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Lighting is a fundamental element in creating a stunning design for the interior or exterior of any home. Not only does proper illumination add basic functionality, it can also contribute to an overall design style and act as a tool to highlight different features or create the perfect ambience.
Whether you are searching for ambient, task or area lighting for your home, ATGStores.com offers an amazing selection of stylish fixtures that can meet your needs, from sleek and minimalist ceiling lights, statement wall sconces and chandeliers, to vanity and bathroom lighting or even outdoor light fixtures. Our amazing variety is carefully curated to ensure we offer the best quality products available from an exclusive selection of top brands like Kichler, Progress Lighting, Hinkley, Visual Comfort and Hubbardton Forge, among others.
Our excellence in lighting is no stroke of luck – it's a combination of passion and history. In 1999, ATGStores.com originally started out as Lighting Universe, an extensive online lighting store with a deep knowledge of chandeliers, lamps, pendant lighting and every other lighting fixture imaginable. As we've transitioned into a Lowe's lighting store, and found our niche in high-end home goods, our offerings may have expanded but we continue to maintain a wide collection of quality lighting.
We also offer design expertise and professional installation services to help you choose the ideal lighting scheme for your home. Whether you need assistance from a professional interior designer from our partners at Decorist, or want the straightforward convenience of professional assembly or installation with our partners at SPAR or Porch, you can find everything in one place, entirely online at ATGStores.com. From concept to completion, we make it easy to create a space you love!


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Message Boards
Topic : 09/10 The Ultimate Weight Loss Race, Part 1
Created on : Thursday, September 04, 2008, 12:11:05 pm
The obesity epidemic is so dire, an estimated 86 percent of the population will be overweight by 2030. Dr. Phil challenges Americans to get real about shedding pounds with his biggest weight loss series ever: The Ultimate Weight Loss Race! First up, meet the contestants. Annette and Emilie are college roommates who blame junk food and cafeteria buffets for their bulging midsections. Lauren is a pastry chef who calls food a drug, while her twin, Joe, says he's overweight because he's "a total slacker." Phil is a police officer who can no longer fit into his uniform, and his wife, Tiffany, jokes that she loves McDonald's more than their children. Verne says he's frustrated that he let his weight spiral out of control, and he blames himself for his son, Patrick's, obesity. Finally, brothers Richard and Jeffery were once star football players but now say their combined weight is 731 pounds. Follow these five teams on a countrywide race as they compete against each other and complete challenges at some of the nation's most famous landmarks and cities. And, don't be a couch potato when you can join this weight loss movement! Log on to DrPhil.com on Wednesday, September 10 to get healthy eating tips, support and to follow the progress of your favorite contestant in our new weight loss community. Then, join the discussion here.
Find out what happened on the show.
Find out what happened on the show.
As of January, 2009, this message board will become "Read Only" and will be closed to further posting. Please join the NEW Dr. Phil Community to continue your discussions, personalize your message board experience, start a blog and meet new friends.

subset: commoncrawl


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Free Download Abstract Background Design Vector Illustration. Can be used for graphic or web designs. Free Vector Background available in Adobe Illustrator Eps & Ai {Version 10+} file formats. You are free to use these both for commercial and personal use. Free Vector from www.123FreeVectors.com. Vector tagged as color, Colorful, geometric, mosaic, triangle,
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China Connection Tours, a reputable China tour operator & travel agency from 1987
Home | About Us | Contact Us | Travel Forum
Map of China Yangtze River Cruise Tour---Small Group China Tours
Map of China Yangtze River Cruise Tour
Contact Us | About CCT | Privacy Policy | General Terms | Terms of Use | CCT Foundation | News | Links | Site Map of China-Tour.cn
Copyright©China Connection Tours, a reputable China travel agency and China tour operator. All rights reserved. ICP: 05014915


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Virtual Tour
Approx. 114 ft waterfront - waterfront lot with 1.43 buildable acres; remaining acreage is ready for you to build your own beautiful dock! Owner finance w/20% down; 9.5% int; 20 year amor. Come see this beautiful new subdivision with a heart for Texas Hill Country style terrain. Takes your breath away. Gated community two minutes from I-37.
† Excluded Feature
120 Swinney Switch Shores , Dinero, TX, 78368 is a Lots and Land for sale at $45,000 with a lot size of 165964 Sqft.. 120 Swinney Switch Shores has 0.0 baths. The property's zip code is 78368 which is in Dinero, TX
Based on 20.00 % down and a 4.13 % financing rate
Includes Mortage, Insurance, and Tax payments
Each Weichert® Franchised Office Is Independently Owned and Operated
Information deemed reliable but not guaranteed.
Listing data provided courtesy of the Internet Data Exchange Program of the
Corpus Christi Association of Realtors
The data relating to real estate for sale on this web site comes in part from the Internet Data Exchange Program of the Cullman Association of Realtors. Real Estate listings held by brokerage firms (licensees) other than Weichert Realtors include the name of the listing brokers.
The information being provided is for consumers' personal, non-commercial use and may not be reproduced or redistribute. Its sole purpose is to be used for no other purpose than to identify prospective properties consumers may be interested in purchasing.
Data is updated as of 11/19/2018.
Financial calculator disclaimer:
Default based on a 30-year fixed rate of 4.125% with 20% down. The estimated payment is offered for convenience and is not an offer of credit. Due to market fluctuations, interest rates are subject to change at any time and without notice. Your individual rate may vary. Rates may differ for FHA, VA or jumbo loans.


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Linked by Eugenia Loli on Sat 5th Jul 2008 22:07 UTC
As the Ubuntu Intrepid Ibex (8.10) development gets going, many people will probably be wondering what new end-user features they can expect. This article lists the top 5 new features. My Take: Nothing really exciting. I still shiver over the inability of the default Totem installation not de-interlacing my camcomder-derived home videos and DVDs because GStreamer doesn't support it, or no full A/V support on Pidgin yet, or something as simple as this which I've been asking for years now and it would probably take 5 minutes to implement.
Permalink for comment 321535
To read all comments associated with this story, please click here.
To read all comments associated with this story, please click here.
Please fix the spelling in article's title!!
by bannor99 on Sun 6th Jul 2008 01:15 UTC


