Mouse show were the first children I saw played the drums. That's when I knew I wanted to play the drums.
My father had a great music collection and was an accordion player tremendous talent. He could silence the room. He was a child prodigy so when he played people begged him to play, he'd say, "No I don't got it I anymore, haven't been practicing," and something like this. But then he finally played, and the power he had to draw everybody inside and make people cry when he played was a power that I was just envious of as a 4 to 6-year-old kid. I just wanted that.
So when I knew I wanted to play drums, he had a Tito Puente album and my mother and him had just bought some Heywood-Wakefield nesting tables, which were solid birch and three different sizes, so three different tones of wood the and they sounded like bongos to a kid. So I was playing on these three tables and telling my uncle, "Hey did you see my set of bongos?" I just pulled out these nesting tables and played the Tito Puente album.
So from there when I was ten, I got a set of bongos and the first thing I did was take them apart. I put the block that connects them on the floor and then angled one of the drums down shell tom and that was my tomtom. Then I took the small one and I put a piece of loose leaf paper over it with a rubber band and that sounded like a snare drum. I had a crumpled-up high-voltage sign from a telephone pole that I tied to a string to the inner screws that held it together so it wouldn't break away when and I played with broken arrows from my archery set.
There was another thing I remember. We had a small like toy pool table that was about one, or I dunno 1' x 2' or something like that and I put–one of the innovations in the late 50s when MJB coffee came out with a coffee canister. It was a tin can that had a plastic top on it and when it was empty it sounded like tuned drums, so you'd get the different sizes of these coffee canisters and I put them on the pool table so they wouldn't slip off and I would take the base off my globe, which looked like a cymbal, and put it in a wine bottle with another arrow from from my archery set suspended, and that was my drum set.
I would play along with The Beach Boys and surf drum music, The Ventures Sandy Nelson , all that. The Surfaris of course. So that was my way of getting into this kind of build-your-own sort of method.
And when I got my first drum set, one of the first first things I did maybe a year or two later, was–my brother was taking a metal shop class, I showed him the tom hole that had an an L-arm, which had a knurled quarter inch rod and said, "Can you make me this U-shaped arm that would fit on this bracket here so I can put another tom tom on there?" And so I've just been building and expanding ever since and I guess it's just a natural thing for me.
A: Has your work–
T: I love architecture–
A: Oh cool.
T: Sorry, I love architecture and design, Mies van der Rohe , Breuer , and Le Corbusier and that was sort of their cold war steel furniture, with the black leather straps and stuff, was sort of the inspiration behind my my drum set in the second tour of Missing Persons where I got three patents where I invented this electronic drum kit that was just a wand, that came up from the floor in front of me and had 32 sound sources in it. And there were another couple of lines, one of them was short of short and angular and the other was long and high and curvilinear and it supported the cymbal bars up above my head. So I made this sort of Bauhaus abstract black sculpture and played that. So there's always just been this thing with that. I always say I spend more time under the hood of my drum set than I do driving it.
A: One thing I love about your drum set is it looks like a piece of art itself.
T: Yeah, and there's always been an art and beauty to drum sets. I was a jazz musician from my late teens or early 20s when I studied classical music and you go to the club and just sit there and you just look at the kit and wonder how that guy played and why he set up this way and that way and things like that. And so I think that my drum set became more sculptural the larger it got and when I went to a rack system with the tubes, I realized how much space the tripods took up on the floor that impaired you having more things to play with your feet. So that was one of the first things I realized, was I could add more bass drums, and different pitches and different sounds, different percussion instruments and I'm always fooling around like that.
The other thing I noticed was: why am I putting these beautiful round drums in this cage with straight tubes? So I got some curved tubes from DW and started to make more of a sculptural aspect. Once again the form follows function, it's gotta wrap around the drums in a way where I could reach everything and it makes sense and then the backend is always abstract. I don't like even, symmetrical things. I like things that are asymmetrical. I have a big gong high on the left so the rack goes up high and swoops down and was a little more horizontal for a rack of tuned gongs of which there's 12 I think.
A: And has your interest in art and architecture and your personal development influenced the kinds of sounds that you want to get out of the instruments you design? I know a lot of the the components of your drum set wouldn't have existed were it not for you and your design and I'm wondering about your inspiration for sounds and, and how that's evolved over time given your personal hobbies and passion for architecture and art.
T: Yeah I think there is a correlation between all three disciplines. Stravinsky talks a great deal about him being an architectonic composer. I've read all his books. He's this fascinating guy and an amazing teacher because he's a giant in 20th-century music and you put these guys on a pedestal and he is capable of really some funny things he would say and also a really intense intellect and curiosity.
But, he at one point was asked "How you do you compose?" and he said, "I compare it to the the act of a pig foraging for truffles. You stick your nose in the dirt until you smell something that smells good," and you can imagine him sitting–he would play on a slightly out of tune piano that was muffled with felt on the strings because in those days he didn't want anybody to hear what he was working on or steal his ideas, so he worked very privately.
You just imagine him hunched over the piano playing a chord and then changing the fingerings and then having that "ah hah! these are the notes I want to work with." And then you take those notes and take them apart sideways and upside down and backwards and what have you, and you make a piece like The Rite of Spring out of it.
Which boils down to basically a couple of–he mainly used octatonics , a diminished scale that goes whole step half step and it's a very geometric scale. So all things apply to these as well.
I look at composing like a crossword puzzle. You have a horizontal line which is the timeline and then you have a vertical aspect which is higher and lower in pitch and then you have this vertical aspect where events are stacked on top of each other at points all along the timeline and that's your harmony. And then there's orchestration, which is what sounds–you play a rhythm on a little bell and has a different effect than playing the same identical rhythm and musical idea on a huge bass drum. So if you then get into combining sounds or choosing what sounds you want, you can have a lot of contrast.
And I think music is all about contrast between melody and harmony and dynamics in high pitch and low pitch and fast and slow and this combination of sounds, that combination of sounds, fast, slow, busy, sparse. All those kinds of things are the ingredients that you just mess around with. And if you can boil all that stuff–I would spend a lot of time, especially in the 80s and 90s, when I would be doing drum clinics or touring, there is nothing to do on a plane, we didn't have the internet yet, I would read the Harvard Brief Dictionary of Music and look up something like "ostinato" and it would say see also blah-blah-blah and you'd go and follow that and then you identify these concepts it gets easy to sort of identify a kind of a list of concepts.
It's about a paragraph of information of all music conceptually. And then you can take and use and encompass those concepts in your improvising and playing and in your musical expression. I think that's my technique in a nutshell. Whenever I find a new idea I work out all the permutations of that idea and kind of encompass its concept and then we just put together the the little letters of that alphabet you found to make small words then the words into the sentence and then tell a story with music.
