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Bittydesign Force Tekno NB48.3/NB48.4 1/8 Pre-Painted Buggy Body (Grunge/Orange)
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This is a pre-painted Bittydesign "Force" Tekno NB48.3 and NB48.4 1/8 Buggy Body. We have teamed up with Bittydesign to offer you another choice for custom paint that will make your car stand out in a crowd of one color wonders, and cookie cutter RTR bodies. This pre-painted body features the striking Bitty "Grunge" paint scheme in orange, with Bitty's trademark splatter graphics that give this body a modern look that will make you the envy of everyone at the track.
The Bittydesign Force series of bodies are for racers who prefer a cab forward body design and increased front-end downforce. The overall shape of the body delivers excellent steering response, and provides an exceptional fit around the chassis. The body includes factory applied protective film, with a decal sheet, and has been molded from high quality 1mm thick polycarbonate for durability.
Front cab design for more steering
The body has been developed and realized with the usual look the "Force" line has come to be known for. It features an advanced central area that greatly improves front downforce and steering response.
Downforce increased
The rear area of the body is characterized by a flap of generous dimensions that significantly increases the downforce ensuring greater traction and an increase of air flow towards the wing.
NOTE: Because this is a custom painted body, the item you receive may vary when compared to the item shown in photos. The paint scheme will look similar to what you see in the photos, but some details may vary.
Product Features:
This product was added to our catalog on September 9, 2016


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Fabulously Delicious and it sounded yummy, was healthy, and I could throw it all in the crock pot...awesome!
1 tablespoon olive oil
1 lb. chicken thighs salt and ground black pepper to taste (I used 1 large chicken breast)
1/2 cup loosely packed cilantro leaves, divided
1 large sweet potato, cut into chunks
1 red bell pepper, cut into strips
(I added in 1/2 red onion, cut into thin slices)
1 (15.5 ounce) can black beans, rinsed and drained
3/4 cup chicken broth
1 cup hot salsa (I'll use medium next time, it was a little too hot for the kiddos)
2 tsp. ground cumin
1/2 tsp. ground allspice (I used Goya multipurpose seasoning)
3 large cloves garlic, chopped
lime wedges, for garnish
rice and tortillas
1.Heat the olive oil in a large skillet; season the chicken thighs with salt and pepper. Sprinkle 1/4 cup cilantro over the chicken thighs; brown the chicken in the frying pan, 3 to 5 minutes each side.
2. Arrange the chicken in the bottom of a slow cooker. Place the sweet potatoes, red bell pepper, and black beans on top of the chicken. Mix together the chicken broth, 1/4 cup cilantro leaves, salsa, cumin, allspice, and garlic together in a bowl; pour into the slow cooker. Set slow cooker to LOW and cook for 4 hours. Garnish with lime wedges to serve.
Latin Crock Pot Chicken
Labels: beans, chicken, crock pot, gluten-free, mexican/southwest
2 comments:
- Shari said...
Yum! Sounds fabulous. :)
- May 1, 2011 at 4:01 PM
- Natalie said...
I haven't made anything in my crockpot in way too long. This sounds great!
- May 3, 2011 at 2:05 PM
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National Recycling Week 2018: Don't complicate it, Simply5 itread more
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Welcome to our calendar. We are still in the process of populating events for this season. Events are currently up to date until end of April. Thank you for your patience. Check back regularly.
Schedule 5 – Friday
Time: 5:30pm – 8:30pm
Event: Race
Registration: 4:45pm
Practice: 5:30pm – 7pm
Qualifying and Racing: 7pm – 8:30pm