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Featured News - Current News - Archived News - News Categories
The following activity occurred Monday, April 1, to Sunday, April 7, as reported by the Lewiston Police Department. LPD logged a total of 94 response calls during this period.
Monday, April 1
•5300 block of Garlow Road, domestic, vehicle/traffic stop-arrest. Male, 27, listed as a suspect and a female, 23, listed as person involved. Male arrested for driving while intoxicated; driving with more than .08 of 1 percent of alcohol; obstructing governmental administration, second; and resisting arrest. Male assigned jail/bail. Domestic Incident Report issued. Report filed.
•5200 block of Paddock Lane, alarm response. Worker on location; all OK.
•Robert Moses Parkway, check. Vehicle reported traveling north in southbound lane. Negative results reported.
•LPD office, larceny. Statement taken from a male, elderly, regarding an incident that occurred earlier at EM-Star of Mount St. Mary's Hospital and Health Center. Investigation to continue; report filed.
•Saunders Settlement Road and Buffalo Street, two-vehicle accident. Statements taken from the drivers; report filed.
•LPD office, follow-up. Male, 27, inquiring regarding an assault investigation.
•5400 block of Bridgeman Road, aggravated harassment. Unwanted phone calls, handled by patrol.
•1100 block of Elliott Drive, domestic/assault. Female, 45, listed as complainant and male, 52, listed as suspect. Complainant treated at Mount St. Mary's EM-Star for injuries. Suspect left scene. Report filed.
Tuesday, April 2
•Saunders Settlement and Walmore roads, vehicle/traffic stop. Female, 35, arrested for operation while registration is suspended/revoked. Driver released on uniform traffic tickets for Lewiston Town Court. Report filed.
•500 block of Irving Drive, neighbor problem. Patrol spoke with a male, 67, who reported suspicious vehicles near a neighbor's house. Wants frequent checks of area.
•5300 block of Military Road, officer requested. Patrol spoke with a female, 44, concerning a Metro Bus. Investigation to continue.
•5400 block of Comstock Road, property dispute. Complainant occurred on 1500 block of Mount Hope Road; patrol assisted Niagara County Sheriff's Office in handling report.
Wednesday, April 3
•4900 block of Lewiston Road, AED response. Female, 36, unresponsive. Lewiston No. 1 Volunteer Fire Co. EMS on location.
•5100 block of Country Club Trail, fraud. Male contacted patrol regarding a money scam. No report taken; complainant did not send money.
•5900 block of Kline Road, property damage. Mailbox damaged overnight. No report requested.
•2300 block of Upper Mountain Road, domestic. Female listed as complainant and male listed as suspect. No ages listed. Domestic Incident Report filed.
•Niagara University, harassment. Female listed as suspect reportedly called Castellani Art Museum and left threatening messages.
•500 block of Walmore Road, harassment. Patrol spoke with both parties; all OK.
•600 block of C Street, follow-up. Female listed in NU harassment call taken to Niagara Falls Memorial Medical Center on a mental health response.
•900 block of Center Street, two-vehicle accident. Statements taken from both drivers; report filed.
•700 block of Cayuga Street, bank alarm response. Call accidental.
•1900 block of Ridge Road, vehicle/traffic stop-arrest. Male, 29, arrested for aggravated unlicensed operation. Suspect released on uniform traffic tickets for Lewiston Town Court. Report filed.
•4500 block of Washington Drive, alarm response. All secure; no key holder.
•700 block of Powell Lane, citizen assist. All secure.
•Saunders Settlement Road and Hewitt Drive, vehicle/traffic stop-arrest. Male, 28, arrested for criminal possession of controlled substance, fifth. Appearance ticket issued for Lewiston Town Court. Report filed. LPD also reported conducting a K-9 narcotics search at the location.
Thursday, April 4
•700 block of Lake Road, check 911. Citizen assist with phone problems.
•Saunders Settlement and Walmore Roads, vehicle/traffic stop-arrest. Female, 33, arrested for aggravated unlicensed operation and operation while registration is suspended/revoked. Suspect released on uniform traffic tickets for Lewiston Town Court. Report filed.
•5500 block of Townline Road, house/structure fire. Sanborn Volunteer Fire Co. on location; electrical issue reported.
•Route 104 westbound, reckless driver. GOA.
•200 block of Portage Road, unwanted Person. All OK.
•2400 block of Upper Mountain Road, tire fire/shed fire. LPD assisted NCSO; all OK.
•Devils Hole State Park, assist. LPD on location with U.S. Border patrol and State Parks Police for an individual reported crossing at Artpark. Subject in custody in Canada.
•Smith Street, assist. LPD on location with state police for a vehicle/traffic stop. Suspect fled on foot. Male suspect apprehended by patrol at gas/convenience store at Ninth and Center streets and transferred to custody of state police.
•Rainbow Bridge, assist. LPD K-9 search assisted U.S. Customs with a vehicle.
•200 block of Portage Road, harassment complaint at a motel. Statement taken from a female, 42, Suspect unknown, possibly an evicted former tenant.
•Locations on 300 block of River View Drive, Youngstown, and 5200 block of Lewiston Road, alarm responses. Locations secure.
Friday, April 5
•Bonds Lake, suspicious vehicle. Vehicle unoccupied; all OK.
•2500 block of Ridge Road, possible larceny. Patrol reported the house as vacant. Landscapers removed items from garage. Patrol spoke with a neighbor. Investigation to continue.
•Location not specified, assist. LPD assisted Town of Niagara Police on an attempt to locate for a suspect of a larceny that occurred at a retail business on the 2500 block of Military Road. Owner of vehicle involved lives in Youngstown. No further details.
•800 block of The Circle Drive, alarm response. State police on location.
•5300 block of Chew Road, two-vehicle accident. Statement taken from driver of vehicle No. 2, who reported driver of vehicle No. 1 refused to cooperate and left scene. Vehicle No. 1 listed as a 2000 Pontiac, color blue; plate number logged. Report filed.
•5400 block of Roberts Street, domestic/check 911. Female. 37, listed as complainant; male, no age, listed as suspect and placed under arrest for menacing. Appearance tickets issued for Lewiston Town Court. Report filed.
•500 block of Irving Drive, stove fire. Upper Mountain Volunteer Fire Co. on location.
Saturday, April 6
•200 block of South Second Street, domestic. Female, 53, listed as complainant and male, 52, listed as suspect. Report filed.
•4500 block of Washington Drive, check welfare. All OK.
•400 block of Main Street, Youngstown, alarm response. LPD on location to assist NCSO. Building secure.
•400 block of Dutton Drive, occupied vehicle in front yard. Patrol responded and reported a female, 42, passed out at the wheel. Female suspect arrested for driving while intoxicated. Breath testing refused. Vehicle towed.
•4500 block of Washington Drive, unwanted party. Party left prior to patrol's arrival.
•2200 block of Saunders Settlement Road, violation of court order. Patrol reported party on site wasn't the one listed.
•South Sixth and center streets, hit-run accident. Statement taken from driver; other vehicle left scene.
•5300 block of Military Road, two-vehicle accident. Statements taken from the drivers; report filed.
Sunday, April 7
•5000 block of Garlow Road, trailer/brush fire. Male, 33, on location.
•NU campus, Clet and Seton residence halls, separate reports of an intoxicated female and an intoxicated male. Patrol assisted EMS responders on both calls.
•NU campus, O'Shea lot, two-vehicle accident. Statements taken from drivers; report filed.
•Location not specified. Larceny. LPD assisted NCSO on an arrest. Unidentified suspect to Niagara County Jail. No further details. NCSO filed report.
•2400 block of Upper Mountain Road, harassment. Male, no, age, listed as complainant. Patrol reported a male, 30, was arrested for threatening his former employer and family and being terminated. Arraignment at Town of Niagara Court, bail of $500/$1,000 assigned and suspect remanded to Niagara County Jail. Report filed.
•4900 block of Creek Road, two responses - unwanted party and juvenile problem. First response, party GOA. On LPD's second response, patrol spoke with a female complainant, 43, regarding a female suspect, 17, reported in possession of hypodermic needles. Suspect charged with criminal possession of a controlled substance, seventh. Suspect remanded to Niagara County Jail on jail/bail of $500.
•1000 block of Escarpment Drive, open burn. Fire contained and put out on scene.