A: That is a great lead-in to your box set. I've listened to three CDs of the four and some beautiful, beautiful music. I didn't get liner notes with my copy of it–Billy sent it to me and (Terry: ah great) I'm assuming it was all performed on your drum kit. Is that true?
T: No, no, no I sampled my drums and I composed everything the way I would play it on the drums. There may be a few things in there I can't do like if you put certain little hi-hat rhythms or something together, I may not be able to physically have been able to coordinate that, if certain things that were happening at the same time. But for the most part it was how I would ideally want to play the drums to each thing or having played some things live just program in the beat that you played and then program your ideal fill at that point.
That's why it's called Composer Series , it's not performer series. People see me play all the time and there's enough recorded history there where they can see my style at different times, but they don't know that quiet side of me. That's something that you get to at this point in your life where you know you want to compose, you want to be more than what you are.
So I think it was around 40 I started to compose my chamber works stuff, based on some of my ostinatos that I was playing at the time. I just found it's just this process of this crossword puzzle and you just keep keep chipping away at it. I enjoy the process and I enjoy the results of getting to program it in the MIDI and play the drums along with it and make a CD out of that and then getting to play it with the string quartet and woodwind quintet and piano with Alex Machacek and Gerald Preinfalk, and then getting to play it with a 60-piece orchestra with the Metropole Orkest in Holland. Once you get the bug, you just have to do it, so you just do it and it's fun and it's very rewarding.
The key thing is to not judge. When I was talking to a therapist, this woman was wonderful, I was always afraid of my how I was gonna make a living. And she goes, "Well how did you get the gig with Zappa?" Well the phone rang. "And how'd you get the gig with Jeff Beck ?" And I said the phone rang. She goes, "Don't change your phone number." So I haven't.
The other thing she says is, "You have to look at the works as a MacGuffin ." and I said, "What's a McGuffin?" and she said, "It's something you do like fooling around in the garage building a birdhouse or whatever it's just an experiment that's only for yourself and then nobody's gonna know." And so once you have that sort of thing, it's like, "This is who I am."
You just put a few notes on and you're all well that's cool and maybe you don't do anything with it, but then you discover it a year later and go, "Wow, I can do something more with this now," because you're a different person than you were a year ago and don't have the same mindset or maybe the same blockages that you had at the time you stopped. So you just continue on with your new tools and your new attitude, you can complete things that you sort of dismissed. It's like, "Ah well, I liked this at first but I never followed through with it."
So this is that part of me, this is my private stuff, all my MacGuffins. I did this for myself and it's another thing that we talked about earlier just the subconscious act of and the automatic act of automatic writing or automatic composing or automatic improvising without knowing what it is that you're going to do. It takes preparation to have techniques to that but on the other hand, I did most of the composing of that whole box set kinda watching TV. Maybe watching David Letterman, let's say. You'd watch his monologue which was funny to me at the time and then you have some actress on or whatever that I wasn't interested in what she was saying so you reach over to the computer and start plugging in a few things during the commercials and whatnot and then you get involved and then you wake up the next morning and play it back and you go, "Wow this is good."
That makes you feel like you want to do more with it. It's that kind of a process of just following this unconscious thing. It's almost like it happens in spite of you and that's the real stuff, or at least what I think is the real stuff because no one makes music like that. Of course there's influences. I think the true goal of any artist is to look inside find what is unique and authentic and beautiful that pleases you, and then to bring that out and share that with other people, and whether they like that or not, history shows us every damn artist that was great was hated and then became great when someone could sell his work after and not have to pay him!! [Laughter]
And then this guy Slonimsky that I mentioned earlier has this great book called The [Lexicon] of Musical Invective, which is all the worst reviews of the greatest composers since the time of Mozart or Beethoven . Debussy sounding like cat calls at a zoo or a riot at a zoo, which is scathing. And because the quote at the beginning of the book says that: most of man's problems are based on his nonacceptance of the unfamiliar. And so that's the whole concept. Whatever is new, until we get used to it, may be something that a close minded person would dislike, and expectations kinda supplant disappointment, so if you have an expectation the music should be this, and it's not that, then most humans would be pissed off and non accepting of that.
I may not like all music, classical or critically acclaimed or new music as well, that's maybe musique concrete , or something that's hard to listen to or that I feel like I could improvise something more musical than that. But on the other hand you have to look a little deeper than maybe a mathematical formula and sound creation and synthesis of or something of merit there. There that was the artist's focus, not what I was expecting to hear.
A: Well then that I would say kudos to you because as I was listening to the box set I it took me a while and I thought it sounds like his drumming which is so musical in and of itself.
T: Well yeah, it's my samples man, my kit and the sounds are there and all that was sampled quite a while back in Austin, maybe 20 years old now. But it's my drums, tuned to the way I like it. When you play drums–my solo drumming really is built to be played solo because the drums, drums and percussion are not specific pitch instruments, although I tune to specific pitches so there are a lot of harmonics and overtones that can cloud the issue. So now with midi, I solve that problem and the fundamental pitches come out in any hall and so that helps.
But you take a little bit of a different approach when you're a composer. It's not about me as a player and what I want to play. It's about possibly composing an interesting drum part, or "how can the drum part enhance the music that's happening?" So it's a whole different mindset sitting on this side of the of the desk as opposed to being the performer who wants to do what he likes to do. So you have that kind of freedom and control and I think that it doesn't matter so much to me that my old drum set doesn't have a chromatic set of piccolo toms. I use eight and it works for–I make it work in band context where percussion can kind of get relegated to extraneous background noise
A: So yeah, speaking of which how has composition worked with other bands in terms of the drums being a compositional instrument instead of a percussive or background instrument?
T: Oh one of my feathers in my cap would be Alex Machacek's SIC' and when we were recording the Bozzio Preinfalk Machacek material, he said, "One of the things I want to do in this week or two is just let you go in and do a solo kind-of-like classical music. Do whatever you want and then I'm gonna compose on that so you go and do whatever you want." And of course I did and I don't remember anything I did. But he took that and composed the most amazing music, probably 15 minutes long, of just amazing stuff. So every fill and every little fast lick and space and everything is doubled and harmonized with guitar and bass and it's a really beautiful piece.
And we played the front part of it live, which was challenging because it is kind of like modern chamber music for a trio: guitar, bass and drums. That piece if you ever get a chance to look at that you can see how compositional my playing is even when I don't know what the end result is going to be. You know what I mean? And there's some composers who that's their concept.
He worked with a guy in Austria who is a brilliant composer and basically does this kind of thing and invites other musicians and he just puts them in a room and let's them play all by themselves. Or other artists who you use sound objects, or sing or do anything, noise makers, what have you. And then he'll make a piece out of what they did and it's a beautiful concept and it all sounds very interesting.