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Bound With These Titles
On Order
From the highly acclaimed, multiple award-winning Anthony Doerr, the beautiful, stunningly ambitious instant New York Times bestseller about a blind French girl and a German boy whose paths collide in occupied France as both try to survive the devastation of World War II.
Marie-Laure lives with her father in Paris near the Museum of Natural History, where he works as the master of its thousands of locks. When she is six, Marie-Laure goes blind and her father builds a perfect miniature of their neighborhood so she can memorize it by touch and navigate her way home. When she is twelve, the Nazis occupy Paris and father and daughter flee to the walled citadel of Saint-Malo, where Marie-Laure's reclusive great-uncle lives in a tall house by the sea. With them they carry what might be the museum's most valuable and dangerous jewel.
In a mining town in Germany, the orphan Werner grows up with his younger sister, enchanted by a crude radio they find. Werner becomes an expert at building and fixing these crucial new instruments, a talent that wins him a place at a brutal academy for Hitler Youth, then a special assignment to track the resistance. More and more aware of the human cost of his intelligence, Werner travels through the heart of the war and, finally, into Saint-Malo, where his story and Marie-Laure's converge.
Doerr's "stunning sense of physical detail and gorgeous metaphors" ( San Francisco Chronicle ) are dazzling. Deftly interweaving the lives of Marie-Laure and Werner, he illuminates the ways, against all odds, people try to be good to one another. Ten years in the writing, a National Book Award finalist, All the Light We Cannot See is a magnificent, deeply moving novel from a writer "whose sentences never fail to thrill" ( Los Angeles Times ).
Author Notes
Anthony Doerr was born on October 27, 1973 in Cleveland, Ohio. He is the author of The Shell Collector, About Grace, Four Seasons in Rome, Memory Wall, and All the Light We Cannot See. His fiction has won four O. Henry Prizes and has been anthologized in several anthologies. He has won the Barnes and Noble Discover Prize, the Rome Prize, the New York Public Library's Young Lions Award, the National Magazine Award for Fiction, three Pushcart Prizes, two Pacific Northwest Book Award, three Ohioana Book Awards, the 2010 Story Prize, which is considered the most prestigious prize in the U.S. for a collection of short stories, and the Sunday Times EFG Short Story Award, which is the largest prize in the world for a single short story. His novel, All the Light We Cannot See, won the Adult Fiction Award for the Indies Choice Book Awards in 2015, the International Book of the Year at the ABIA Awards and the Pulitzer Prizes for Fiction in 2015. Anthony Doerr also won the 2015 Andrew Carnegie Medal for Excellence in Fiction for this same title.
(Bowker Author Biography)
Reviews (4)
Publisher's Weekly Review
Broadway actor Appelman delivers a moving performance in the audio edition of Doerr's beautiful WWII novel. The story shifts back and forth in time, and alternates between the perspectives of two protagonists, Marie-Laure-a blind French girl whose locksmith father builds models of the city to help her adapt to her surroundings-and Werner Pfennig, a German orphan who is separated from his sister, Jutta, when he's called to work for the Nazis as an engineer. The stories are both involving in their own right, as we track how the peaceful lives of a father/daughter and brother/sister are slowly disrupted by the rise of the Nazis. Reader Appelman helps convey the emotional tension of each scene with dialogue that is devastatingly moving, and his portrayal of Marie-Laure's uncle, Etienne, is particularly effective. All and all, Appelman turns in a dramatic and well-paced performance of Doerr's richly conveyed and heartbreaking period piece. A Scribner hardcover. (May) © Copyright PWxyz, LLC. All rights reserved.
Booklist Review
*Starred Review* A novel to live in, learn from, and feel bereft over when the last page is turned, Doerr's magnificently drawn story seems at once spacious and tightly composed. It rests, historically, during the occupation of France during WWII, but brief chapters told in alternating voices give the overall and long narrative a swift movement through time and events. We have two main characters, each one on opposite sides in the conflagration that is destroying Europe. Marie-Louise is a sightless girl who lived with her father in Paris before the occupation; he was a master locksmith for the Museum of Natural History. When German forces necessitate abandonment of the city, Marie-Louise's father, taking with him the museum's greatest treasure, removes himself and his daughter and eventually arrives at his uncle's house in the coastal city of Saint-Malo. Young German soldier Werner is sent to Saint-Malo to track Resistance activity there, and eventually, and inevitably, Marie-Louise's and Werner's paths cross. It is through their individual and intertwined tales that Doerr masterfully and knowledgeably re-creates the deprived civilian conditions of war-torn France and the strictly controlled lives of the military occupiers.High-Demand Backstory: A multipronged marketing campaign will make the author's many fans aware of his newest book, and extensive review coverage is bound to enlist many new fans.--Hooper, Brad Copyright 2014 Booklist
New York Review of Books Review
BEER MONEY: A Memoir of Privilege and Loss, by Frances Stroh. (Harper Perennial, $16.99.) As a fifth-generation heir to the Stroh Brewing Company, once the third-largest brewery in the country, the author glimpsed some of her family's former splendor growing up in Grosse Pointe, Mich. She tells a story of squandered wealth and her family's decline while attempting to link the Strohs' fortunes to those of Detroit. STILL HERE, by Lara Vapnyar. (Hogarth, $16.) Four friends from Russia attempt to forge new paths in New York, but end up transposing old dynamics, romances and jealousies to their adopted city. Vica pushes her husband to pitch an app with an ill-omened name - the Virtual Grave - to their wealthier friends, inspiring questions about immortality that follow the characters throughout the novel. THE ONLY GAME IN TOWN: Central Banks, Instability, and Avoiding the Next Collapse, by Mohamed A. El-Erian. (Random House, $18.) In this edition, updated to reflect such geopolitical shifts as the election of President Trump and Britain's vote to leave the European Union, the author outlines the challenges to the global economy and prescribes solutions to avoid falling back into stagnation - or having sluggish growth become the new standard. THE SPORT OF KINGS, by C. E. Morgan. (Picador, $18.) The descendants of three Kentucky families - one wealthy and white, one AfricanAmerican, and one equine - converge in this story, where questions of lineage, breeding and the past commingle on the Forge family plantation. Henrietta, a fiercely independent Forge heir, defies her father by hiring a black jockey, and soon falls in love with him. Our reviewer, Jaimy Gordon, praised the "fire, virtuosity and spiritual imagination with which Morgan conjures" her subjects. ENTER HELEN: The Invention of Helen Gurley Brown and the Rise of the Modern Single Woman, by Brooke Hauser. (Harper, $16.99.) Brown, the longtime editor of Cosmopolitan and the author of the best-selling "Sex and the Single Girl," helped stoke a revolution. Hauser's biography examines how Brown used her own insecurities to speak to a range of women, and shows how many of her life's conflicts still resonate today. ALL THE LIGHT WE CANNOT SEE, by Anthony Doerr. (Scribner, $17.) The lives of a blind Resistance fighter in France and a brilliant orphan recruited by the Nazis intersect in this imaginative novel, which won the Pulitzer Prize for fiction in 2015. The narrative confronts the role of morality and obligation during wartime, while performing an exemplary feat of storytelling.
Library Journal Review
Starred Review. Zach Appelman narrates Doerr's tender World War II tale of two young people: Marie-Laure, blind since the age of six, and Werner, who was orphaned by a tragic mine accident. Marie-Laure's father is the locksmith for a natural history museum, and when Paris falls, he and his daughter escape to the home of her great uncle Etienne in Saint Malo, carrying what may be a priceless diamond. Her father is imprisoned and soon Etienne and Marie-Laure become resistance fighters, sending clandestine radio transmissions. In Germany, Werner escapes the mines because of his mathematical ability and interest in radios and is sent to a training camp for Hitler youth. Werner is conflicted he is receiving the education he wanted so desperately, but when confronted daily with injustice and brutality, he finally asks to leave. Instead, he is sent to the front. Using technology he helped develop, Werner is charged with finding and eliminating partisans such as Etienne and Marie-Laure. The listener knows that slowly, inextricably, Werner's and Marie-Laure's lives will intersect. But Doerr does not leave listeners in despair. Like light through the clouds, love, hope, and kindness peek through time and again. VERDICT Listeners must attend closely to this story of innocents caught up in the darkness of World War II. But if they do, they are rewarded with an excellent narration of a beautifully written story. ["The novel presents two characters so interesting and sympathetic that readers will keep turning the pages hoping for an impossibly happy ending," read the starred review of the Scribner hc, LJ 2/1/14.] Judy Murray, Monroe Cty. Lib. Syst., Temperance, MI (c) Copyright 2014. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
All the Light We Cannot See Muséum National d'Histoire Naturelle Marie-Laure LeBlanc is a tall and freckled six-year-old in Paris with rapidly deteriorating eyesight when her father sends her on a children's tour of the museum where he works. The guide is a hunchbacked old warder hardly taller than a child himself. He raps the tip of his cane against the floor for attention, then leads his dozen charges across the gardens to the galleries. The children watch engineers use pulleys to lift a fossilized dinosaur femur. They see a stuffed giraffe in a closet, patches of hide wearing off its back. They peer into taxidermists' drawers full of feathers and talons and glass eyeballs; they flip through two-hundred-year-old herbarium sheets bedecked with orchids and daisies and herbs. Eventually they climb sixteen steps into the Gallery of Mineralogy. The guide shows them agate from Brazil and violet amethysts and a meteorite on a pedestal that he claims is as ancient as the solar system itself. Then he leads them single file down two twisting staircases and along several corridors and stops outside an iron door with a single keyhole. "End of tour," he says. A girl says, "But what's through there?" "Behind this door is another locked door, slightly smaller." "And what's behind that?" "A third locked door, smaller yet." "What's behind that?" "A fourth door, and a fifth, on and on until you reach a thirteenth, a little locked door no bigger than a shoe." The children lean forward. "And then?" "Behind the thirteenth door"--the guide flourishes one of his impossibly wrinkled hands--"is the Sea of Flames." Puzzlement. Fidgeting. "Come now. You've never heard of the Sea of Flames?" The children shake their heads. Marie-Laure squints up at the naked bulbs strung in three-yard intervals along the ceiling; each sets a rainbow-colored halo rotating in her vision. The guide hangs his cane on his wrist and rubs his hands together. "It's a long story. Do you want to hear a long story?" They nod. He clears his throat. "Centuries ago, in the place we now call Borneo, a prince plucked a blue stone from a dry riverbed because he thought it was pretty. But on the way back to his palace, the prince was attacked by men on horseback and stabbed in the heart." "Stabbed in the heart?" "Is this true?" A boy says, "Hush." "The thieves stole his rings, his horse, everything. But because the little blue stone was clenched in his fist, they did not discover it. And the dying prince managed to crawl home. Then he fell unconscious for ten days. On the tenth day, to the amazement of his nurses, he sat up, opened his hand, and there was the stone. "The sultan's doctors said it was a miracle, that the prince never should have survived such a violent wound. The nurses said the stone must have healing powers. The sultan's jewelers said something else: they said the stone was the largest raw diamond anyone had ever seen. Their most gifted stonecutter spent eighty days faceting it, and when he was done, it was a brilliant blue, the blue of tropical seas, but it had a touch of red at its center, like flames inside a drop of water. The sultan had the diamond fitted into a crown for the prince, and it was said that when the young prince sat on his throne and the sun hit him just so, he became so dazzling that visitors could not distinguish his figure from light itself." "Are you sure this is true?" asks a girl. "Hush," says the boy. "The stone came to be known as the Sea of Flames. Some believed the prince was a deity, that as long as he kept the stone, he could not be killed. But something strange began to happen: the longer the prince wore his crown, the worse his luck became. In a month, he lost a brother to drowning and a second brother to snakebite. Within six months, his father died of disease. To make matters even worse, the sultan's scouts announced that a great army was gathering in the east. "The prince called together his father's advisers. All said he should prepare for war, all but one, a priest, who said he'd had a dream. In the dream the Goddess of the Earth told him she'd made the Sea of Flames as a gift for her lover, the God of the Sea, and was sending the jewel to him through the river. But when the river dried up, and the prince plucked it out, the goddess became enraged. She cursed the stone and whoever kept it." Every child leans forward, Marie-Laure along with them. "The curse was this: the keeper of the stone would live forever, but so long as he kept it, misfortunes would fall on all those he loved one after another in unending rain." "Live forever?" "But if the keeper threw the diamond into the sea, thereby delivering it to its rightful recipient, the goddess would lift the curse. So the prince, now sultan, thought for three days and three nights and finally decided to keep the stone. It had saved his life; he believed it made him indestructible. He had the tongue cut out of the priest's mouth." "Ouch," says the youngest boy. "Big mistake," says the tallest girl. "The invaders came," says the warder, "and destroyed the palace, and killed everyone they found, and the prince was never seen again, and for two hundred years no one heard any more about the Sea of Flames. Some said the stone was recut into many smaller stones; others said the prince still carried the stone, that he was in Japan or Persia, that he was a humble farmer, that he never seemed to grow old. "And so the stone fell out of history. Until one day, when a French diamond trader, during a trip to the Golconda Mines in India, was shown a massive pear-cut diamond. One hundred and thirty-three carats. Near-perfect clarity. As big as a pigeon's egg, he wrote, and as blue as the sea, but with a flare of red at its core. He made a casting of the stone and sent it to a gem-crazy duke in Lorraine, warning him of the rumors of a curse. But the duke wanted the diamond very badly. So the trader brought it to Europe, and the duke fitted it into the end of a walking stick and carried it everywhere." "Uh-oh." "Within a month, the duchess contracted a throat disease. Two of their favorite servants fell off the roof and broke their necks. Then the duke's only son died in a riding accident. Though everyone said the duke himself had never looked better, he became afraid to go out, afraid to accept visitors. Eventually he was so convinced that his stone was the accursed Sea of Flames that he asked the king to shut it up in his museum on the conditions that it be locked deep inside a specially built vault and the vault not be opened for two hundred years." "And?" "And one hundred and ninety-six years have passed." All the children remain quiet a moment. Several do math on their fingers. Then they raise their hands as one. "Can we see it?" "No." "Not even open the first door?" "No." "Have you seen it?" "I have not." "So how do you know it's really there?" "You have to believe the story." "How much is it worth, Monsieur? Could it buy the Eiffel Tower?" "A diamond that large and rare could in all likelihood buy five Eiffel Towers." Gasps. "Are all those doors to keep thieves from getting in?" "Maybe," the guide says, and winks, "they're there to keep the curse from getting out." The children fall quiet. Two or three take a step back. Marie-Laure takes off her eyeglasses, and the world goes shapeless. "Why not," she asks, "just take the diamond and throw it into the sea?" The warder looks at her. The other children look at her. "When is the last time," one of the older boys says, "you saw someone throw five Eiffel Towers into the sea?" There is laughter. Marie-Laure frowns. It is just an iron door with a brass keyhole. The tour ends and the children disperse and Marie-Laure is reinstalled in the Grand Gallery with her father. He straightens her glasses on her nose and plucks a leaf from her hair. "Did you have fun, ma chérie?" A little brown house sparrow swoops out of the rafters and lands on the tiles in front of her. Marie-Laure holds out an open palm. The sparrow tilts his head, considering. Then it flaps away. One month later she is blind. Excerpted from All the Light We Cannot See by Anthony Doerr All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.