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Under a tight deadline, innovative studio replaces disk arrays on projection systems to greatly improve productivity and system reliability.
The Challenge
Visual entertainment companies, like Prime Focus, that convert regular film to stereoscopic (3D) are reaping the benefits of the recent surge in 3D popularity. When Warner Brothers challenged Prime Focus to convert "Clash of the Titans" to 3D in just eight weeks, they were quick to accept, even in the face of the Hollywood community's skepticism. No stranger to innovation, Prime Focus was confident they could find a way to deliver quality work under the incredibly tight timeline.
At Prime Focus's California office, artists checked work into a central server. Three times a day, they copied "reels" or segments of footage to projection workstations for review sessions with supervisors and studio heads. The review sessions were critical to give artists feedback necessary to remain continuously productive. Turnaround times for typical VFX projects can vary significantly, but with only eight weeks to finish "Clash," Prime Focus artists would have to work more efficiently than ever.
Prime Focus' proprietary View-DTM process greatly improved conversion speeds and quality. However, they still needed to eliminate the following pipeline bottlenecks:
The SanDisk® Solution
Quadrupled Productivity
Sean Konrad, Project Manager for the conversion, told us, "With typical VFX projects, we complete about 20-30 shots per day. The Fusion ioMemoryTM ioDrive® cards scaled our data load capabilities by about 20 times. This improved our productivity about 2-4x."
The ioDrive cards made this possible by delivering the following improvements:
Sean Konrad,
Project Manager for Stereoscopic Conversion, Prime Focus
Eliminating Disk Maintenance and Improving Reliability
One of Prime Focus' primary reasons for replacing their disk arrays with ioDrive cards was to ensure that disk array problems did not threaten their schedule.
Disk defragmentation rendered machines unavailable for review sessions for about two hours—precious time Prime Focus could not afford to lose. Additionally, Prime Focus did not want to risk failures in disks or RAID controllers that could require hours to restore.
Sean told us, "We had 60 artists working in the LA office. Suppose the review session for a segment that 40 artists were working on was delayed by 2 hours due to an array going down and needing to be rebuilt or because a defrag took too long. This could potentially translate into 80 hours of lost work for artists who were waiting on feedback. This was something we simply could not afford."
SanDisk's ioDrive cards did not need to be defragmented and had no RAID controllers to fail, virtually eliminating maintenance as a threat to their schedule.
Easy Implementation
Prime Focus had no spare time to design and architect a complex system that could achieve their efficiency goals. Administrators simply plugged the ioDrive cards into the PCI slot of their playback station and configured them, after which they appeared just as any hard drive would.
In fact, Sean told us, "It took absolutely no time to set this up. The IT department figured out a workflow that allowed machines to be up and running in under an hour, whereas tweaking RAID array distribution can really bog down production. We had the idea to add three machines on a Thursday, and by the following Monday they were in full production."
Implementing Fusion ioMemory solutions gave Prime Focus the following benefits:
Sean told us that Prime Focus couldn't be happier. "The ioDrive cards really helped us meet a tough deadline. Each review session covered far more shots and we could continue cycling work in between sessions. We don't have to worry anymore about defragmenting disks, rebuilding RAIDs, or swapping out disks. We are buying many more cards to implement throughout our different locations."
About the Company
Prime Focus is a Global Visual Entertainment Services Group. With facilities in L.A., New York City, Vancouver, Winnipeg, London, Mumbai, Goa, Hyderabad, Bangalore and Chennai, Prime Focus operates across 3 continents and 5 time zones. Prime Focus specializes in providing creative and technical services for the Film, Broadcast, Commercials, Gaming, Internet and Media industries, operating across the entire Visual Entertainment Services sector, in every major market and at every stage of the project's development. Prime Focus offers a unique proposition – a state of the art infrastructure and "Global Digital PipelineTM" working across three continents, giving access to industry-leading worldwide talent and global workflows, and allowing clients to realize substantial time and cost savings.


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The new wellbeing resources hub founded by @profcarycooper and Roberston Cooper. Join for FREE and access blogs, videos, downloads, podcasts and more.
MD of Cary Cooper's business psychology firm, Robertson Cooper - for all things wellbeing, engagement and resilience at work.
Professor Cary Cooper, Director and Founder of Robertson Cooper Ltd, Distinguished Professor of Organizational Psychology and Health at Manchester Business School.
Robertson Cooper Ltd
Rutherford House
Manchester Science Park
Pencroft Way
Tel: +44 (0) 161 232 4910


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Car Deals
Convertible Deals: December 2013
Unless you live in the southern part of the country, buying a convertible may be the last thought on your mind. But winter is a great time to buy a drop-top, as many automakers are offering strong convertible deals and incentives as sales dry up. We've listed our favorite special offers on great convertibles in our latest list.
The BMW Z4 is a sporty 2-seat, rear-wheel-drive roadster with a folding hardtop. This month, BMW is offering the 2014 Z4 with several incentives to entice buyers to purchase or lease the convertible. For qualified shoppers looking to finance, BMW is offering interest rates as low as 2.99 percent for 36 months -- a departure from the brand's usual 3.29 percent offer. Lease shoppers also get a good deal, as BMW is touting payments from $419 per month for 39 months after $3,600 down on a 2014 Z4 sDrive28i.
Chevrolet Camaro
The Chevrolet Camaro is a retro-styled, 4-seat sports car offered with V6 or V8 power. For shoppers interested in a good deal on a Camaro convertible, several offers are available in December. For qualified buyers looking to finance, Chevrolet is offering 3.9 percent interest for up to 72 months on 2014 models or 0 percent interest for up to 48 months on the 2013 Camaro. Meanwhile, drivers paying in full can also get a good deal, with cash-back offers as high as $500 on the 2014 Camaro or $1,500 for the 2013 model.
Find a Chevrolet Camaro for sale
Chrysler 200 Convertible
Formerly called the Sebring, the Chrysler 200 Convertible offers a soft-top, four seats and reasonable pricing. In December, it's offered with several incentives. For drivers looking to finance, Chrysler is touting interest rates as low as 0 percent for up to 72 months on all 2013 models or 0.9 percent for 36 months on the 2014 Chrysler 200 Convertible. Shoppers looking to pay in full also get a good deal, as Chrysler is offering up to $1,000 cash back on all 2014 models through the end of the month.
Ford Mustang
The Ford Mustang is a 4-seat, 2-door sports car offered in coupe or convertible body styles. If you're after cheap thrills, the Mustang is a great choice in December thanks to several strong incentives from Ford. The best is for shoppers looking to finance, as Ford is offering the 2013 Mustang with 0 percent interest for up to 60 months plus up to $2,000 cash back. But those looking to pay in full also get a good deal, as Ford is touting up to $3,500 cash back on all 2013 Mustang models. If you'd rather have a 2014 model, incentives include 0 percent interest for 48 months or 0.9 percent for 60 months plus $1,500 cash back, or up to $3,000 back for shoppers looking to pay with cash.
Mercedes-Benz SLK
The Mercedes SLK is a luxury-oriented 2-seat roadster with a folding hardtop. In December, it's offered with two incentives. Shoppers interested in the best deal can lease a 4-cylinder SLK250 for 39 months with payments from $499 per month after $4,459 down at lease signing. For drivers looking for more muscle, the V6-powered SLK350 is available for 36 months at $619 per month after $5,064 down. While that may seem steep, it's still well under the lease rate for the SL550, the automaker's other 2-seat convertible, which starts at $1,299 per month after a whopping $7,000 down at lease signing.
Find a Mercedes-Benz SLK for sale
What it means to you: Our list of convertible deals proves there's no time like December to buy a new drop-top.