A: That's excellent. I don't want to take up more of your time I'm sure you have something at the top of the hour so I just want to say thank you again for your art and your music and what you do and it's really encouraging and beautiful to see you perform live on this tour, so keep it up. You're inspiring a lot of people out there.
T: Oh thank you very very much I truly appreciate being here, and it's my pleasure to be able to speak about things like this in that kind of depth, so it's good for me too. So thanks very much and I hope we will talk again soon.
A: Thank you very much Terry and again I really appreciate you taking the time to talk to me.
T: My pleasure, all the best.
A: Have a good one, bye.
T: You too, bye.


text:
Day 17: The wind that shakes the barley
Weather report: There was a 2 minute shower of rain this morning at about 10am after which the day got steadily better with prolonged sunny spells during the afternoon. This really brought out the magic of the place for everyone toiling on site and reminded us how lucky we are to be working in this idyllic location for a while.
I was reminded today of the short-lived series that ran some years ago as a BBC answer to Time Team where archaeology in extremely dangerous and inaccessible places was filmed for our entertainment. Harvesting of the barley in the field beside us started this afternoon and we had a grandstand view of some of the drive-bys of the combine. An impressive machine.
On site work continued apace. In Trench 4 Kieran and Myself carried out a number of the sampling jobs I explained in yesterday's post. The result of this was a trench resembling something from WWI because of the lumps we took out of the sides to fill various boxes, bags and buckets. All of the drawings of the trench had to be finished before this last step is carried out. All of this sample material will be carefully labeled and catalogued and put in storage until funding is available to carry out the post excavation analysis, which in the case of the soil samples will be carried out by trained specialists. Once this final job was completed, Kieran was able to start backfilling the trench.
In Trench 3 Matt, Darren, Jessica and Carol continued to take down the material from underneath the wall. This proved to be a bit thicker than expected because of the steepness of the slope underneath. At the eastern end of the trench, Matt took out the linear stone feature and beneath this another terrace face or revetment feature appeared. This will have to be planned and described before it is removed. Just when we were hoping that we would be close to natural and finishing up in the trench, another feature appears.
In Trench 1, Eimear, Kim, Niamh and Louise worked on the section face, which is now looking very good. This will be drawn again because it shows up more detail that was not appearing inn the section drawing done a couple of weeks ago when the ditch was first opened here. Louise continued to excavate the trench to the west of this to give a continuous excavated profile all along the southern end of the trench and she also discovered a new feature. It is a pit which we had originally thought was a shallow gully.
One set of geophysics suggested that this was a very shallow feature and when we dug the northern side of the trench we found that the feature was indeed shallow, barely 10cm deep. However, another set of geophysics was suggesting that there was some depth to the feature and this is exactly what Louise found just 50cm to the south. It just goes to show how much can be found (and not found) because of the positioning of the trenches in archaeological dig. A few centimetres in one direction or another can mean discovery or not of features. A lot is really down to luck.
The race will continue tomorrow when we'll start to draw up the final records of the site.


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纤细葶苈 xian xi ting li
Draba granitica Handel-Mazzetti; D. wardii W. W. Smith.
Herbs perennial, 5-55 cm tall, slender. Caudex with several slender branches terminated in rosettes. Stems decumbent, simple, very slender, somewhat flexuous, basally sparsely pubescent with short-stalked, 3- or 4-rayed, stellate trichomes, rarely densely pilose with primarily simple trichomes, apically glabrous. Basal leaves rosulate, persistent; petiolelike base to 7 mm; leaf blade broadly obovate, spatulate, to oblanceolate, 0.5-2 cm × 1.5-7(-10) mm, abaxially sparsely pubescent with short-stalked, 4-rayed stellate trichomes rarely mixed with more, simple and forked ones, abaxially pilose with simple trichomes replaced with forked or stellate ones at leaf apex, rarely blade glabrous except for margin, base cuneate to attenuate, margin denticulate or subentire, often ciliate, apex subacute or obtuse. Cauline leaves 2-6, sessile, ovate, 2-7 × 1-3 mm, pubescent as basal leaves, base obtuse, not auriculate, margin entire or denticulate, apex acute. Racemes 3-10(-12)-flowered, ebracteate or lowermost flowers bracteate, lax, elongated considerably in fruit. Fruiting pedicels 0.4-4 cm, filiform, glabrous, lowermost longest and strongly recurved, uppermost straight and ascending. Sepals oblong, 1.5-2 × 0.6-1.5 mm, erect, glabrous or rarely with a few trichomes, not saccate, margin narrowly membranous. Petals pale yellow or yellowish white, narrowly obovate to oblanceolate, 2.5-3.5 × 0.8-1.5 mm, apex obtuse or subemarginate; claw absent. Filaments 1.2-2 mm; anthers ovate, 0.2-0.4 mm. Ovules 10-20 per ovary. Fruit narrowly oblong, linear, or linear-lanceolate, (0.5-)0.7-1.3(-1.8) cm × 1-2 mm, pendulous, latiseptate, not twisted; valves glabrous, not veined; style 0.2-0.5 mm. Seeds brown, ovate, 0.9-1.1 × 0.5-0.7 mm, subcompressed, wingless. Fl. and fr. May-Aug.
Mountain slopes, grassy areas, ravines, stony slopes, scree, alpine grasslands; 3200-5000 m. Xizang, Yunnan [Bhutan, NW India, Nepal, Sikkim].
The type collection of Draba granitica, Handel-Mazzetti 9497 (holotype, WU; isotype, W), is indistinguishable from that of D. gracillima, J. D. Hooker s.n. (holotype, K; isotypes, E, K, NY, P, W), in every aspect except flower color. The former species was said to have white instead of yellowish white or pale yellow flowers, but the present authors believe that this distinction is artificial, and the two taxa are united here.
Draba wardii, which is known only from the type gathering, Kingdon Ward 849 (holotype, E), collected from Xizang, was not listed in FRPS or Fl. Xizang. (vol. 2. 1985). It is no more than a young plant of D. gracillima with simple trichomes more abundant that stellate ones.