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PHILADELPHIA – On the quest for safe, reliable and accessible tools to accurately diagnose Alzheimer's disease, researchers from the Perelman School of Medicine at the University of Pennsylvania found a new way of diagnosing and tracking Alzheimer's disease, using an innovative magnetic resonance imaging (MRI) technique called Arterial spin labeling (ASL) to measure changes in brain function. The team determined that the ASL-MRI test is a promising alternative to the current standard, a specific PET scan that requires exposure to small amounts of a radioactive glucose analog and costs approximately four-times more than an ASL-MRI. Two studies now appear in Alzheimer's and Dementia: The Journal of the Alzheimer's Association and Neurology.
ASL-MRI can be used to measure neurodegenerative changes in a similar way that fluorodeoxyglucose Positron emission tomography (FDG-PET) scans are currently being used to measure glucose metabolism in the brain. Both tests correlate with cognitive decline in patients with Alzheimer's disease.
"In brain tissue, regional blood flow is tightly coupled to regional glucose consumption, which is the fuel the brain uses to function. Increases or decreases in brain function are accompanied by changes in both blood flow and glucose metabolism," explained John A. Detre, MD, professor of Neurology and Radiology at Penn, senior author on the papers, who has worked on ASL-MRI for the past 20 years. "We designed ASL-MRI to allow cerebral blood flow to be imaged noninvasively and quantitatively using a routine MRI scanner."
When Alzheimer's disease is suspected, patients typically receive an MRI initially to look for structural changes that could indicate other medical causes, such as a stroke or brain tumor. Adding about 10-20 minutes to the test time, ASL can be incorporated into the routine MRI and capture functional measures to detect Alzheimer's disease upfront, turning a routine clinical test (structural MRI) into both a structural and functional test.
"If ASL-MRI were included in the initial diagnostic work-up routinely, it would save the time for obtaining an additional PET scan, which we often will order when there is diagnostic uncertainty, and would potentially speed up diagnosis," said David Wolk, MD, Assistant Professor of Neurology and Assistant Director of the Penn Memory Center, and a collaborator on this research.
The studies being reported this week show a comparison of ASL-MRI and FDG-PET in a group of Alzhiemer's patients and age-matched controls. Cerebral blood flow and glucose metabolism were measured simultaneously by injecting the PET tracer during the MRI study. The data were then analyzed two different ways.
In the first study, now online in Alzheimer's and Dementia, ASL-MRI and FDG-PET images from 13 patients diagnosed with Alzheimer's and 18 age-matched controls were analyzed by visual inspection. Independent, blinded review of the two tests by expert nuclear medicine physicians demonstrated similar abilities to rule out (sensitivity) and diagnose (specificity) Alzheimer's. Neither ASL-MRI nor FDG-PET showed a clear advantage from quantitative testing.
In the second study, published in Neurology, the ASL-MRI and FDG-PET images were compared statistically at each location in the brain by computerized analysis. Data from 15 AD patients were compared to 19 age-matched healthy adults. The patterns of reduction in cerebral blood flow were nearly identical to the patterns of reduced glucose metabolism by FDG-PET, both of which differed from the patterns of reduction in gray matter seen in AD.
"Given that ASL-MRI is entirely non-invasive, has no radiation exposure, is widely available and easily incorporated into standard MRI routines, it is potentially more suitable for screening and longitudinal disease tracking than FDG-PET," said the Neurology study authors.
Additional studies will focus on larger sample sizes including patients with mild cognitive impairment and other kinds of neurodegenerative conditions.
Study collaborators from Penn included Erik S. Musiek, MD, PhD; Marc Korczykowski, Babak Saboury, Patricia M. Martinez; Janet S. Reddin, PhD; Abass Alavi, MD; Daniel Y. Kimberg; Joel Greenberg, PhD; and Steven E. Arnold, MD. An additional researcher from and Astra-Zeneca also contributed to the research.
The study was funded by grants from the National Institutes of Health's National Institute of Neurological Disorders and Stroke (NINDS), National Institute of Mental Health (NIMH) and National Center for Research Resources (NCRR), as well as a grant from the Penn-AstraZeneca Alliance. Dr. Detre is an inventor on the University of Pennsylvania's patent for ASL-MRI.
Penn Medicine is one of the world's leading academic medical centers, dedicated to the related missions of medical education, biomedical research, and excellence in patient care. Penn Medicine consists of the Raymond and Ruth Perelman School of Medicine at the University of Pennsylvania (founded in 1765 as the nation's first medical school) and the University of Pennsylvania Health System, which together form a $4.3 billion enterprise.
The Perelman School of Medicine has been ranked among the top five medical schools in the United States for the past 17 years, according to U.S. News & World Report's survey of research-oriented medical schools. The School is consistently among the nation's top recipients of funding from the National Institutes of Health, with $392 million awarded in the 2013 fiscal year.
The University of Pennsylvania Health System's patient care facilities include: The Hospital of the University of Pennsylvania — recognized as one of the nation's top "Honor Roll" hospitals by U.S. News & World Report; Penn Presbyterian Medical Center; Chester County Hospital; Penn Wissahickon Hospice; and Pennsylvania Hospital — the nation's first hospital, founded in 1751. Additional affiliated inpatient care facilities and services throughout the Philadelphia region include Chestnut Hill Hospital and Good Shepherd Penn Partners, a partnership between Good Shepherd Rehabilitation Network and Penn Medicine.
Penn Medicine is committed to improving lives and health through a variety of community-based programs and activities. In fiscal year 2013, Penn Medicine provided $814 million to benefit our community.


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Emmaus is a borough in the Lehigh Valley region of Pennsylvania, in the United States. It is located five miles southwest of Allentown, the state's third largest city, after Philadelphia and Pittsburgh. In 2007, Money magazine listed Emmaus as one of the top 100 "Best Places to Live" in the U.S.
Get around[edit]
There is public transportation, the Lehigh and Northampton Transportation Authority (LANTA) bus, that can take you from Emmaus to Allentown and the greater Lehigh Valley area. [4].
Private bus lines provide daily roundtrip bus service between the Emmaus area and New York City, Philadelphia and several New Jersey beach locations.
Another great way of getting around Emmaus is renting a car.
Easy access to Emmaus is available via PA 309/Interstate 78 exits 55, 57 and 58.
See[edit][add listing]
For more things to experience around Emmaus and Lehigh Valley, visit the Allentown, Bethlehem (Pennsylvania) or Easton pages.
Do[edit][add listing]
Buy[edit][add listing]
For more places to shop around Emmaus and Lehigh Valley, visit the Allentown, Bethlehem (Pennsylvania) or Easton pages.
Eat[edit][add listing]
There are many restaurants in Emmaus, including:
Nightclubs and bars[edit]
Sleep[edit][add listing]
There are no hotels in Emmaus, but there are a handful nearby. Check out the listings on the Allentown page.
Get out[edit]
Other Lehigh Valley locations[edit]
Regional cities and locations[edit]