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It's that time again! Spring Leaderee is now open for registration. Join your fellow volunteers and staff for an amazing day of activities, learning, and fun!
What is Leaderee, anyway?
Leaderee is one of Girl Scouts—North Carolina Coastal Pines large scale training and networking weekends for volunteers. Leaderee is held twice a year—once in the Fall and once in the Spring. It is a great opportunity to network with other Girl Scout leaders, learn ways to enhance the programs you are leading with your girls, and take part in fun, outdoor activities that girls can do. This is your chance to live like a girl—and enjoy being a Girl Scout! Learn how to canoe, be a risk taker and try a challenge course, or learn how to knit…the opportunities are endless!
Do I have to be a Troop Leader to come to Leaderee?
No, all volunteers can attend. Although many of the sessions and workshops hosted at Leaderee are targeted for our Troop volunteers, workshops are open for all volunteers.
What types of sessions and workshops will be offered?
Have you been thinking about becoming First Aid and CPR trained? Ever wanted to learn how to become an archery instructor? Or are you interested in fellowship and making swaps with other adults involved in the movement? Then this opportunity is for you—no matter what capacity you volunteer! Check out the list of workshops listed on C.O.R.E. You are sure to find something that sparks your interests!
Are overnight accommodations available?
Absolutely! Spending the night and camping with other volunteers will enhance your experience! We welcome all volunteers to stay Friday night, Saturday night or both! We have options for adults to stay in cabins or tent camping. Check out C.O.R.E. for details on pricing and accommodations. The workshops will take place during the day on Saturday, thus, staying the night is not required. However, Friday night and Saturday night activities allow for time to share stories and memories with other volunteers throughout our council.
Can I apply for financial assistance?
We understand that the more training you attend, the more you are paying to stay involved. Financial assistance is available for adult training opportunities. Check out the council website for the financial assistance form. Adults are eligible for up to one third of the event cost. Please contact volunteer services at email@example.com for questions regarding financial assistance.
Registration Now Open!
what: Spring Leaderee—"I Can't Wait!"
when: April 4-6, 2014
where: Camp Mary Atkinson, Johnston County


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Page content
Working at the Armoury
Many different kinds of supplies were needed to outfit an army in the eighteenth century, including weapons, ammunition, gunpowder, uniforms, tents, food, and much more. During the Revolutionary War, the colonists could no longer import these items from Britain, and had to obtain the supplies they needed for the army locally. In some larger towns in the colonies, including Williamsburg, the tradesmen who made military supplies worked together in a complex called an armoury. James Anderson was a blacksmith in Williamsburg who ran an armoury there from 1778 to 1780, when the capitol of Virginia moved to Richmond and Anderson moved his business as well. Mr. Anderson employed a variety of skilled workmensoldiers, skilled Frenchmen working under contract, enslaved men, prisoners of war, apprentices, and tradesmen. Blacksmithing focused on repairing weapons and making bayonets, ramrods, and musket balls. The tinsmiths created camp items such as cups, plates, and kettles, essentials for soldiers' daily lives.
Students will discover what work was done at the armoury, who did the work, and why the facility was so vital during the American Revolution. This lesson could be used during the study of the American Revolution, colonial trades, or as a stand-alone. It works best with third through fifth grades.
In this lesson, students:
- List the materiel needed to fight a war in the eighteenth century.
- Identify objects made at the armoury and explore their significance to the military during the Revolutionary War.
- Explain the purpose of an armoury.
- Slideshow: http://history.org/media/slideshows/under_the_redcoat/
- Primary Source of the Month image
- Armoury Board Game (printed on legal-size paper)
- Armoury Board Game Instructions
- Cards for Armoury Board Game
- Dice (provided by teacher)
- Tokens (buttons or coinsprovided by teacher)
- Paper for journal entry (provided by teacher)
Download Lesson Materials (PDF)
- Tell students to picture the time of the Revolutionary War (to assist students, you may wish to show photos from this Colonial Williamsburg slideshow: http://history.org/media/slideshows/under_the_redcoat/) Ask students, "In the eighteenth century, what would you need to fight a war?" Possible answers include weapons (guns, cannons, bayonets, swords), food, uniforms, horses, saddles and shoes for the horses, etc.
- Explain that the armoury was where much of this was made. In spring of 2012, Colonial Williamsburg opened their newly reconstructed James Anderson Armoury. Share the information from the Introduction with students. You may wish to use the Primary Source of the Month image as a visual aid.
- Put students into groups of four and hand out the armoury board game, instructions, dice, and game pieces.
- Ask students to play through the game once, then answer the discussion questions as a group.
- Ask groups to share their answers with the class.
Lesson Extensions
- Have students make brochures advertising the armoury (this could be done on paper or using software such as Microsoft Publisher).
- Have students read and respond to an entry in Colonial Williamsburg's armoury blog: http://whatsnew.history.org/topics/armoury/
- Individually or as a class, play the blacksmith game on Colonial Williamsburg's website: http://www.history.org/kids/games/flash/blacksmith.swf
This lesson was written by Lynne Zalesak, Houston, TX, and Kelly Pearce, Albuquerque, NM.


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This is a classic French dessert that is served at Christmas time. Bûche de Noël translates as the "Christmas Log" and is meant to look like the piece of wood you are about to toss into the fireplace. It is a rather odd tradition and yet I find myself making one every year. It always reminds me of the TV station that plays Christmas music and shows nothing but a burning log in a fireplace. I thought those were just memories of my long ago childhood, but I was amazed to see that the burning log still finds its place on YouTube even today.
Despite my unglamorous association there is something quite elegant and beautiful about the Bûche de Noël. According to Larousse Gastronomique the yule log cake tradition started in the 1870s when Parisian pastry chefs decided to replace the less elaborate brioche style fruit loaf with this more festive confection. Although I am quite partial to the Panettone style breads, I can see why pastry chefs created something a little more fussy to work on, that is just how we are!
If you came to this post through Instagram, you will see that this cake is slightly different than the one in my video, but the process is the same.
The beauty of this recipe is that you can use any flavor combination that you choose. I've even done them with ice cream in the center or mousse. For this one I used a classic vanilla chiffon roll, ganache and buttercream.
Vanilla Chiffon Roll from Mary Bergin in Baking with Julia:
1 1/2 cups sugar
1 cup all-purpose flour
1 teaspoon baking powder
1 teaspoon baking soda
1/4 teaspoon salt
4 large eggs, separated
1/2 cup vegetable or safflower oil
1/2 cup water
2 tablespoons pure vanilla extract
2 large egg whites
Prepare a 17 1/2- by 12 1/2-inch jelly-roll pan with oil and a sheet of parchment
Preheat the oven to 350 degrees
Sift together 1 cup of the sugar, flour, baking powder, and baking soda onto a sheet of parchment; add the salt.
In a large bowl, whisk the yolks, oil, water and vanilla until blended. Add the dry ingredients gradually to the yolk mixture, whisking all the while; set aside.
Beat the 6 egg white in a stand mixer on low speed until foamy. Increase the speed to medium-high and gradually add the remaining sugar, beating until the teh whites are thick and shiny and hold medium peaks.
Fold 1/3 of the whites into the yolk/flour mixture to lighten it, then turn the yolk mixture into the whites and gently fold together until thoroughly incorporated.
Pour the batter onto the prepared baking sheet, spreading it evenly with an offset spatula. Bake the cake in the center of the oven for 10-12 minutes, until the edges just start to pull away from the sides of the pan. Allow to rest on cooling rack until room temperature.
For Ganache:
6 1/2 ounces really high quality bittersweet chocolate
2 ounces milk chocolate
1/2 vanilla bean
1/2 cup heavy cream
Place the chopped chocolate in large bowl. Split the vanilla bean lengthwise down the middle and scrape out the seeds. Put the heavy cream in a sauce pot on medium heat. Place the vanilla bean and seeds in the cream, bring to a boil. Remove from heat and add chocolate to the cream, remove the vanilla bean. Make sure all the chocolate is submerged in the hot cream. Let sit for about 3 minutes then stir gently until perfectly smooth. Pour into a glass baking dish and allow to set up at room temperature, about an hour.
One batch Mocha Buttercream or White Chocolate Buttercream
To assemble the Bûche de Noël
invert the cake onto a sheet of parchment.
Spread all but a 1/4 cup of the cooled ganache over the complete surface of the cake with an offset spatula.
Using the parchment to help you roll the cake over the ganache into a tight log starting at the long end.
Wrap the log of cake and refrigerate for at least an hour to set the ganache, which will make the cake easier to work with.
Once the cake is chilled cut it at an angle in half. Cut one of the halves again making one of the pieces 1/4 and the other 3/4. Place the 3/4 piece against the half log and the 1/4 piece will sit on top of the half log.
Spread the buttercream over the surface of the cake. You want to create the appearance of bark so don't worry about it being too smooth, you probably will not use all of the buttercream. I even swirl the ends to resemble the cut end of the log. Save at least a small portion of the buttercream to mix with the reserved ganache.
Blend the reserved ganache with the buttercream to create a contrasting color. Use your spatula to spread this onto the log in patches. You want to be able to see the lighter buttercream underneath.
Use a fork to create the bark texture on the Bûche de Noël and swirl the two buttercream colors together.
Create peeling bark for your Bûche de Noël by shaving a chocolate bar with a sharp knife. Sprinkle it over the top of the log and then dust with powdered sugar snow.