Treatments in Other Floras @ www.efloras.org
Annotated Checklist of the Flowering Plants of NepalChinese Plant NamesFlora of Pakistan
Other Databases
Other Databases


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Atlas of the 2008 Elections
|Teknisk DRM
|Rowman & Littlefield Publisher
|Elections & referenda; Reference works; USA; c 2000 to c 2010
|Se flere detaljer
Om Atlas of the 2008 Elections
The U.S. presidential election of 2008 was one of the most significant elections in recent American history. Bringing together leading geographers and political scientists, this authoritative atlas analyzes and maps the campaigns, primaries, general election, and key state referenda to provide a rich picture of this watershed event.The contributors offer a comprehensive and detailed assessment of all aspects of the election, providing presidential results at the national level, in major regions, and in swing states. Drilling down to county level, they trace voting patterns for key racial, ethnic, religious, and occupational groups. They also illustrate the campaign strategies of Democratic and Republican party leaders. Moving beyond the national race, the atlas compares important senatorial and gubernatorial races to presidential votes and considers selected state referenda such as marriage amendments, farm animal cruelty, stem cell research, and physician-assisted suicide. For added context and depth, the 2008 election results are compared with previous national elections.Illustrated with more than 200 meticulously drawn full-color maps, the atlas will be an essential reference and a fascinating resource for pundits, voters, campaign staffs, and political junkies alike. Contributions by: John Agnew, J. Clark Archer, William Berentsen, Stanley D. Brunn, Thomas E. Chapman, Jeffrey R. Crump, Carl T. Dahlman, David Darmofal, Lisa M. DeChano-Cook, Mark Drayse, Joshua J. Dyck, Ryan D. Enos, Daniel Ervin, John W. Frazier, Megan A. Gall, Andrew Gelman, James G. Gimpel, Alex Ginsburg, Sean P. Gorman, Mark Graham, Nathaniel HadleyDike, John Heppen, Heather Hollen, Taylor Johnson, Kimberly Karnes, Larry Knopp, Matt Landers, Stephen J. Lavin, Jonathan I. Leib, Kenneth C. Martis, John McNulty, Joshua R. Meddaugh, Melissa R. Michelson, Mark A. Moody, Toby Moore, Richard L. Morrill, J. Eric Oliver, Kathleen OReilly, Nick Quinton, Mark E. Reisinger, Wesley J. Reisser, Tony Robinson, Fred M. Shelley, Taylor Shelton, Jonathan Taylor, Andrew J. Turner, Tom Vanderhorst, Barney Warf, Robert Watrel, Gerald R. Webster, and Matthew Zook.


text:
Thank you for visiting us to see who makes up our cast of editors and contributors at ANPT! The team is made up of skillful, knowledgeable, personable ladies with a strong passion for what they do. They are experts in their respective categories of needlework, who also enjoy other forms of needlework. They bring to ANPT magazine the most inspiring works from across Canada in every fabulous issue! John, the gentleman of the team, pushes the enterprise forward with his excellent business skills and makes each issue look its very best! – Carla
As a child, Carla was always fascinated with her mom's sewing and was close by every time the sewing machine was on. Her mother had a passion for sewing from a young age and because of her, Carla developed an appreciation for sewing with beautiful fabrics. Carla was also intrigued by her grandmother, who could whip up any kind of garment that fit like a charm! But being busy with school, learning classical piano and swimming, she hardly had any time to get involved in needlework. She was born of Italian parents in Montevideo, Uruguay, and they immigrated to Montreal when she was 3 years old. Her father was a barber on weekdays and a passionate musician on weekends. By the time she started grade 2, she could speak Italian, Spanish, French and English, which later inspired her to get her Bachelor of Arts in Modern Languages at McGill University. She married John De Fusco after graduating and worked for RBC and SunLife, where she learned the art of good customer service. They moved to Newmarket, Ontario in 1990 where she was introduced to cross stitch on the GO train to fill the 45-minute ride to work and another 45-minute ride back home. On the train is where she accomplished a lot of stitching. Once she started A Needle Pulling Thread magazine, she discovered other forms of needlework and delved into rug hooking. Most recently she picked up knitting. Carla believes that anyone can achieve their goals if they set their minds and determination to it. A Needle Pulling Thread is a magazine that reflects this with every fibre artist she brings together in every inspiring issue. The magazine also reflects that…well…life is just better with needlework!
Carla A. Canonico
John has followed a circuitous path to the magazine publishing business, through engineering and business schools, careers in the financial, IT, and telecom industries, and a relocation from Montreal, Quebec, to Newmarket, Ontario. John was in between jobs in 2005 when he made the decision to join Carla in her fledgling enterprise. It was certainly a leap of faith out of the comfort zone, outside of the box. Everything was going the way it was supposed to go, and they decided to turn it upside down. Yet they wouldn't want it any other way. It is a coming home of sorts for John. His parents immigrated to Canada from Italy and found work in the thriving "schmatta" business in Montreal. John remembers vividly the dinner table talk about the shop, the piecework, the foreman, and the union. Though John doesn't partake in any needlework, he still feels a very close connection. John draws inspiration from the classic films of the 30's through 50's, and from the fact that many of the readers of A Needle Pulling Thread grew up in the 60's, in the era of the Beatles and Stones and Woodstock…of Vietnam and landing on the Moon. John is also inspired by his life-long passion for music and photography. But most importantly, John is inspired by Carla's vision of a better world, and her passion for and faith in the needle arts. John works with Carla on the photography and layout for A Needle Pulling Thread, and looks after the day-to-day business administration. John also administers the web site as well as "The Needlework Pages" (www.theneedleworkpages.com), the online directory for everything needlework.
Meet the ANPT Team.
Nellie Holmes
Quilting Editor
Email | Website
Nellie Holmes is a quiltmaker, pattern designer, editor, teacher, and author. She works fulltime in her studio in Elizabethtown, Ontario. She is also the Quilting Editor for A Needle Pulling Thread magazine.
She graduated from St. Lawrence College with a Diploma in Craft and Design and a Certificate in Fibre Arts – Quilting. Nellie has been quilting for 20 years and has lectured and taught workshops on quilting throughout
Canada and the USA. She is a member of The Canadian Quilters Association, The Thousand Island Quilters Guild, The American Quilters Society, and Thousand Islands Artists.
Nellie started her pattern company, originellie's in 1998. In 2004 Nellie and Christine Baker formed Upper Canada Quiltworks Publishing Co. They have published two books, "Rag Bags" and "Rag-a-Muffins", as well as many patterns.
They also design patterns for numerous quilt magazines and fabric companies. They attend the International Quilt Market as exhibitors.
Rosalie I. Tennison
Copy Editor
Rosalie I. Tennison is first and foremost an agricultural journalist who has edited newspapers and magazines, covered a variety of disciplines for radio and has, for over 15 years, worked as a freelance writer for agricultural and general interest publications. It is her connection to the quilt world that introduced her to A Needle Pulling Thread, and she has been supporting the publication in various capacities since its inception.