text:
In addition to the FAQ below, see also the OCL Developer Guide documentation included in the OCL SDK.
- 1 Newbie / General
- 2 OCL Formulation
- 3 OCL Code Generation
- 4 OCL Editor
Newbie / General
Questions in this section are directed at those that are new to the MDT OCL component and are interested in finding out how to begin working with it.
What is MDT OCL?
MDT OCL provides a parser and interpreter for OCL constraints and expressions on any EMF-based metamodel. By that is meant any metamodel whose meta-metamodel is Ecore, and which (in being a metamodel) provides an EMF importer to create GenModels that generate a Java implementation.
So far, the Eclipse Modeling Project has two such metamodels: Ecore and UML (Ecore being its own meta-metamodel). Hence, the OCL component provides an OCL binding for each of these metamodels. OCL can parse constraints in either Ecore or UML models, and can evaluate them on the instances of Java classes generated from these models.
In terms of the OMG's modeling "stack", then, we have in the Eclipse Modeling Project
|Modeling Level
|OCL's Role
|This is the metamodel for the OCL Abstract Syntax Model
|Ecore, UML
|OCL's generic AST model binds to these metamodels
|*.ecore and *.uml models
|OCL parses constraints on these models
|generated Java code
|instances of generated Java classes
|OCL evaluates constraints on these objects
|dynamic EMF objects
The OCL Abstract Syntax Model is, itself, actually a metamodel sitting at the M2 level.
What is MDT OCL 3.0 update site URL?
Does OCL 1.x work with J2SE 1.4?
Because OCL extends EMF's Ecore, OCL's dependencies are the same as those of EMF.
|Minimim JVM
See also EMF 2.3 JVM Requirements.
How do I workaround org.eclipse.emf.ocl deprecation in Helios and later?
The deprecated org.eclipse.emf.ocl feature and plugin were removed in the MDT/OCL 3.0.0 release. Unfortunately some projects, notably UML2-Tools, continue to reference it. This prevents their Galileo releases being installed on Helios.
[Attachment] to [Bug 318941] provides a ZIPped update site containing just enough of org.eclipse.emf.ocl to satisfy the installation requirements of org.eclipse.emf.ocl dependents.
Therefore to install e.g. UML2-Tools
- Install MDT/OCL 3.0.0 (most conveniently as part of the Eclipse Modeling Package)
- Download org.eclipse.emf.ocl-update.zip from the [Attachment]
- Install New Software from the downloaded org.eclipse.emf.ocl-update.zip
- Download e.g. mdt-uml2tools-Update-incubation-0.9.0.zip from [UML2-Tools Downloads]
- Install New Software from the downloaded mdt-uml2tools-Update zip
Do not install anything else after UML2-Tools since org.eclipse.emf.ocl-update.zip effectively claims that Galileo and Helios are compatible undermining p2's ability to install consistent plugins.
OCL Formulation
This section answers common problems in the formulation of OCL expressions that achieve some specific aim. More often than not, these are matters of OCL-the-language, not specific in any way to the MDT implementation.
How do I combine collections of different types?
If you have two or more collections of distinct element types and want to combine them into a single collection, it is not as simple as just unioning them or casting the collections to a common type. In the OCL 2.0 specification, the collection types do not conform to OclAny, so they do not have the oclAsType operation. Also, the semantics of generic type parameters in collections are undefined, so that it is not clear whether, for example, Set(T) has only union(Set(T)) or also union(Set(S)) where S is any supertype of T.
Instead, one must do something like:
-- given types A, B conforming to S but neither of -- A nor B conforming to the other context S def: union(a : Set(A), b : Set(B)) : Set(S) = let s : Set(S) = Set{} in s->union(a)->union(b)
which works because Set(S) has an operation union(Set(S)) that accepts arguments of type Set(A) and Set(B) because of the rules of conformance of collection types.
How do I invoke methods such as eContainer(), eContents(), eGet()?
These methods are EObject methods, so you need to declare that your meta-model extends EObject. Therefore you need to initialize your environment with the following ParsingOption declaration prior to parsing.
ParsingOptions.setOption(ocl.getEnvironment(), ParsingOptions.implicitRootClass(ocl.getEnvironment()), EcorePackage.Literals.EOBJECT);
(Prior to EMF 2.5.0M4 this declaration was not necessary if your meta-model explicitly inherited from an Ecore class such as EModelElement or EObject.)
In UML, when an association may be drawn with a unidirectional arrow, the association is intended only to be navigated in one direction. It is however permissible for an OCL constraint to navigate in the reverse direction, using an (opposite) role name. The (opposite) role name may be explicitly specified. If the (opposite) role name is omitted, an implicit (opposite) role name is computed from the name of the target class. OCL 2.2 specifies that this name converts the first letter of the target class name to lower case and MDT/OCL 3.0.0 follows this specification.
(UML specifies that the target class name is used as-is. The OCL specification should change to align with UML and MDT/OCL will change too.)
When the UML-binding of MDT/OCL is used, navigation of unnavigable opposites works as specified.
For EMOF meta-models, the OCL specification leaves support for unnavigable opposites as an optional compliance point. It is is difficult for an OCL implementation to support unnavigable opposites since the EMOF meta-model does not provide the required opposite role name. Only the implicit opposite role name could be used. (There are ongoing discussions about introducing a Tag into the EMOF meta-model to persist this information.) It is also difficult for an OCL AST to persist the referredProperty reference to a Property that does not exist.
MDT/OCL 3.0.0, when using Ecore meta-models which have similar limitations to EMOF, therefore fails to support unnavigable opposites. However all is not quite lost.
In [Bug 229998] a solution to the oppositeRoleName persistence problem was introduced using either an Ecore EAnnotation or an EMOF Commented Comment. In [Bug 251621] an additional plugin has been contributed solves the AST problem with an additional OppositePropertyCallExp class. So if you install the extra plug-in and arrange for your Ecore meta-model source to use the EAnnotation, you can use unnavigable opposites.
It is anticipated that a more integrated solution will be available in MDT/OCL 4.0.0.
OCL Code Generation
How do I generate code from OCL constraints in Ecore?
As of EMF 2.6.0M4 and MDT/OCL 3.0.0M6 EClassifier invariants, EOperation bodies and EStructuralFeature initial or derived values may be specified using OCL expressions embedded as Ecore annotations within an Ecore meta-model. These expressions may be evaluated either after genmodel has been used to convert your model to Java, or directly using the dynamic capabilities of EMF.
See MDT/OCLinEcore
How do I generate code from OCL constraints in UML?
See http://www.eclipse.org/modeling/mdt/uml2/docs/presentations/EclipseCon2008_LongTalk_NewFeaturesOfUML2_files/frame.htm.
OCL Editor
How do I install an editor for OCL?
An editor for OCL has been developed as part of the M2M/QVT Declarative project. This is being migrated to form part of the MDT/OCL project in the Helios release.
It is hoped that the relevant Update Sites will facilitate installation soon.
To use this editor now follow the following installation steps.
Eclipse 3.5 base
You require Eclipse 3.5 or later with EMF (Core), EMF Transaction and EMF Validation. If you already have these you may skip the install Eclipse step.
Install the Eclipse 3.5 including the modeling packages.
Download e.g. http://www.eclipse.org/downloads/download.php?file=/technology/epp/downloads/release/galileo/SR1/eclipse-modeling-galileo-SR1-incubation-win32.zip and unzip.
Get OCL Editor Project Set File
Start Eclipse, Open the CVS Resource Perspective.
Create a New Repository Location for Host: dev.eclipse.org Repository Path: /cvsroot/modeling User: anonymous Password: Connection type: pserver
and invoke Check Out the psf Folder from the right button menu.
Import OCL Editor Project Set
In the Project Explorer
Select psf/ocl-editor.psf
and invoke Import Project Set...
specifying anonymous when asked for a CVS account and passwoes.
Build OCL Editor Examples
Optionally (to make the OCL examples work)
and invoke Run As->Ant Build from the right bitton menu.
This should successfully create two OCL zips (refresh the project to see them) although it will fail when creating further QVTd zips.
Invoke OCL Editor
Start a nested Eclipse by selecting some project and invoking Run As->Eclipse Application.
To see how the Editor works and get an example configuration
Invoke New->Project->Examples->QVT Projects->Royal and Loyal Example
Open org.eclipse.qvt.declarative.examples.ocl.royalandloyal/oclsrc/Royal and Loyal/Royal and Loyal.ocl.
Create OCL Editor Project
An empty prototype project may be created by
Invoke New->Project->Examples->QVT Projects->Empty OCL Project
The important characteristics of this project are that:
The Java build path specifies 'oclsrc' and 'oclbin' folders.
The QVTd Model Registry Nature is set enabling the Model Registry Property Page to define models that contribute to the OCL 'package' path.
The QVTd OCL Nature is set enabling compliation of the OCL src to an OCL bin AST.