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Love on The Run
John never saw it coming. For weeks John had been pushing his team of horses to the limit. Through horrendous heat and tempestuous thunderstorms, John held the reins tight, guiding the wagon of his boss's wife in an attempt to escape the Feds. Driving with little rest, John let his guard down. While he was tending to his horses, John spotted the most beautiful woman he had ever seen. Then it happened. The assassin fired a shot and struck John right in the middle of his chest. Cupid claimed another victim, with a perfect arrow shot which struck John right in the center of his heart, on Dublin's courthouse square.
John had been working for his boss and his family for several years in their palatial home in Richmond, Virginia. Then in the early days of an April, long, long ago, the boss and his wife got word that Federal authorities were out to arrest him for crimes against the United States. The boss sent word to John and Jim, two of his most trusted aides, to get the family's wagons ready to make a long trip.
For more than a month, the boss, his wife, and his children were escorted by a dozen or more of the organization's most trusted lieutenants as they traveled along back roads in daylight and along main roads during the dark hours of the night. About a month into their flight, the boss met with his council of advisors. The committee decided to split into smaller groups to elude federal authorities.
When they left Sandersville, Georgia, the boss and his aides left in a small group, taking fresh horses to the west. The boss's wife and his children, Maggie, Jeff, Willie, and a small, unnamed baby rode in the wagon with John more to the southwest. As the boss and his gang were secreting their way toward the Oconee River, reports were coming in that his wife and family were in danger of being robbed.
All through the night of May 6 and early into the morning of May 7, the boss raced down the roads of western Johnson County and the Buckeye District looking for his wife and children. Finally during the predawn hours, John and Jim got the word to halt from the point man at the head of the column of wagons.
After some initial excitement, the guards discovered that the attackers in their front were actually the boss and his cortege. The boss came galloping up to John's wagon. He hugged his family as they halted near the home of E.J. Blackshear on the old Indian trail leading northeast from Blackshear's Ferry.
John helped Jim and a colored servant woman prepare some breakfast for the boss and his family. It wasn't long before John once again climbed up to his bench and started forward to the southwest.
About midmorning, John and Jim's wagons reached the eastern bank of the Oconee River. John steadied the horses and the wagons as they were carried across the river on the Dublin Ferry.
The boss, wanting to avoid detection, remained on the southeastern outskirts of Dublin, while John took the boss's wife and his children into town. They stopped at the store of Freeman Rowe, one of the town's leading merchants. Rowe kindly offered an elegant Sunday lunch. Col. Reagan, one of the boss's closest counselors, asked for the best directions to get out of town. He explained who his boss was and the reasons for a fast and undetected getaway.
John noticed a beautiful woman in the quickly growing crowd which began to assemble on the courthouse square. He was smitten by the young woman with the beautiful name of Isabella. Isabella, a member of the Conway family, also took a shine to the handsome John. It was love at first sight. But, just as soon as they met, John was summoned to get back to his duties and mount the wagon. As he rode off to the south, John promised Isabella that he would return for her one day.
Yet another spring freshet made travel along the soupy dirt roads almost impossible. The going was tough. The boss crossed the Ocmulgee and turned further to the south. Then one night, James and Jim heard something rattling in the bushes around their camp. They rose to see what the matter was and found themselves surrounded by federal agents. These men dressed in blue suits took the boss, his wife and his family to Macon before they sent the boss off to prison.
With no evidence to convict him, John was released. He made his way back to Laurens County just like he promised Isabella that he would. On October 30, 1870, John and Isabella stood in front of God and the surrounding witness and sealed the bands of marriage. Justice of the Peace William Haskins pronounced them man and wife.
The Davises established their home in the Bailey District of Northern Laurens County for more than twenty years. When an opportunity came to move to a farm in a better place, John and Isabella, along with their many children, moved down to Dodge County, Georgia, where they remained for the rest of their lives.
Some of the little old ladies of the Old South asked John to join in a ceremony on the banks of Gum Swamp Creek to commemorate the night that John and the rest of the members of his band camped for the night just before the Feds got their man.
No one alive seems to know whatever happened after that. John and Isabella and their family seemed to have disappeared.
What you have read is a true story. It was a story of love at first sight and everlasting love. Now that you know the story, maybe you might be interested, as Paul Harvey used to say, in the rest of the story.
The subject of this love story is John Davis, wagon driver of Winnie Davis, wife of Confederate President Jefferson Davis - the boss in this story. This is his story or what I know about it. I hope that one day a remote descendant of John and Isabella Davis will come forward and shed more details about the time that the last vestiges of the Confederate government traveled down from Washington, Georgia through Sandersville and on through Dublin to Irwinville, where they were captured by the Union cavalry on the morning of May 10, 1865.


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Now that the last Bruins-Montreal game of the regular season is in the rear-view mirror, maybe everyone can turn the page on Zdeno Chara's season from the Max Pacioretty hit to what are some impressive numbers.
Chara's totals are so prolific, he should be front and center in the debate over this year's Norris Trophy. Chara previously won the award as the league's best defenseman with 19 goals, 50 points and a plus-23 rating in 2008-09.
Chara is in the midst of a stretch of seven games that has featured him putting up 10 points, including two goals. One has to hope that the controversy over the Pacioretty hit and the league's decision to not suspend Chara doesn't jade the view of the voters of the Professional Hockey Writers' Association (a group I'm a part of). Because when you break it down, the Bruins' captain might be the perfect choice to win the Norris.
With last year's winner Duncan Keith of Chicago kind of behind the pack statistically this year and Washington's Mike Green, a perennial finalist the last couple years, out with a concussion for a lengthy period of time, I've narrowed the list of candidates to eight, including Chara. Without getting into any detailed, sabremetric analysis, here's a capsule look at how Chara compares to the following players: Lubomir Visnovsky (Anaheim), Nicklas Lidstrom (Detroit), Keith Yandle (Phoenix), Dustin Byfuglien (Atlanta), Kris Letang (Pittsburgh) Shea Weber (Nashville) and Dan Boyle (San Jose).
Let me start by saying that on my ballot, I could never give a first-place vote to a defenseman that barely gets on the ice during penalty kills when there are so many great all-around defensemen to choose from and no one is putting up historic offensive totals. So right off the bat I rule out Visnovsky, Yandle and Byfuglien.
Chara currently sits 15th among defensemen in points with 42 (two shy of last year's total) and seventh with 13 goals with nine games left in the Bruins' season. After the points leader Visnovsky, Lidstrom is second (58), Letang is sixth (48), Weber is ninth (45) and Boyle is 14th (44). As far as goals, Byfuglien leads with 19. Among players I consider contenders for a first-place vote, Weber is second (16), Lidstrom is fifth (14), Letang has just eight goals and Boyle has scored just six.
Now this might not matter to some voters, but among my Norris contenders Chara scores the lowest percentage of his points on the power play. Just 33.3 percent of Chara's points have come on the man-advantage, while Lidstrom (63.8), Letang (47.9) and Boyle (59.1) are heavily reliant on the power play. Weber closely compares to Chara at just 35.5 percent.
Ice time usually factors into Norris talk. Amazingly, the player that's seemingly favored most by some of the bigger-name writers, Lidstrom, averages just 23:41 of ice time, which is 26th in the league. Boyle is second overall and first among my contenders at 26:35 on the season. Then comes Chara at 25:37 (fifth overall) and Weber at 25:21 (seventh overall). Letang averages 24:03.
When it comes to plus/minus — a flawed by widely accepted way to rate defensive effectiveness — Chara is the leader among this group with a plus-28 that ranks fourth overall in the NHL. Letang is plus-14, Boyle minus-4, Weber plus-11 and Lidstrom — who I repeat had this award won back in October according to some writers — is minus-2.
So while ranking among the best of the best blueliners in points, but scoring less of his points on the power play, Chara logs the most minutes of his closest competitors and sports the best plus/minus. Sure, he got off to his annual slow start and Lidstrom might finish up with the most consistent season start to end among the top defensemen, but Chara definitely has to garner serious consideration for another Norris.