Rosalie comes from a long line of quilters. When she sought to get her family's quilts appraised, she learned there were very few appraisers who specialize in quilted textiles in Canada and that started her on her journey to learn the skill of appraising quilts. In 2005, Rosalie received her quilt appraiser's certification from American Quilters' Society and became one of only five AQS certified appraisers in Canada. In 2007, she completed a distance education course with the International Society of Appraisers becoming an accredited member of that organization. In an effort to encourage quilters to honour their work and record the provenance of their quilts for future generations, she developed a product called Quilt Record that is a practical, simple way to keep information on individual quilts in a common three-ring binder. Rosalie is kept busy writing and appraising quilts; and, when time permits, she makes quilts and dabbles in other crafts.
Brenda Franklin
Beading Editor
Email | Website
Brenda lives in the centre of Southern Ontario. She describes it as the middle of nowhere but central to everything. At an early age, she decided she would be an artist and pursued that vocation. Portrait work was her main focus and animal expression her dominant subject. This led to requests for needlework designs, a website, distributors, dealers and more than 500 patterns selling worldwide. Along the way, Brenda found
beads and figured out that they were an ideal medium for expressing oneself in so many different ways. She was designing jewellery as a teenager and never stopped. Brenda often says that if she was ever stuck on a deserted island, she would definitely want to have beads along with her because you can string them, weave with them, knit with them, stitch them, paint or sculpt with beads and trim with them. Okay, you can't eat them but with beads keeping you busy, who needs to eat?
This multi-media artist has published several books and articles in diverse publications. Brenda has taught and lectured on many different topics for numerous guilds and groups. She feels that passing on knowledge is the best way to keep needle arts alive. Brenda doesn't know where future passions will take her, but knows that art and design will always be the main focus of her work.
Home life in rural Ontario is ideal and quiet. Brenda's family consists of her husband Glenn, her teenage daughter, Arianna and the family pet, a Shiba Inu named Kodi. When Brenda is not involved in her arts, she is working on finishing the house they are building or playing with her classic car.
Luigina Baratto
Assistant Editor
Ever since her time in 'home ec' classes, Luigina has been knitting, sewing, embroidering, beading, painting on fabric, doing pottery and writing. She has kept all those interests alive and at any given time you can find her with several projects on the go, most of which are for gifts or for charity. Her curiosity in the crafts is both in traditional work such as lace making or more contemporary fibre art.
A decade or so ago, to make TV watching more interesting, she picked up beading, simple necklaces at first and then more intricate wire work, which led to cooperative work with her sculptor cousin and to wearable art – necklaces consisting of unique sculpted clay centrepieces married with semiprecious stones, recycled glass beads and fresh water pearls. These are now sold in Italy and Ottawa.
Quilting has been a recent interest, and after a few attempts at traditional quilt patterns to grasp the techniques involved in this art form, she is pursuing more free form quilting and abstract fabric tableaux.
Having recently retired from a career as a public servant, she can now dedicate much more of her time to exploring fibre art. Her latest passion is recycling fine fabrics and everyday objects, such as champagne bottle caps, into clothes and accessories.
Cynthia MacDougall
Knitting Contributor
Email | Website | Blog
Cynthia MacDougall has been knitting steadily for over 30 years. Her primary knitting interest is lace, but she enjoys all forms of knitting. She also knows how to spin, crochet, sew, quilt, cross-stitch, embroider, weave, and tat. In the mid-1990s, Cynthia wrote articles for the Ontario Handweavers and Spinners about spinning yarns for lace and shawls. During that time she wrote a regular column for another Canadian fibre
Joanne Gatenby
Cross Stitch Contributor
Email | Website
Joanne Gatenby of X's & Oh's has been designing cross stitch charts based on her original pencil sketches for over twenty years. Over the past few years, this happily married mother of two University students has also been pleased to add the artwork of several artists to her varied selection of designs, creating delightful cross stitch works to please both their fans, and Joanne's own faithful followers.
Her multiple monthly releases include such themes as bewitching fantasy, whimsical Christmas, elegant wedding, touching scenes of days gone by and adorable children. There is something to please everyone from this talented cross stitch designer.
Joanne as been a regular contributor for A Needle Pulling Thread since Spring 2008, and her designs can also been seen in the The Cross Stitcher, Embroidery Canada and Stoney Creek Cross Stitch magazines.
In the past two years, Joanne has been publishing designs of seven fellow cross stitching designers under X's & Oh's, adding even more fascinating designs to her already extensive collection
Judith Marquis
Creative Advisor
Email | Website
Judith Marquis is a designer and teacher of smocking, heirloom sewing, silk ribbon embroidery and other hand and machine techniques. As a Ryerson Fashion grad she has worked in many facets of the fashion world from wholesale sales, to retail management, to manufacturing. She is a long time member and approved teacher for the Smocking Arts Guild of America. She teaches in select shops in Canada as
well as from home in Newmarket, Ontario where she houses 'The Wardrobe', a mini store stocked with smocking and heirloom supplies.
Over the past 20 years her designs have been seen in the pages of Canadian Living, Crafts Plus, Chatelaine and A Needle Pulling Thread magazines. Her articles have been featured in SAGA News, Creative Needle and Sew Beautiful. Judith has authored two books, Interlace in Lace and Monograms & Flowers and has her own line of patterns under the name Amberlane & Amberpetites. She is the designer and V.P. at Grace L. Knott Smocking, updating a number of their patterns over the years.
Judith also embroiders, knits, crotches, tats, cross stitches, cooks, attempts to garden and loves to paint but there just are not enough hours in the day for all these since she took up teaching and designing full time!
Karen McCleary
Show Representative
Email | Website
Karen enjoys a well rounded approach to the needle arts. Having learned to knit with her grandmother at an early age, she is rarely seen empty handed. As the years progressed and new options opened, Karen tried many of them: macramé, needlepoint, embroidery, latch rug hooking, ceramics, flower arranging, origami, beading to name a few, but she always came back to knitting and quilting. There is something about the warm
coziness of a quilt or a knitted garment that just makes her heart sing!
The teaching aspect came about purely by chance. Karen took some quilting classes, showed off some of her quilts and was asked 'how do you do that'. In explaining it, Karen found that she loved teaching even more than she loved making the projects and from there her teaching career was born.
Karen has had the pleasure of teaching at shops, guilds and retreats. She has shown her quilts both locally and internationally and won the 'Best from outside the USA' at the Vermont Quilt Festival in 2006.
While attending the Creativ Festival® one fall, Karen met Carla and John and proposed a beading article for A Needle Pulling Thread. The rest as they say is history; the article was written and published in the Fall 2007 issue. Since then Karen has had the honour of joining Carla and John in their Creativ Festival® booth spreading the word about this great magazine.