text:
This recipe has been featured in a menu on the site- Italian Dinner Party.
Caesar Salad w/ Homemade Sourdough Croutons
The homemade Italian-seasoned croutons really make this salad special...
Prep Time:30 min
Cook Time:15 min
2 cloves garlic, crushed
2 Tablespoons extra-virgin olive oil
1 Tablespoon butter
3 cups cubed sourdough bread
1 teaspoon course black pepper
1/2 cup grated Parmesan cheese
2 Tablespoons chopped fresh thyme leaves
1 clove garlic, finely chopped
1 lemon juiced
1 teaspoon tabasco sauce
1 teaspoon worcestershire sauce
1 teaspoon Dijon mustard
1/3 cup extra-virgin olive oil
2 hearts of romaine lettuce, chopped (7-8 cups)
1/2 cup shredded Parmesan cheese
salt & fresh ground pepper
anchovies (optional)
1. Preheat oven to 325 degrees F.
2. Heat garlic and oil over low heat and melt butter into the oil. Place bread in a large bowl and toss with garlic oil and butter. Season with pepper, Parmesan and thyme. Spread croutons evenly on a baking sheet. Bake until crisp and golden- about 15 minutes.
3. In the same bowl in which you made the croutons, combine garlic, lemon juice, tabasco, worcestershire and mustard. Whisk in olive oil.
4. Remove croutons and let cool. When ready to serve, add lettuce to the bowl with the dressing. Toss to coat evenly. Add cheese, salt, pepper and croutons. Toss again. Adjust seasonings and serve, with or without anchovies.
Source: RecipeGirl.com


text:
Health in Sotho: e litšila folisa metso o bohloko .
A Modern Sotho language dictionary for young children: 0 to 9 years old. Look up simple Sotho language words and translate between Sotho - English, Sotho - Deutsch, Sotho - French, today.
his: SOTHO - FRENCH
- Support the addition of his to the Modern Sotho Dictionary: firstname.lastname@example.com.
- Register free with your email to receive a Word of the Day in French, or Sotho


text:
There is only one thing I do better than exploring the outdoors, and that's stuffing my face with tantalizing food. I'm partial to local eateries, but can easily be swayed by any savory wafting scent.
During my visit to Vail, CO, I honestly spent more time gorging my gut than I did burning off those calories on the slopes. My skiing may have only made it to the bunny slopes, but my dining experiences were certainly epic adventures.
Here's a look at the best places to grab a bite while visiting the luscious mountainside at Vail:
Pazzo's Pizzeria
Don't let the restaurant name fool you; I munched on nary a thin-crust nor pepperoni during my visit to Pazzo's Pizzeria. My mother and I stumbled upon this gem while wandering through Vail Village very, very early in the morning. I had worked up an appetite, so we randomly stumbled into this shop since the idea of a slice of pizza before 10:00 AM somehow sounded fantastic to me.
Of course, there was no pizza to be had. Apparently this place cooks up breakfast, and since I was starving, I decided to nix my early bird pizza fantasies and ordered a breakfast burrito. Holy mother of tortillas – this thing was unreal. I can't even imagine how large the flour tortilla really was, nor do I understand how all the fillings fit inside the perfectly wrapped giant. The monster was stuffed with scrambled eggs, green pepper, onion, tomato, ham, and refried beans – then slathered with a spicy red chili, salsa, sour cream, and shredded cheese.
I think the picture speaks for itself, but this was hands down the best breakfast burrito I've ever had in my entire life. I would drive back to Vail solely to munch on it again – and I'm dying to try their pizza, because it must be phenomenal if their breakfast is this good.
The Little Diner
I already blogged about my adoration for The Little Diner, but this quaint spot deserves mention while talking about the best places to eat in Vail.
The tiny countertop seating area is jam-packed by 8:30 AM, a testament to this little joint's big servings of awesome. You watch the cooks prepare each meal in the very small kitchen area, and I didn't see a single thing roll out of there that I didn't want to dig my face into.
On any other day, the bursting amount of food consumed during a visit to The Little Diner would have left me napping all afternoon with a seriously bloated belly, but it's the perfect way to begin your day when you're planning to spend an entire day traversing a mountain with two skis strapped to your feet.
My advice? They open up shop at 7:30 – so set your alarm early if you want to snag a seat without waiting.
Vail Chop House
Sitting directly across from the gondola at the bottom of the mountain, the Vail Chop House provides pristine views of the slopes, and offers a great outdoor patio that is surprisingly pleasant during a sunny day – even if it's only 30 degrees outside.
My mother and I set up shop at one of the outdoor tables while we waited for my dad to finish up his morning ski runs. At first, we decided to only order drinks. We each ordered an 'adult' butterscotch hot chocolate – and it was lip-licking, belly-warming, sticky fingers wonderful. Topped with a dollop of whipped cream, and with liquor perfectly masked by the sweetest of butterscotch liquor combined with the smooth taste of chocolate and Bailey's; this beverage was divine.
My father finally showed up at the bottom of the run an hour, and four hot chocolates, later. At that point, my belly had digested the massive breakfast burrito from earlier, and was ready to gorge again. We sampled the miniature sliders with a side of fries, and weren't disappointed.
This place is slightly pricey, but still doesn't even compare to the majority of expensive eateries found in sophisticated Vail.
Sushi Oka
With two drunk parents leaving dinner plans up to me, I did my usual research on Yelp before deciding to venture to Sushi Oka for our last night's dinner. I've been on a bit of a sushi kick lately, so I wanted to see what Vail had to offer.
We made our way to Vail Village from our Marriott Lodge room via the complimentary shuttle service that runs throughout the vicinity, and quickly found the sushi shop, which I had noticed earlier in the day. We started the meal with edamame and sake, score.
I must admit, while I am smitten with sushi, I'm not the biggest raw fish fan – blasphemy, I know. I ordered a fat roll topped with baked halibut and stuffed with all manner of tasty ingredients like fresh crab and creamy avocado. It was fantastic, as was my mother's order of pad thai. Unlike the traditional flavors of pad thai, this batch had a unique hint of tomato sauce that we all enjoyed – but be warned, it is extremely spicy.
Moe's Original BBQ
This place deserves an honorable mention, not so much for their food, but for the atmosphere.
We sauntered over to Moe's after the first day of skiing, totally exhausted, pretty drunk, and very hungry. Much to my delight, there was an excellent bluegrass band jamming out near the bar. +100 points for the banjo music.
I've eaten at a Moe's BBQ in Denver once, but never got the chance to try their version of my two favorite barbeque stapes: mac-n-cheese and baked beans. Hats off to this joint for totally satisfying my taste buds with thick, sweet beans and hearty mac that filled my belly.
Another +100 for the Pabst Blue Ribbon tall boys. My parents and I had a blast munching on ribs, sipping our tall boys, and taking in the great music.
This is admittedly not the most amazing place to eat while you're in Vail – but if you're looking for comfort food, no-frills service, and a hospitable atmosphere, you're in the right place.
I didn't come to Vail for the food, but the tasty eats I enjoyed before and after my skiing quickly became some of the highlights of the trip. Where's the joy in spending a day burning calories if you can't refuel afterwards?
Looking for a casual, chummy stop for an après-ski libation? Check out Garfinkle's at the bottom of the main slope, a few shops to the right of Vail Chop House. I didn't eat here, so it didn't have a place on my list of the best bites in Vail – but I downed my fair share of beverages with my ski lesson buddy Kelsey after our class ended. Strong drinks, reasonable prices, and a great atmosphere for us everyday folk.


text:
Save on the products used in this project!
Glitter Daisy cardBy Ann Bernklau
Designer's Tip: . Using more than one color on the stencil requires "precision glittering"-carefully pour one color at a time (using the minimal amount needed to prevent waste) and fill in your desired areas using the tip of your finger or a small paintbrush. Then shake off all the glitter, peel off the adhesive and pour on the last color. The effect is dazzling. . Gold flower jewel Dazzles work great as a small embellishment to the card. . The stamp is from Heartfelt Greetings stamps, and is stamped with Pink Sky Limited Edition chalk ink.


text:
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text:
Latest Asthma News
FRIDAY, April 6 (HealthDay News) -- Rapid treatment with asthma medications seems to help reduce hospitalizations among children with asthma, a new study finds.
Canadian researchers analyzed data from 406 children and found that those with moderate or severe asthma attacks who received systemic corticosteroids within 75 minutes of arriving at a hospital emergency department were 16 percent less likely to be admitted to the hospital.
Corticosteroids reduce inflammation.
The findings illustrate the importance of rapidly identifying and treating children with asthma when they arrive at an emergency department, the researchers said.
The study was recently published online in the journal Annals of Emergency Medicine.
"We knew that corticosteroids could help avoid hospital admissions and relapses. However, just how delays between emergency department admission and administration of the treatment impacted outcomes remained unclear," lead author Dr. Sanjit Bhogal said in a University of Montreal news release.
"Our study demonstrates that, to be effective in preventing hospital admission, treatment with corticosteroids should be administered within 75 minutes of triage, regardless of patient age," senior author Dr. Francine Ducharme said in the news release.
"In fact, the earlier the treatment is given within this time frame, the more effective it is, hence the advantage of starting treatment right after triage," she added. "Furthermore, beginning early treatment reduces emergency department stay by almost 45 minutes for patients who will be discharged from the emergency department."
-- Robert Preidt
Copyright © 2012 HealthDay. All rights reserved.