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Grace Coddington grew up on what she calls "an island off an island," far from the fashion industry. Her new memoir, Grace, chronicles her journey from a sleepy town on the coast of Wales to her current job as the creative director of Vogue magazine.
As a child, Coddington's home was a 42-room hotel that her parents ran on a remote island — a place where guests could sail, go fishing and take long walks among the cliffs. "Up until the time when I was 18, I barely saw anyone except in the summer," Coddington tells Fresh Air's Terry Gross. "It was very deserted for the rest of the year, and I loved it that way. I didn't mind being alone at all."
Even far from the fashion world, Coddington read issues of British Vogue that she received through the mail. "It was always out of date by the time I got it," she says, "but it didn't really matter because, not being that fashion conscious at that moment, I guess I didn't notice it was out of date; I just enjoyed looking at the pictures and dreaming."
When Coddington was 18, she left her hometown to attend modeling school. She says she didn't learn very much there, but she did learn how to do her own makeup and hair, and how to walk down a runway. "In those days, models had to know how to do everything themselves," she explains. "There weren't these huge teams of people that look after a model these days and basically do it for her, so you had to be prepared."
In the early 1960s, as London became a center for new fashion, Coddington's work as a model began to influence designers and hairdressers such as Vidal Sassoon. But her modeling career was cut short after a car accident left her face disfigured. After painful skin grafting and five surgeries, Coddington made the move to working behind the pages at British Vogue as a junior editor.
In 1988, Coddington began work at American Vogue, at the same time that Anna Wintour took the helm as editor-in-chief of the magazine. As creative director, Coddington is the driving force behind the magazine's signature fantastical editorial shoots. Coddington says those shoots are like setting up a little movie or a play. "Those huge shoots that I do are the most fun because you can really go to town," she says. "You can forget about being commercial; you can use all your creative juices."
Interview Highlights
On the types of pictures Grace was drawn to at an early age
"I wasn't just looking at the fantastic clothes, and I still don't just look at fantastic clothes, and when I approach my work, it's not just to do with the clothes. The pictures that were really grabbing me in those days were the ones shot on location because they kind of made you dream a lot."
On stopping her modeling career as she healed from a major car accident that disfigured her face
"I just went about my business and helped people around studios, meanwhile biding my time until it was OK. But it was a bit of an arduous process because every time I had an operation, they had to wait and see until it settled down and it was totally healed to see whether it was healed correctly, and that I could just go on from there. And a couple of times it didn't heal correctly, and I had to go back and start again, and they did skin grafting and things, which I must say is quite painful — not so much where they sew the skin, but where they take it from — and then they have to wait and make sure it's taken, so it's a long process."
On plastic surgery
"I don't mind to look older. I don't have this urge that so many people have that they've always got to look young all their lives. I think you should be the age you are and enjoy it. And I think there's lot[s] of people that have plastic surgery who quite honestly looked better before, so that's just my feeling. But if you want to have it, go ahead and have it, but take a good look before you do because, just maybe, you look absolutely beautiful the way you are."
On why clothes are outlandish and extreme-looking on the runways
"You have to have a bit of fun in life, and that's why they do it, and they do it to get your attention. ... When you go back to [the designers'] showrooms, you'll find the more commercial versions of that, but it's to get across a point. I mean, you have to say it in a strong way to get across a point. So if you want to go short, they go very, very, very short on the runway, but you'll find in the showroom, it'll be a reasonable short that you can wear. ... We photograph the more commercial things, and we photograph the extreme things because — for the same reason, to make the same point — you have to say it strongly so people can see the difference between last season and this season, and you have to feed them the information. If you're too subtle about it, you're not going to get it."
On why actresses, not models, are on the cover of Vogue magazine
"You have to be interesting to such a wide variety of people, and I guess right now, actresses just do it better. They certainly sell more magazines than models, sadly. I'm very sad about it. I wish it would go back to models, but I don't think it will, just because that's what the people demand. They want to see the latest actress who is in the latest movie, and that's what we do; we keep up with that — whoever is appearing in whatever movie is the movie of the moment. And the general public find that more interesting than a model — and also there are not so many very strong models that could hold a cover right now — again, I say sadly."
This is FRESH AIR. I'm Terry Gross. As the creative director of Vogue magazine, my guest Grace Coddington is one of the most influential editors in the fashion world. Many people outside of the fashion industry know her from the 2009 documentary, "The September Issue," a behind-the-scenes look at publishing the largest, most influential Vogue edition of the year.
Although Coddington says she didn't even want to be in the film, she emerged as its star. Now she has a new memoir called "Grace." Coddington is Welsh and began her career in fashion as a model. In the early '60s, when London was becoming the center of the emerging youth fashion world, Coddington was a house model for hair stylist Vidal Sassoon and modeled clothes designed by trendsetter Mary Quant.
In 1961, a car accident smashed Coddington's face, interrupting her career for two years. She returned to modeling after several reconstructive surgeries. In 1968, she moved to British Vogue as a junior fashion editor. In 1988, when Anna Wintour became editor-in-chief of American Vogue, Coddington became her fashion editor. They've worked together at Vogue ever since.
Grace Coddington, welcome to FRESH AIR. I want to start by talking about your earlier life, and then we'll get up to Vogue magazine. Your family ran a hotel, and that's where you grew up. You describe it as a 42-room getaway spot of quiet charm for holiday makers who like to sail, go fishing or take long, bracing cliff-top walks rather than roast themselves on a sunny beach. I have to say that hotel doesn't sound like fashion central.
GRACE CODDINGTON: Oh, it absolutely wasn't, and - but it was utterly, utterly charming, and, you know, I feel very privileged to have had that childhood. I don't know how I would have fared if I'd grown up in a big city, but, you know, up until the time of - when I was, I think, 18, I never - I barely saw anyone except in the summer. It was very deserted for the rest of the year, and I loved it that way.
I really, I mean I liked - I didn't mind being alone at all.
GROSS: And I neglected to mention this little hotel was on an island off the coast of Wales. So you were pretty isolated.
CODDINGTON: It's on an island off an island, even, so it's very, very remote, yeah.
GROSS: So when you were young, growing up on this island off the island and living, you know, adjoining the hotel, you read Vogue magazine. British Vogue, American Vogue?
CODDINGTON: Oh, only British. American Vogue definitely didn't get that far, and even British Vogue barely got that far, and it was always out of date by the time I got it. But it didn't really matter because, you know, not being that fashion conscious at that moment, I guess I didn't notice it was out of date. I just - I just enjoyed, you know, looking at the pictures and dreaming.
GROSS: So what kind of picture did you especially enjoy, and how does what you do now connect to what you loved then about British Vogue?
CODDINGTON: I think...
GROSS: Or I should say about looking at pictures wearing fantastic clothes.
CODDINGTON: I wasn't just looking at the fantastic clothes, and I still don't just look at fantastic clothes, and when I approach my work, it's not just to do with the clothes. It's - you know, the pictures that were really grabbing me in those days were the ones shot on location because they kind of made you dream a lot.
And there was a photographer that I guess his work really grabbed me, and that was Norman Parkinson, who much later on I got to meet and work with, both as a model and as an editor. And he was quite old, and his were the pictures that to me really stood out in that magazine, and he did a lot of trips.
And later on, when I was in that position, I was the one that went on all the trips. So it was the beginning of my life and career, although I didn't know it at the time, of course.