Derek Goode
Graphic Web Designer
Email | Website
Derek provides us with designs and illustrations for A Needle Pulling Thread. He also helps with the layout for the magazine and maintains the company websites, along with other creative duties as well.
He has worked in the corporate and private sectors within the graphics industry developing over 10 years of diverse experience in the sign and print
environments, as well as working freelance for various projects on the side.
He graduated from Ontario College of Art & Design with an honours diploma in Fine arts, and is also a graduate of Humber College in their Graphic Design and Web Development programs.
Derek's draws from his influence of growing up in pop culture such as movies from all genres, comic books and television shows. He has been inspired by the works of the Group of Seven, Dali, the Great Masters of the early and late renaissance, 70's artists such as Frank Frazetta and Boris Vallejo, and learned a lot about painting watching William Alexander, and Bob Ross back in the day.
He enjoys spending time expressing his creative side with his new passion for web design & development, as well as sketching and painting with a tablet.
Chris Wokral
Quilting Contributor
Chris grew up in pastoral Port Perry, Ontario to Austrian and Dutch immigrants. His upbringing was a mixture of his father's eclectic industrial metal salvaging company and his mother's elaborate doll making and collecting business. Some of Chris' earliest memories exposed him to the arts and crafts that were so common within his extended family. Often, while visiting his in-laws, Chris was set to task with their various fabric art hobbies; in an attempt to keep his idle hands occupied and out of trouble. These included needlepoint, cross-stitch, knitting, crochet, weaving and tatting. Even at a young age he both, admired the works his family created and enjoyed learning their crafts.
Thank you for visiting our website, the online companion to the quarterly magazine, A Needle Pulling Thread. Every issue of A Needle Pulling Thread encompasses an interesting variety of needlework: quilting, fibre art, knitting, crochet, rug hooking, cross stitch, beading, creative sewing and many forms of embroidery! It explores, discovers and shares our passion and creativity for the needle arts while providing inspiring projects with full instructions. Quilting and knitting are predominant categories in every issue, where three to four projects and articles are featured. Special features, like 4-part projects, are frequent in the magazine.
The magazine highlights the designers who bring the projects to this stimulating collection of needle arts, showcased with exquisite photography. It offers educational, current and historical articles of any one facet of needlework, as well as articles about creativity to enhance your needlework experience wherever you might be on your creative journey.
ANPT is the only Canadian magazine about Canadian needle and fibre arts from coast to coast! Do not miss out on a single issue, as each is packed with projects and information which we hope will surpass your expectations in these challenging economic times.
Coupled with ANPT is our online directory,
the needlework pages. This complete resource for everything needlework lists over 4500 current entries to help you find shops and supplies across Canada and North America. Read shop reviews and ratings and event listings and get information and maps for every shop on your list!
Life is better with a daily dose of needlework! Sit a spell and explore more ways to be creative with your passion for the needle arts!


text: Lifestyle and Culture Top 10 holiday destinations for animal lovers From swimming with dolphins to spotting a wild tiger in its natural habitat – make this the year you tick that amazing animal experience off your bucket list From swimming with dolphins to spotting a wild tiger in its natural habitat, make this the year you tick that amazing animal experience off your bucket list 1 Whale watching in the Azores, Portugal They may be part of Europe, but the nine islands that make up the Azores, off the coast of Portugal, are still relatively undiscovered. Nature lovers will drink up the prehistoric landscape – think verdant extinct volcanoes and dark sand beaches – but the real draw here is the year-round whale-watching opportunities. "The Azores are a feeding ground for many cetaceans and you can see a variety of species, including blue, sperm and fin whales," says Dr Matthias Hammer of Biosphere Expeditions, which offers a volunteer whale and turtle conservation expedition to the area. Fly to Sao Miguel; for more information, visit visitazores.com 2 Hop with the rabbits on Japan's Okunoshima Island For a heart-melting Watership Down moment, take a trip to Japan's Okunoshima Island, found off the south-east coast, and home to hundreds of friendly bunnies. A short ferry ride from Tadanoumi on the mainland, Rabbit Island, as it is now known, has become a tourist attraction for those in search of the ultimate kawaii experience (the Japanese appreciation of all things cute). The destination is also worth a visit to see its pretty beaches and onsen – a traditional hot-spring resort. Fly to Hiroshima; for more information, visit japanvisitor.com 3 Discover Durrell's Corfu These days it may be better known for its lively bars and packed beaches, but the Greek island of Corfu was first made famous for its rich wildlife, rather than nightlife. Having played a starring role in Gerald Durrell's 1956 autobiography My Family and Other Animals, Corfu became a number one destination for those seeking the 'paradise' he described. Due to its sub-tropical climate, the island is still home to a wide range of mammals and birds, particularly in the mountainous interior. Among the wild orchids, you can spot snakes, tortoises and Dalmatian lizards (which have a bright blue throat). Visit in May for the Gerald Durrell Week, led by Dr Lee Durrell, the writer's widow, for close encounters of the animal kind. Fly to Corfu; for more information, visit durrell.org 4 Mixing with pigs in Devon… or the Bahamas For those wanting to get their hands dirty (literally), book into Smallicombe Farm in East Devon. The smallholding offers a pig-keeping course for holidaymakers staying in one of its newly renovated self-catering barns. You'll learn all there is to know about breeding and rearing rare pigs, and enjoy the added bonus of having the Jurassic coast on your doorstep. For more information, visit farmstay.co.uk More adventurous swine aficionados, meanwhile, should take off for the Bahamas. Here you can famously swim with wild pigs on the uninhabited island of Big Major Cay, a boat-ride from The Exumas. Fly to Nassau; for more information, visit bahamas.com/swimmingpigs 5 Go on a (photographic) bear hunt in Finland One of the best places to see the elusive brown bear is in the north of Finland, close to the Russian border. The Martinselkonen Wildlife Centre, tucked away in dense woodland in the great Kainuu wilderness, is as remote as it gets. Visitors stay in wooden hides among the pine trees, which are ideally located for capturing bears and their cubs on camera. Fly to Kajaani; for more information, visit ganeandmarshall.com 6 Explore by horseback exploring in Costa Rica Recently opened in Costa Rica's Perez Zeledon district, renowned as one of the last areas to be untouched by tourism, is Hacienda Alta Gracia. By night, you'll stay in hillside casitas on a private estate. By day, you'll saddle up and learn about Costa Rica's cowboy culture, riding to wildlife refuges in the tropical rainforest. Also on offer are whale-watching tours from ultra-light planes, which take you just 10m above the ocean's surface. Fly to San Jose; for more information, visit altagracia.aubergeresorts.com 7 Peek at the puffins in Scotland The unusual, pensive-looking bird with its brightly coloured beak is everyone's favourite winged creature. Between May and August each year, the birds congregate on the Scottish islands