text:
LAST year Artforum magazine, one of the country's leading contemporary art monthlies, felt as fat as a phone book, with issues running to 500 pages, most of them gallery advertisements. The current issue has just over 200 pages. Many ads have disappeared.
The contemporary art market, with its abiding reputation for foggy deals and puffy values, is a vulnerable organism, traditionally hit early and hard by economic malaise. That's what's happening now. Sales are vaporizing. Careers are leaking air. Chelsea rents are due. The boom that was is no more.
Anyone with memories of recessions in the early 1970s and late '80s knows that we've been here before, though not exactly here. There are reasons to think that the present crisis is of a different magnitude: broader and deeper, a global black hole. Yet the same memories will lend a hopeful spin to that thought: as has been true before, a financial scouring can only be good for American art, which during the present decade has become a diminished thing.
The diminishment has not, God knows, been quantitative. Never has there been so much product. Never has the American art world functioned so efficiently as a full-service marketing industry on the corporate model.
Every year art schools across the country spit out thousands of groomed-for-success graduates, whose job it is to supply galleries and auction houses with desirable retail. They are backed up by cadres of public relations specialists otherwise known as critics, curators, editors, publishers and career theorists who provide timely updates on what desirable means.
Many of those specialists are, directly or indirectly, on the industry payroll, which is controlled by another set of personnel: the dealers, brokers, advisers, financiers, lawyers and crucial in the era of art fairs event planners who represent the industry's marketing and sales division. They are the people who scan school rosters, pick off fresh talent, direct careers and, by some inscrutable calculus, determine what will sell for what.
Not that these departments are in any way separated; ethical firewalls are not this industry's style. Despite the professionalization of the past decade, the art world still likes to think of itself as one big Love Boat. Night after night critics and collectors scarf down meals paid for by dealers promoting artists, or museums promoting shows, with everyone together at the table, schmoozing, stroking, prodding, weighing the vibes.
And where is art in all of this? Proliferating but languishing. "Quality," primarily defined as formal skill, is back in vogue, part and parcel of a conservative, some would say retrogressive, painting and drawing revival. And it has given us a flood of well-schooled pictures, ingenious sculptures, fastidious photographs and carefully staged spectacles, each based on the same basic elements: a single idea, embedded in the work and expounded in an artist's statement, and a look or style geared to be as catchy as the hook in a rock song.
The ideas don't vary much. For a while we heard a lot about the radicalism of Beauty; lately about the subversive politics of aestheticized Ambiguity. Whatever, it is all market fodder. The trend reached some kind of nadir on the eve of the presidential election, when the New Museum trotted out, with triumphalist fanfare, an Elizabeth Peyton painting of Michelle Obama and added it to the artist's retrospective. The promotional plug for the show was obvious. And the big political statement? That the art establishment voted Democratic.
Art in New York has not, of course, always been so anodyne an affair, and will not continue to be if a recession sweeps away such collectibles and clears space for other things. This has happened more than once in the recent past. Art has changed as a result. And in every case it has been artists who have reshaped the game.
The first real contemporary boom was in the early 1960s, when art decisively stopped being a coterie interest and briefly became an adjunct to the entertainment industry. Cash was abundant. Pop was hot. And the White House was culture conscious enough to create the National Endowment for the Arts so Americans wouldn't keeping looking, in the words of Arthur Schlesinger Jr., like "money-grubbing materialists."
The boom was short. The Vietnam War and racism were ripping the country apart. The economy tanked. In the early '70s New York City was on the verge of bankruptcy, bleeding money and jobs. With virtually no commercial infrastructure for experimental art in place, artists had to create their own marginal, bootstrap model.
They moved, often illegally, into the derelict industrial area now called SoHo, and made art from what they found there. Trisha Brown choreographed dances for factory rooftops; Gordon Matta-Clark turned architecture into sculpture by slicing out pieces of walls. Everyone treated the city as a found object.
An artist named Jeffrey Lew turned the ground floor of his building at 112 Greene Street into a first-come-first-served studio and exhibition space. People came, working with scrap metal, cast-off wood and cloth, industrial paint, rope, string, dirt, lights, mirrors, video. New genres installation, performance were invented. Most of the work was made on site and ephemeral: there one day, gone the next.
White Columns, as 112 Greene Street came to called, became a prototype for a crop of nonprofit alternative spaces that sprang up across the country. Recessions are murder on such spaces, but White Columns is still alive and settled in Chelsea with an exhibition, through the end of the month, documenting, among other things, its 112 Greene Street years.
The '70s economy, though stagnant, stabilized, and SoHo real estate prices rose. A younger generation of artists couldn't afford to live there and landed on the Lower East Side and in South Bronx tenements. Again the energy was collective, but the mix was different: young art-school graduates (the country's first major wave ), street artists like Jean-Michel Basquiat and Fab Five Freddy Braithwaite, assorted punk-rebel types like Richard Hell and plain rebels like David Wojnarowicz.
Here too the aesthetic was improvisatory. Everybody did everything painting, writing, performing, filming, photocopying zines, playing in bands and new forms arrived, including hip-hop, graffiti, No Wave cinema, appropriation art and the first definable body of "out" queer art. So did unusual ways of exhibiting work: in cars, in bathrooms, in subways.
The best art was subversive, but in very un-'60s, nonideological ways. When, at midnight, you heard Klaus Nomi, with his bee-stung black lips and robot hair, channeling Maria Callas at the Mudd Club, you knew you were in the presence of a genius deviant whose very life was a political act.
But again the moment was brief. The Reagan economy was creating vast supplies of expendable wealth, and the East Village became a brand name. Suddenly galleries were filled with expensive, tasty little paintings and objects similar in variety and finesse to those in Chelsea now. They sold. Limousines lined up outside storefront galleries. Careers soared. But the originating spark was long gone.
After Black Monday in October 1987 the art was gone too, and with the market in disarray and gatekeepers confused, entrenched barriers came down. Black, Latino and Asian-American artists finally took center stage and fundamentally redefined American art. Gay and lesbian artists, bonded by the AIDS crisis and the culture wars, inspired by feminism, commanded visibility with sophisticated updates on protest art.
And thanks to multiculturalism and to the global reach of the digital revolution, the American art world in the '90s was in touch with developments in Africa, Asia and South America. For the first time contemporary art was acknowledged to be not just a Euro-American but an international phenomenon and, as it soon turned out, a readily marketable one.
Which brings us to the present decade, held aloft on a wealth-at-the-top balloon, threatening to end in a drawn-out collapse. Students who entered art school a few years ago will probably have to emerge with drastically altered expectations. They will have to consider themselves lucky to get career breaks now taken for granted: the out-of-the-gate solo show, the early sales, the possibility of being able to live on the their art.
It's day-job time again in America, and that's O.K. Artists have always had them van Gogh the preacher, Pollock the busboy, Henry Darger the janitor and will again. The trick is to try to make them an energy source, not a chore.
At the same time, if the example of past crises holds true, artists can also take over the factory, make the art industry their own. Collectively and individually they can customize the machinery, alter the modes of distribution, adjust the rate of production to allow for organic growth, for shifts in purpose and direction. They can daydream and concentrate. They can make nothing for a while, or make something and make it wrong, and fail in peace, and start again.
Art schools can change too. The present goal of studio programs (and of ever more specialized art history programs) seems to be to narrow talent to a sharp point that can push its way aggressively into the competitive arena. But with markets uncertain, possibly nonexistent, why not relax this mode, open up education?
Why not make studio training an interdisciplinary experience, crossing over into sociology, anthropology, psychology, philosophy, poetry and theology? Why not build into your graduate program a work-study semester that takes students out of the art world entirely and places them in hospitals, schools and prisons, sometimes in-extremis environments, i.e. real life? My guess is that if you did, American art would look very different than it does today.
Such changes would require new ways of thinking and writing about art, so critics will need to go back to school, miss a few parties and hit the books and the Internet. Debate about a "crisis in criticism" gets batted around the art world periodically, suggesting nostalgia for old-style traffic-cop tastemakers like Clement Greenberg who invented movements and managed careers. But if there is a crisis, it is not a crisis of power; it's a crisis of knowledge. Simply put, we don't know enough, about the past or about any cultures other than our own.
A globally minded learning curve that started to grow in the 1980s and '90s seems to have withered away once multiculturalism fell out of fashion. Some New York critics, with a sigh of relief one sensed, have gone back to following every twitch of the cozy local scene, which also happens to constitute their social life.
The subject is not without interest, but it's small. In the 21st century New York is just one more art town among many, and no longer a particularly influential one. Contemporary art belongs to the world. And names of artists only half-familiar to us Uzo Egonu, Bhupen Khakhar, Iba Ndiaye, Montien Boonma, Amrita Sher-Gil, Graciela Carnevale, Madiha Omar, Shakir Hassan Al Said have as much chance of being important to history as many we know.
But there will be many, many changes for art and artists in the years ahead. Trying to predict them is like trying to forecast the economy. You can only ask questions. The 21st century will almost certainly see consciousness-altering changes in digital access to knowledge and in the shaping of visual culture. What will artists do with this?
Will the art industry continue to cling to art's traditional analog status, to insist that the material, buyable object is the only truly legitimate form of art, which is what the painting revival of the last few years has really been about? Will contemporary art continue to be, as it is now, a fancyish Fortunoff's, a party supply shop for the Love Boat crew? Or will artists and teachers, and critics jump ship, swim for land that is still hard to locate on existing maps and make it their home and workplace?
I'm not talking about creating '60s-style utopias; all those notions are dead and gone and weren't so great to begin with. I'm talking about carving out a place in the larger culture where a condition of abnormality can be sustained, where imagining the unknown and the unknowable impossible to buy or sell is the primary enterprise. Crazy! says anyone with an ounce of business sense.
Right. Exactly. Crazy.