GROSS: Are the kind of fashion shoots that you do and the kind of location fashion shoots that inspired you almost like little movies to you?
CODDINGTON: In my head yes, yes they are. I mean, even in the studio I kind of weave a little idea about what I'm trying to put across to the reader. And, you know, I cast the girl as a character, even if it's a, you know, straight-on fashion picture in the studio on a gray background. So, yes.
GROSS: So when you were 18, you left your island off the island and went to London with the hopes of becoming a model. You went to modeling school. What did you learn in modeling school?
CODDINGTON: Well, I hate to say it, but not a whole lot. I mean, I did - I learned how to do my makeup, and I learned how to do my own hair, because in those days, in - models had to know how to do everything themselves. You know, there wasn't - there weren't these huge teams of people that look after one - or look after a model these days and basically do it for her. So you had to be prepared.
And I also learned how to walk the runway, but it was in that very old-fashioned, stylized way where you walk up and down, and you kind of slope backwards, slink along the runway, and you carefully take your coat off while you're doing a twirl, and you kind of smile at everybody in the audience. I mean, it's a very formal way of modeling runway that doesn't exist anymore now.
And everybody these days just walks in a dead straight line and keeps looking ahead, but in those days it was - it was the '50s, you know, it was the late '50s, so that's what I learned there. Oh, I learned to curtsy, as well, actually.
GROSS: So you started modeling in the late '50s, but you became an important model in the '60s, when fashion was really changing, and London became a center of the new fashion. What were the first fashions that you felt were really about you and your generation?
CODDINGTON: I think it was Mary Quant, you know, she - I really felt I identified with her and her whole approach to the youth quake, if you like. Her designs were so modern, and, I mean, they're kind of modern even now, and people are copying them now.
GROSS: Describe them.
CODDINGTON: We kind of - I don't know. I guess you - she's attributed with inventing the miniskirt. I don't know if she invented it, but somehow she did these clothes that were very, very short, and they were very simple and comfortable to wear, which clothes of the '50s had not been. You know, up until that time, everything was kind of with a very cinched-in waist, probably a big, huge kind of ballerina-length skirt or very, very slim skirt that you could barely walk in.
And, you know, you had a little high bust, and then she came along, and everybody ripped off their bras and took off their wait cinches and their girdles and things, and, you know, there was a freedom. And also, the look was just young. It was really young, and no one up until that point had designed clothes for younger women, you know, girls.
GROSS: So when you were a model, there were styles that you helped popularize and create. I mean, you were one of the first or the first to have the Sassoon five-point hairdo, the very geometric short hairdo. The first?
CODDINGTON: Yes, he actually created it on me. I don't know if I'm the most famous person to have it, Mary Quant had it also, and famously the model here in America, Peggy Moffitt, and I think still has it, and she's probably my age. But it was actually created on me because I worked a lot with Vidal.
And the one thing I do have that's good is my hair, I must say. If I didn't have my hair, I don't know what I'd do. So - and hairdressers like good hair. So he liked mine. It was perfect for that cut.
GROSS: And you also created that look under the eyes of lashes in thick clumps that are separated, and you say - go ahead.
CODDINGTON: Actually it's more about painting little lines under my eyes that look like lashes rather than actual false clumps of lashes stuck on. That's more a Marisa Berenson thing.
GROSS: Aha, OK, and was that related to your car accident messing up your eyelid or maybe not doing that was stopping you, the car accident?
CODDINGTON: No, I think what's related to my car accident is by necessity I had to apply more makeup around my eyes because, you know, I had this - I have this patch on my eye, and it's a slightly different color. So in order to hide it, camouflage it if you like, you had to put quite a lot of makeup on. So it kind of grew out of necessity, so I put on this thick, black, smudgy stuff, yes.
GROSS: If you're just joining us, my guest is Grace Coddington. She's the creative director of Vogue magazine, and you may have seen her in the documentary "The September Issue" about putting out the September issue of Vogue. And now she has a new memoir, which is called "Grace." Let's take a short break here, then we'll talk some more. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Grace Coddington. She's the creative director of Vogue magazine. You may have seen her in the documentary "The September Issue" about putting out the September issue of Vogue. Now she has a new memoir that's called "Grace," and it's about her life as a model and as a fashion director and the creative director at Vogue.
In your memoir you describe a car accident that you were in when you were young. Your boyfriend - you were in the car with your boyfriend, he went through a red light, and you smashed your face. Your eyelid was sliced off. Did you go through the windshield?
CODDINGTON: I didn't actually go through the windshield, but I think the windshield went through me. I think I was unconscious. But when I woke up, I was lying on the sidewalk in the arms of a policeman, and I always wish I could find that guy again to thank him because he was uttering me, sort of, calming words of don't worry, it's not as bad as it looks and things like that.
And I was pouring with blood all over him, and the driving mirror was actually protruding out of my head. So - but I didn't fly - I mean, I flew, I think I flew out of the car but probably through the door.
GROSS: What was protruding out of your head?
CODDINGTON: The driving mirror.
GROSS: Oh my God.
CODDINGTON: The mirror on the - yeah.
CODDINGTON: It kind of broke off. My head broke it off. I've got a very hard head.
GROSS: So you had five plastic surgeries in the next two years. How did that affect your ability to model? You must have been...
CODDINGTON: Well totally, obviously I couldn't model for that time.
GROSS: And you never knew if your face would get better at that time. I mean, you must have been heartbroken.
CODDINGTON: Oh, you know, I just assumed it would. I'm, kind of, a positive person, so I just assumed it would, and I just went about my business and helped people around studios meanwhile, you know, biding my time until it was OK. But it was a bit of arduous process because every time I had an operation, they had to wait and see until it settled down and it was totally healed, to see whether it was healed correctly and that, you know, I could just go on from there.
And a couple of times, it didn't heal correctly, and I had to go back and start again, and they did skin grafting and things, which I must say is quite painful, not so much where they sew the skin, but where they take it from. So - and then they have to wait and make sure it's taken, you know. So it's a long process.
GROSS: How did that ordeal affect your idea of your face, of the importance of the face and of what facial beauty is?
CODDINGTON: I don't know. It didn't really affect me. I mean, I didn't want to look like a freak, and I realized that, you know, I had a little insight into how it must be for people who have disabilities and things like that because for the two years while it was healing, I walked around with huge, dark sunglasses on so that you couldn't see the patches and stitches and stuff like that.
And a couple of times if I was indoors, you know, at night or something, people would come up to me and say, you know, oh, you're so affected, why are you sitting there wearing dark glasses. This is - you know, take those glasses off for God sake.
And so just to upset them, I would take the glasses off, and then they'd see why I had them on, and then of course they were terribly embarrassed and retreated to the other end of the room.
CODDINGTON: But, you know, it made me realize that, you know, it must be really hard to live with a disability. And that wasn't a big one.
GROSS: You say in your memoir that one of the reasons why you haven't had cosmetic surgery as a woman in her 60s or now early 70s is - relates to the car accident.
CODDINGTON: Well a little bit. I mean, I've had enough surgery on my face. But also, you know, I don't mind to look older. I don't. I don't have this urge that so many people have that they've always got to look young all their lives. You know, I think you should be the age you are and enjoy it. So - and I think there's a lot of people that have plastic surgery who quite honestly looked better before.
So that's just my feeling, but, you know, if you want to have it, go ahead and have it, but take a good look before you do because just maybe you look absolutely beautiful the way you are.