of Orkney. Head to Castle O'Burrian on Westray, where you can sit on the cliffs and watch the birds fly around. The RSPB also has a reserve at Papa Westray, where you can get close views. Fly to Kirkwell; for more information, visit visitorkney.com 8 Camp close to the Big Five in Botswana Botswana's Okavango Delta is home to a range of Africa's most awe-inspiring animals – hippos hide in lagoons, elephants and buffalo roam around and giraffes stretch their necks among the grasslands, not to mention the 450 species of birds. For an experience you'll cherish forever, book one of the tented safari adventures, such as &Beyond's Nxabega Okavango Tented Camp. Day and night safaris, bush walks and canoe cruises mean you'll come face to face with some of the world's most precious beasts. Fly to Maun; for more information, visit andbeyond.com 9 Holiday with Croatian butterflies Lovers of the pretty, fluttering insects will adore Nature Trek's butterfly holiday. Run in conjunction with Butterfly Conservation, the eight-day trip takes in Croatia's Plitvice Lakes National Park, home to a range of rare butterflies, and the remote Velebit Mountains on the Dalamatian coast, which is a haven to some 130 species of butterfly. Expect to see rare 'blues' such as the Short-tailed and Chapman's Blue varieties. It's a lepidopterist's paradise. Fly to Zagreb; for more information, visit naturetrek.co.uk 10 Cruise the Galapagos Famous for their incredible bio-diversity and range of endemic creatures are the Galapagos Islands. The land, skies and waters are teaming with incredible species, famously studied by Charles Darwin. From the giant tortoises to the blue-footed booby, this archipelago, found either side of the Equator in the Pacific Ocean, is a treasure trove for animal lovers. The best way to see the area is by cruise boat, such as the MV Santa Cruz, which is led by naturalist guides. For more information, visit ganeandmarshall.com PACKING TIP: We love animals but there's no denying they can be on the stinky side. With this in mind, pack a bottle of Febreze Fabric Refresher so you can eliminate any bad odours from your clothes when you don't have access to a washing machine. What's your favourite destination for animal spotting? Let us know in the comments section below. You might also like:


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Hazel Gaynor's THE GIRL FROM THE SAVOY Reviewed
Hazel Gaynor
William Morrow
June 7th, 2016
THE GIRL FROM THE SAVOY by Hazel Gaynor is a fascinating historical novel that touches on intense and compelling themes where dreams really do come true. Readers will take the adventurous journey with the main characters as they struggle with love, hope, loss, and healing.
This rags to riches story has Dorothy "Dolly" Lane struggling to overcome the low-life career of being a chambermaid, someone invisible to the upper class, while striving to become a renowned star of the London stage. Many readers might be reminded of the musical My Fair Lady based on the play Pygmalion. The story line has Dorothy taken in by Loretta May, a famous actress who has a rebellious streak and lives as she likes. She hopes to teach Dorothy how to fit into upper society and become her protégé. But the story also has Loretta, the daughter of an Earl, falling in love and marrying a soldier, a commoner without a title.
Set shortly after the end of WWI, this novel is told by three narrators in the first person, with each perspective offering some of the historical past. Through Dolly readers can explore the class system and the rise of women's independence; Loretta and her brother Perry explore the Jazz Age; and Teddy Cooper, Dolly's fiancé, is a solider whose life is changed by the war as he suffers from shell shock. It is through Teddy that readers understand how WWI loomed large over everyone and everything.
All the characters are fascinating, including many interesting secondary ones that also influenced the story including the Savoy Hotel. Through the descriptions and events within the hotel it becomes clear that it takes on a personality of its own, almost speaking to the characters. For some it becomes a place of security, almost like returning to a long lost friend.
It appears that the hotel reacts to the issues the characters face including their sense of loss and how they are haunted by those memories. Teddy has amnesia and lost the life he once knew. Reflected in this quote by Dolly are her feelings, "My heart was broken, my dreams were shattered, my hopes were bruised. Without ever stepping onto a battlefield, I too was wounded… In many ways Teddy did not come back at all." Loretta lost her newlywed husband during the war, and Perry, the musical composer brother, lost his edge, preferring to be a follower than a leader, after being part of a firing squad that killed his best friend.
If THE GIRL FROM THE SAVOY is the first book read by Gaynor it will not be the last. She uses the backdrop of World War I to create a riveting and gripping plot with characters that will pull the reader immediately into the story. Not only will people learn about the history of the 1920s, but will feel they are along for the ride with the very well developed characters.
Elise Cooper


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By Annette M. Boyle
MINNEAPOLIS—When the high dose (HD) trivalent influenza vaccine gained approval in 2009, it appeared to solve a long-standing conundrum for older patients. Patients over the age of 65 face an increased risk of severe complications and death if they contract influenza, but they mount a less robust immune response to the standard dose (SD) vaccine.
In short, the people who need immunization the most derived the least value from it.
For the VA, the reduced effectiveness of the standard dose influenza vaccine in elderly patients is particularly problematic because of the higher average age and comorbidity burden of veterans who receive care in the healthcare system. Each year, influenza sends an estimated 10,674 veterans to emergency departments according to a recent study in PLOS One.1 About 2,500 veterans require hospitalization as a result of infection with the disease, and more than 5,500 deaths are attributed to influenza annually.
The HD vaccine delivered on its promise, but questions remained. "A previously performed large, clinical randomized trial of more than 31,000 persons showed that the HD influenza vaccine was more effective than the SD influenza vaccine in preventing influenza in adults greater than 65 years" of age, said Anjum Kaka, MBBS, of the Minneapolis VAMC.
Other high-quality studies have shown that the HD vaccine was 24% more effective in preventing influenza and also was more effective than the SD vaccine in reducing hospitalizations, emergency department visits and deaths associated with influenza, according to the researchers.
Kaka and her Minneapolis VA colleagues Gregory Filice, MD, Sharon Myllenbeck, RN, and Kristin Nichol, MD, wanted to determine whether that increased effectiveness came with a significant increase in side effects among elderly patients. In their study, published in Open Forum Infectious Diseases, they noted that a prelicensure clinical trial had found that the HD vaccine had higher rates of local and systemic symptoms. Concerns about reactions might be keeping veterans who could benefit from the HD vaccine from receiving it—or they might be rightly reluctant to increase their risk of serious adverse effects.2
The team found that the HD vaccine does produce side effects at a somewhat higher rate than the SD vaccine, although mild to moderate local reactions that last less than 48 hours account for most of the increase.
"Our study, which was consistent with prior studies, showed that the risk of a severe side-effect with either influenza vaccine was low and no different between vaccines. The rate of a severe side effect in both HD and SD influenza vaccine recipients was less than 1.5% with less than 1% of individuals seeking medical attention [for side effects]," Filice told U.S. Medicine.