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VANCOUVER - John Furlong, former head of the 2010 Olympic Games, emphatically denied accusations of physical and sexual abuse at a press conference Thursday.
Accompanied by his lawyer, Marvin Storrow, a sombre-looking Furlong said the allegations of physical abuse against first nations students printed in the Georgia Straight weekly newspaper are unfounded. He then said he is proceeding with legal action.
"As you are aware I have been accused of physical abuse and apparently within the last hour, sexual abuse. I want you to know I categorically deny absolutely any wrongdoing and I believe that the RCMP looking into this matter will discredit the complaint entirely because it did not happen," Furlong said.
He said he first heard about the allegations before the Olympics. "I was advised that for a payment it could be made to go away. And as such I reported this to the police."
The reporter, freelancer Laura Robinson, said she learned of that meeting between Furlong and an accuser and did not use that person as a source for her story.
Furlong questioned Robinson's motivations, suggesting she had a personal vendetta against him, that his character had been "recklessly challenged" and he had "no choice" but to proceed with legal action.
Furlong refused to answer questions but his lawyer said a defamation lawsuit is pending.
"Mr. Furlong's instructions to me are that the statements in today's Georgia Straight by Ms. Robinson are untrue and defamatory and he intends to pursue his rights against her and her publisher through the court system to their fullest extent," Storrow said.
As written in his 2011 memoir Patriot Hearts and elsewhere, Furlong has always maintained he immigrated to Canada from Ireland in 1974, first arriving in Edmonton.
Robinson wrote that Furlong actually arrived in Burns Lake, B.C. five years earlier, in 1969 — the time at which the alleged abuses began.
At Thursday's press conference, Storrow said "the suggestion in today's article that Mr. Furlong bypassed periods of his own history in his book to avoid scrutiny are, we will be contending, entirely without any merit."
Furlong said he had been to Burns Lake before 1974, but had excluded it from his memoir, which related only to his life experiences directly leading to the 2010 Olympics.
"So why no mention of Burns Lake in my book? My time in Burns Lake was fairly brief and fairly uneventful. I went back to Ireland and came to Canada years later as a landed immigrant."
He added he has since returned to the community, 200 kilometres west of Prince George, many times "without incident," including a trip with a first nations delegation before the Olympics and during the Olympic torch relay.
At the press conference, Furlong accused Robinson of "a shocking lack of diligence" and "inaccurate reporting," and claimed he had never been contacted by the Georgia Straight to validate the accuracy of the claims.
Robinson, reached by phone at her home in Ontario, said she attempted to contact Furlong multiple times via email beginning in 2011, through his publisher and lawyer but never received a direct response to her questions.
Storrow threatened her with a lawsuit on more than one occasion, she said.
According to Robinson, she and the Georgia Straight are in possession of eight sworn affidavits supporting her story.
When she warned her sources that a lawsuit was likely upon publication, they told her, "'Bring it on,'" Robinson said.
The RCMP has confirmed an investigation into the allegations against Furlong is underway.
Robinson also denied having a personal vendetta against Furlong, whom she said she has met only twice.
In a statement on its website, the alternative weekly maintained the newspaper had done due diligence.
"Marvin Storrow did not make Mr. Furlong available to respond to questions from the journalist, Laura Robinson. She also attempted without success to reach Mr. Furlong through his publisher, Douglas & McIntyre. Ms. Robinson was told that Mr. Furlong had 'nothing more' to say to her," the statement reads.
Globe and Mail columnist Gary Mason, who co-authored Furlong's memoir, said he was unaware of any accusations of abuse against Furlong.
"John's time in Burns Lake did not come up at all in the many discussions that we held in preparations for the book. As for the allegations against him, they are incredibly serious and they do not line up in any way, shape or form with the man I have come to know. I expect he will fight them with every bone in his body," Mason wrote in an email.
Furlong is a former Canadian squash champion, an Officer of the Order of Canada and a Member of the Order of British Columbia. He is also the executive chair of the Vancouver Whitecaps and chair of Own the Podium.
Statement by John Furlong, Thursday, Sept. 27:
As you are aware I have been accused of physical abuse and apparently within the last hour, sexual abuse. I want you to know I categorically deny absolutely ANY wrongdoing and I believe that the RCMP in looking into this matter will discredit the complaint entirely because it JUST did not happen
Let me just say I am proud of the work I have done and the time I spent in the north and across the country working with First Nations and Aboriginal communities. I have the honor of having two Aboriginal names given to me by Aboriginal groups for accomplishments we achieved together.
I am also proud of the book Patriot Hearts the story of my Olympic journey - my experiences and my personal recollections of those years. I did my best to include elements that contributed directly to the build up and delivery of the Games.
Given my background and experiences working side by side with First Nations leaders and communities, it was very troubling to read the recent article as it deals with very serious, unfounded, allegations that are completely without merit.
Because of the gravity of the situation, I encourage the police to continue to investigate the allegations and especially how they were arrived at.
Further, I am very disappointed, in spite of numerous written cautions, by the reporter's shocking lack of diligence in researching the article. As a result of inaccurate reporting, I feel that my character has been recklessly challenged and I have no choice now but to proceed with legal action. It is also beyond all belief that The Georgia Straight newspaper did not place a single call to me to validate any of the elements of this story.
Advancing this after more than 40 years, particularly when I have been in the public eye constantly for the past 14 plus years is beyond me. Having experienced this reporter on many occasions in the past this feels very much like a personal vendetta. And finally let me just say on the very first occasion that this was brought to my attention prior to the Olympics I was advised for that for a payment it could be made to go away. And as such I reported this to the police.
So why NO mention of Burns Lake in my book? My time in Burns Lake was fairly brief and fairly uneventful. I went back to Ireland and came to Canada years later as a landed immigrant. However, I have friends in Burns Lake. Been there many time since. I have spoken there. I visited the community with a First Nations delegation prior to the Olympics, and brought the Olympic Torch Relay through the Community, ALL without incident.
There is much I could comment and would like to, but as this issue is now with the police and the courts, I am not in a position to provide further remarks.