Looking at which patients had the most side effects, however, revealed a potential benefit from the reduced immune response seen in older patients.
"Individuals 65 to 74 [years old] had more side-effects compared to individuals over age 75 in our study. We hypothesize that this difference in side effects by age may be due to the strength of the immune response to the vaccine waning with age. A weaker immune response in older adults may lead to less local swelling and redness," Nichol explained.
The researchers surveyed patients over the age of 65 who received influenza vaccinations October 27-29, 2015 at walk in vaccination clinics conducted by the Minneapolis VA Health Care System. While the Minneapolis VA actively encouraged elderly patients to receive the HD vaccine, a shortage of the vaccine created an opportunity to compare the side effects of the SD and HD vaccines. For 1.5 days of the three days the clinics operated, no HD vaccine was available, so all patients received the SD vaccine. Patients who arrived during the latter half of the clinic programs could choose between the SD and HD vaccines.
Starting in late November, researchers surveyed 1,088 individuals who received vaccinations at the clinic. Of those, 547 received the HD vaccine and 541 the SD vaccine.Only 5% of HD and 4% of SD respondents indicated any change in their overall health in the week following the vaccines, but 37% of the HD recipient and 22% of the SD recipients reported either a local or systemic side effect during that time period. An increased number of individuals reporting arm soreness in lasting less than two days in the HD group accounted for nearly all of the difference.
Seven of the HD recipients and three of the SD vaccine recipients indicated that they experienced a severe local or systemic side effect, but the two groups had no significant differences in their healthcare visits due to side effects. When analyzed by baseline health or presence of a high-risk condition, the vaccines had no difference in local or systemic side effects.
"We believe these results are reassuring as to safety and tolerability of the HD influenza vaccine," said Kaka. "Given previous studies that show that the HD vaccine is superior to the SD vaccine in adults over age 65 in preventing influenza, we believe our study supports the current CDC recommendations of the HD vaccine being a reasonable choice for vaccinating" these adults.
The U.S. Centers for Disease Control and Prevention do not recommend one vaccine over the other for elderly patients.
Based on the results of the study, "We believe that the decision as to what influenza vaccine the patient should receive should be made in partnership with patients; a shared decision that balances the benefits and harms of HD and SD influenza vaccine with patient values," said Myllenbeck.
- Young-Xu Y, van Aalst R, Russo E, Lee JKH, Chit A. The Annual Burden of Seasonal Influenza in the US Veterans Affairs Population. PLoS ONE. 2017;12(1): e0169344.
- Kaka AS, Filice GA, Myllenbeck S, Nichol KL. Comparison of Side Effects of the 2015-2016 High-Dose, Inactivated, Trivalent Influenza Vaccine and Standard Dose, Inactivated, Trivalent Influenza Vaccine in Adults ≥65 Years. Open Forum Infect Dis. 2017 Jan 12;4(1):ofx001.


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PITTSBURGH (AP) — So much for Victor Cruz's holdout harming his chemistry with Eli Manning.
The New York Giants' wide receiver — who missed organized team activities and minicamp while trying to hammer out a new deal — still has some of the fleetest feet in the NFL. Some of the fanciest too.
Cruz hauled in a 57-yard touchdown pass from Eli Manning in Saturday night's 18-13 win over Pittsburgh in the teams' preseason opener, though Cruz eschewed his traditional salsa celebration dance. Two half-hearted steps and Cruz gave up, figuring it's best to save the good stuff for when it counts in September.
And judging by how quickly Manning and Cruz were able to re-establish their "go deep and I'll chuck it to you" rapport, Cruz could have plenty of chances to tear up the dance floor this season.
"Anytime that happens, we're over there cheering," New York coach Tom Coughlin said.
Not that there was much more to get fired up about for either team during an otherwise lethargic 60 minutes that left both teams with plenty to work on.
Here are five things we learned from the game:
1. JARVIS JONES CAN FIND THE BALL: The Pittsburgh Steelers rookie linebacker and heir apparent to the departed James Harrison has been a revelation during training camp.
The 17th overall pick in the draft has consistently found a way to get his hands on the ball, particularly in pass coverage. He managed to do it on Saturday night by keeping his head up when New York quarterback David Carr and running back Andre Brown botched a handoff in the second quarter. Jones raced in from across the field to land on it and give the Steelers good field position.
"The guys on the sideline told me I should have picked it up and ran," Jones said. "That was a learning curve for me too. In college I would have been down."
2. VICTOR CRUZ IS FASTER THAN YOU: Cruz beat just anybody during his sprint to the end zone.
Lining up in the slot on third-and-4 at the New York 43, he beat William Gay and an overly aggressive Troy Polamalu then moved to the middle of the field to haul in the perfect rainbow from Manning. The recognition of both quarterback and receiver led to the only real offensive play of consequence.
"(Cruz) just had a basic seam route and read the body language for what he was going to do and (I) threw it out there for him," Manning said. "He made a good play."
3. PITTSBURGH'S SPECIAL TEAMS NEED SOME WORK: The Steelers brought longtime Washington Redskins special teams coach Danny Smith in during the offseason hoping the passionate Smith could stoke some life into a largely blase unit. It's going to take some work.
New York blocked a punt after Pittsburgh's first possession when Damontre Moore came in untouched to smother the punt off the foot of Drew Butler.
Things didn't get much better from there.
Punt returner David Gilreath inexplicably caught a punt inside the Pittsburgh 5 early in the second half. A block in the back penalty put the ball at the Pittsburgh 2 for the first snap of rookie quarterback Landry Jones' career. Jones botched a handoff and New York fell on it for a safety.
Gilreath later let a punt smack off his facemask. The Giants recovered the muff but were unable to score.
4.DAVID WILSON ISN'T IN GEAR YET: The Giants anointed Wilson the starting running back when they decided not to re-sign Ahmad Bradshaw. Facing the NFL's top-ranked defense last season, Wilson showed little during his two series of work.
He managed just 16 yards on five carries. Take away a 9-yard sprint, and his other four carries went a total of 7 yards.
"It wasn't much to talk about," Coughlin said. "I don't know how many chances we had. It wasn't anything great. We played that first offensive line a few more plays than we intended. We'll have to improve in that area no question."
5. GET WELL LE'VEON BELL: The Steelers' rookie running back was held out of the game due to a sore left knee.
Coach Mike Tomlin said the decision was strictly a precaution and he expects Bell to return to practice on Monday.
Isaac Redman and Jonathan Dwyer did little to create any breathing room between themselves and Bell for the starting job. The duo combined for 22 yards on eight carries.