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InFocus, a leader in the professional video arena, has been in the projector business for a long time. The company entered the home-theater market, as so many industrial projector manufacturers have recently, about three years ago. The introduction of this projector, the ScreenPlay 7205, took place in January 2004, and now that InFocus has introduced a step-up version (the ScreenPlay 7210), the MSRP of the 7205 has been cut to $4,999. InFocus will continue selling the 7205 alongside the 7210; the two projectors are identical except that the 7210 features a higher-contrast DLP chip (the DC3) and a better color wheel. Meanwhile, like the less-expensive Sharp XV-Z2000, the 7205 employs Texas Instruments' HD2+ chip. However, a couple of key performance pluses set it apart from the Sharp and lesser DLP projectors, and when combined with the new list price, the 7205 is the best value in the midpriced home-theater projector category.
Editor's note: We have changed the rating in this review to reflect recent changes in our rating scale. Click here to find out more. The design of the 7205 is subtly smooth, although we found its look a little generic. The whole package is a rather small 14 inches by 4.3 inches by 13 inches (WHD), with the lens assembly mounted all the way on the left side of the chassis. It's finished in a neutral gray color and weighs next to nothing (9.5 pounds).
InFocus's remote control is quite small, unfortunately not backlit in any way, and somewhat awkward to use. However, we did appreciate the direct access keys for input switching and aspect-ratio control. The internal menu system, while straightforward enough, is a bit of a pain to navigate. For example, when you are in the Advanced menu, you can't back out to the first menu page; there is no Return or Back button--when you hit the Menu button, you're thrown all the way out of the menu.As we mentioned at the outset, this projector uses Texas Instruments' HD2+ chip, which has a native resolution of 1,280x720--enough to display every pixel of HDTV sources. All other sources, including 1080i high-def, computer sources, and standard-def soures such as DVD and VHS, are scaled to fit the chip.
The 7205 has a fairly comprehensive feature package as far as front projectors go. Of course, convenience features--such as PIP or even a TV tuner--are few and far between, but there are a number of cool picture-enhancing features worth mentioning. Zoom and focus controls are manual at the lens assembly. There's 2:3 pull-down in the video processing if it is selected in the Advanced menu under Film Mode. There are a number of gamma presets, with Film being the best for home-theater use. The three selectable color temperature settings are 6,500K, 7,500K, and 9,300K, with 6,500K being the closest to the broadcast standard.
Also on board is a keystone correction feature that we highly recommend you do not use; it reduces resolution and introduces artifacts in the picture. You are much better off making sure that you (or your installer) get the projector in the right place relative to the screen so that you don't have to use it.
Connectivity is fairly comprehensive on this projector, with one weird exception. The digital video connection is labeled M1-DA, and it looks like a standard DVI connector, except it's larger. Standard DVI cables won't fit; you'll need to get an M1-to-DVI or M1-to-HDMI cable or adapter ($45 and up at InFocus's online store) to use this connection with your digital video gear.


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Measurement Computing Corporation recently announced the release of two, 16-bit, multifunction USB DAQ devices with sample rates up to 100 ksps.
The USB-230 Series are the lowest priced 16-bit multifunction USB devices available from MCC. They feature eight single-ended/four differential analog inputs, eight digital I/O, one counter input, and two, 16-bit analog outputs. Removable screw-terminal connectors make signal connections easy.
The USB-231 costs $249 and has a 50 ksps sample rate. The USB-234 offers a 100 ksps sample rate and is available for $424.
Included software options for the USB-230 Series include out-of-the-box TracerDAQ for quick-and-easy logging and displaying of data, along with comprehensive support for C, C++, C#, Visual Basic, and Visual Basic .NET. Drivers are also included for DASYLab and NI LabVIEW.
Source: Measurement ComputingBecome a Sponsor


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KAPALUA, Hawaii (AP) The players sat around all week waiting for the wind to relent so the PGA Tour season could finally get going. Once it did, the Tournament of Champions shifted into overdrive. It was the opening round and ``moving day'' in a span of 10 hours at Kapalua.
Dustin Johnson was in high gear for the entire ride.
He showed up on the west coast of Maui a week before the tournament was supposed to start, wanting to shake off whatever rust had accumulated in the last month and try out some of his new equipment. He played six practice rounds, none in the kind of wind that scrapped the opening round twice - Friday and Sunday - and was so bad on Saturday that no one hit a shot.
Johnson had to wait four days to hit a shot on the Plantation Course. Once he got started, he hardly missed a shot.
In 36 holes on Monday, he had seven putts at eagle. He made the last one from about 6 feet to polish off a 7-under 66. Combined with a 69 in the morning - another solid round that included a pair of three-putt bogeys and a three-putt par over five holes - he had a three-shot lead over defending champion Steve Stricker.
``I hit the ball really well this afternoon,'' he said.
Johnson is the master of the understatement, but only when he knows his game is working as well as he can expect. He was at 11-under 135, and it took only one day and two rounds for him to separate himself from the 30-man field of PGA Tour winners from last year.
Stricker holed out from 67 yards for eagle on the 18th hole and added a pair of birdies on the front nine for a 67, putting him in the final group for a chance to become the first American to win back-to-back at Kapalua.
The only other players within five shots of Johnson were Bubba Watson, who was four shots behind after going 70-69; Keegan Bradley (71-69) and Brandt Snedeker, the FedEx Cup champion who posted a pair of 70s.
That sets up an 18-hole finish on Tuesday, with a forecast for slightly diminished wind.
Stricker normally would be a tough guy to have at your side on this golf course, particularly the way he putts. But a strange week took on another bizarre quality with this development - after waiting all week for the event to start, Stricker didn't think he could finish.
He began feeling pain in his left side about a month ago, and it won't seem to go away. Stricker limped badly down the hill on the 18th - right before his pitch shot rode the slope and the wind to perfection for an eagle - and the pain never went away. The good news for Stricker is that it never got worse.
``It felt as crappy on the first hole as the last hole,'' he said.
Stricker doesn't know the cause of the pain that shoots down his left side. He doesn't know how he will play Tuesday, and the prospects of making up a three-shot deficit against Johnson on this golf course are stout even in the best of health.
``You've just got to go out and play, and play your hardest and see what happens,'' Stricker said. ``I've been in that position where he's at now. It's a tough spot. It's tough to win in front. We've got really nothing to lose tomorrow and it makes it a little bit easier for us, but tougher on him.''
No matter the player or their position on the board, most were thrilled to be playing.
The wind was ripping down the mountain at dawn, even as players were on the putting green under floodlights for the 7:10 a.m. HST start. But in the half-hour before the tournament was supposed to start, it died enough that they could play.
That's not to suggest it was easy. The tour tried to slow the greens to keep golf balls from moving, and these might be the slowest surfaces they get all year. But they could play, which was a big deal, even though the tournament started on the day it was supposed to end.
The wind still blew - hard.
It was tough enough that Stricker, who started his second round on the 10th hole, had 97 yards to the front of the green and hit 7-iron. He still came up short. Johnson had a 9-iron from 100 yards on six occasions, though he also hit a sand wedge from 160 yards. That was the measure of the wind.
Through it all, Johnson was simply superb.
``The way he's playing, the way he's striking it, the way he's controlling his golf ball, it's pretty good right now,'' said Watson, who played with Johnson. ``And I don't see any different tomorrow from him.''
Beyond the scorecard, Johnson's two rounds went like this:
-He missed only three greens in regulation.
-He made only three bogeys, two of them on three-putts from inside 25 feet, the other on a drive he smashed on the 17th hole that went through the fairway and into the hazard for a penalty drop. Johnson tried to ``bunt'' his driver and hit it pure, like everything else. His caddie wanted him to hit 3-wood.
-He had four putts at eagle on the last seven holes. Two of them were on par 5s - a 259-yard 3-wood into the wind on the 15th, and a 5-iron from 243 yards on the 18th hole with the wind at his back. He drove just off the green on 425-yard 12th hole downwind, and the 292-yard 14th hole into the wind.
``I'm pretty pleased with my equipment. I'm pretty pleased with my game right now,'' Johnson said.
Stricker said at the start of the tournament that he was going into semi-retirement this year, playing only about 10 events. He won't return to the PGA Tour after this week until the end of February at the Match Play Championship. And he's not going to roll over for Johnson, regarded as the best American player under 30.
Johnson, though, will gladly take his position. He will be trying to win in his sixth straight season since leaving college, the longest streak of any player since Tiger Woods. And he won the last two 54-hole events on the PGA Tour, at the hurricane-shortened Barclays in 2011 and rain-delayed Pebble Beach National Pro-Am in 2009.
``Just happened to win those two events,'' Johnson said. ``I've still got 18 more holes of golf. It wouldn't matter if it was 72 holes or 54. Tomorrow is still the last round and there's 18 holes to play, so got to get the job done.''


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I'm not going to lie, when I heard that Ryan Gosling might play Christian Grey in Fifty Shades of Grey, it was pretty much the best day of my life. Just the thought of this man being domineering, sexual, and you know, shirtless with jeans hanging off his hips for an hour and 30 minutes -- well, let's just say I was on board with that idea.
Another thing I'm on board with? Ryan opening up about his fantasies. I mean, if we're going to picture this man as Christian Grey, we've got to hear more about his sexual side, right? Right.
Well, Ryan revealed his secret fantasy in a recent interview -- and let me tell you, it's pretty unexpected and shocking. First of all, it doesn't even involve me ...
Ryan Gosling admitted:
I've always had this fantasy about robbing banks.
Yep, you read correctly. Sweet little Noah from The Notebook is a true bad boy at heart. God, does that make him 10 times hotter or what?
Forgive me for looking way too far into this statement -- but this must mean he's a fireball in bed. Let's dig a little deeper, shall we? He wants to be dangerous. He wants to be sneaky. He wants to take charge. He wants to break the rules. He wants to be bad. If this doesn't prove that he's sexy enough to play Christian Grey, I don't know what will.
Haven't had enough? Take a look at Ryan being all bad and holding a gun in the trailer of his new movie, Gangster Squad:
Do you think Ryan Gosling's fantasy is sexy?