GROSS: Can I just say thank you very much for not having cosmetic surgery because I really think that, like, the more people do it and the more it becomes the norm, the more people see their real faces as being unnatural and that they have to do something unnatural to get what it's supposed to look like by what social norms are becoming.
CODDINGTON: I think it's sad because, you know, people are having plastic surgery so early, so young in life now. It's crazy. It's crazy. And they're blowing up their lips and doing what have you, and, you know, I don't know, maybe I should have - maybe everyone says oh my God, she could do with a nip and a tuck. I don't know, but I don't really care. I'd rather be the way I am.
And it's not entirely because I'm too chicken to go and get it done, although I am, but I'm perfectly comfortable looking 70, like I do, you know, 70-nearly-two.
GROSS: Now how does that relate to who you shoot, like the models that you work with? You don't work with older models, do you?
CODDINGTON: Well, it depends what you call older. I mean, I - we don't work with very young girls at Vogue. We just don't. We don't encourage girls of 14, 13, 14, whatever, to get into the whole modeling field at such an early age because, you know, it can mess with your mind, it really can.
And also it takes time for your character to develop. So it's unlikely - I mean, there's a few exceptions, you know, people like Twiggy and those - they started modeling very, very young, but they were exceptions. So generally, people's characters don't start forming until they're 18, 19, 20 or even later.
And I think, you know, they are just much more interesting when they're older. I mean, actually we've been going back and using, over and over again, the same girls that we've been working with for 10, 12 or more years. I worked with a beautiful girl the other day, Carolyn Murphy, and I know she just had her 40th birthday. So - she's never looked better. She's never looked better.
And I was really happy to work with her, and she's just started working fulltime again. I think she had a little downtime in between, but she's back living in New York, and she's looking totally gorgeous, and her mind is in a very good place, and she's very calm, and she's a great model. You know, she's just one of them.
So I don't mind the older ones. I mean, I'm not talking about 60-, 70-year-olds obviously, but...
GROSS: What would be wrong with 60-, 70-year-olds, since they get dressed, too, and like nice clothes and like to look good?
CODDINGTON: Well no, I know, and we certainly photograph women of that age, and when we have an age issue at Vogue, I mean, an issue of Vogue, I mean, we don't have an issue with age.
GROSS: Right, no, I get it.
CODDINGTON: And when we do those issues, we do address women of all ages, and it's kind of interesting. It's a little more difficult to photograph slightly older people because, you know, everybody wants to look perfect, and then they want their face retouched if they haven't actually had it cosmetically retouched. Or, you know, maybe they're a little bit larger. I mean, I'm certainly a lot larger.
And also, you know, you need - sometimes you need your fresh new face to inspire you, that's for sure.
GROSS: Grace Coddington will be back in the second half of the show. She's the creative director of Vogue and author of the new memoir "Grace." I'm Terry Gross, and this is FRESH AIR.
GROSS: This FRESH AIR. I'm Terry Gross, back with Grace Coddington, Vogue's magazine's creative director. She has a new memoir called "Grace." Coddington started her fashion career in the late '50s as a model in London. At Vogue, she's become known for the movie-like scene she creates for fashion shoots. She chooses the clothes, and sometimes has them made expressly for the shoot.
One of the things that I'm really not sure of is who pays who, or does anybody pay anybody? Like, if you're showing the clothes of a designer in Vogue, are they going to pay you for the privilege of getting their clothing in Vogue? Are you paying them for the privilege of renting their clothes for Vogue, or does nobody pay anybody?
CODDINGTON: No. Absolutely not.
GROSS: Yeah.
CODDINGTON: No. That's the whole point of editorial is that, no, nobody pays anybody. That's what makes it editorial, and that's what gives you the freedom to photograph whatever you want. You know, if you were paid, you would be obliged to photograph something that perhaps you didn't think was that good. But the only way you can have freedom is if you are not paid. And in advertising, that's when everybody's paid. But for editorial, no, you, there's no money that passes between designers or manufacturers or whatever, and Vogue or any of the magazines. It just doesn't work like that. No.
GROSS: So all designers want to be in Vogue. So...
CODDINGTON: Hopefully.
GROSS: Yes. So how - what's the process of, not only of deciding, but what's the process that the designers use to try to convince you that their line or that, you know, this dress really belongs in Vogue?
CODDINGTON: It doesn't really work like that. I mean, you know, twice a year, there are big - there's the collections, and there's many small collections in between. But twice a year, there are the very big collections that decide the mood of the season. And you go through all the shows and sit for hours watching all the shows and having discussions afterwards with, in my case, Anna and the other editors, and you decide, you know, what direction you're going to take this season.
GROSS: And a lot of those fashions at the big fashion shows - and I can say this just from looking at them in newspapers, as opposed to actually being at the fashion shows where, which I haven't been to. But it always seems like, at those fashion shows, the clothing that's being showed is clothing that normal, you know, like, ordinary people would absolutely never wear, because the clothes are just so, like, artistically outlandish. Do you know what I mean? Like you wouldn't - like I can't - I can't imagine people actually wearing that, except on the runway.
CODDINGTON: No. I know. I know. But, you know, you have to have a bit of fun in life, and that's why they do it, and they do it, you know, to get your attention. They do the extreme ones. You always, you know, when you go back to their showrooms, you'll find the more commercial versions of that, but it's to get across a point.
I mean, you have to say it in a strong way to get across a point. So if you want to go short, they go very, very, very short on the runway. And - but you'll find in the showroom, it'll be a reasonable short, you know, that you can wear. So there's always the commercial version.
And equally, we photograph both. We photograph the more commercial things, and we photograph the extreme things because - for the same reason. In order to make the point, you have to say it strongly, so people can see the difference between this season and the last season, and, you know, you have to feed them the information. If you're too subtle about it, you're not going to get it, you know.
GROSS: Sometimes the clothes that are featured in Vogue are clothes that are made especially for that edition of Vogue. And I think this is particularly true of some of the shoots that you do that are kind of like fantasy scenes. I mean, it might be like scenes inspired by "Alice in Wonderland," or scenes inspired by Edith Wharton's fiction or scenes of, like, women in diaphanous silk gowns in a beautiful garden holding hands and circling a tree. I mean, just - they're like fantasy scenes. So when you are asking a designer to do something that's just for a scene in Vogue, what's that process like? Who - how do you approach them...
CODDINGTON: Oh, that's the most fun.
GROSS: Yeah. Uh-huh.
CODDINGTON: I mean, those huge shoots that I do are the most fun, because you can really go to town. You can forget about being commercial. You can use all your creative juices, you know. And it's like - yes, it is like making a movie or a little play. And it also - it connects you with each designer, because when I do that, I call them up and have these long chats about what I'm trying to do, like "Alice in Wonderland," which is one of my favorite things - shoots. And I just decided that they could do whatever they wanted, but the dress had to be blue so that there was a connection, and you always knew that the girl was Alice.
And so I had endless discussions. And they go away, they think about it a bit. They send me drawings. They send me swatches of fabric, and I say that's lovely, but make it shorter or longer or bigger or smaller, or maybe more ruffles or not or what, you know. And it's a sort of work-in-progress, and it goes on right until the minute I'm going to photograph it.
GROSS: I recently interviewed a couple of models who were in that HBO documentary about models who had been supermodels and are now older. And they both complained that so many of the covers of magazines now are celebrities instead of models. And what they thought was that, you know, actors - celebrity actors are great at acting, but they don't really know how to model. They don't really know what to do in a still photograph, and that models are really best that that. And I'd loved to hear your take on that.
CODDINGTON: Well, you shouldn't really get me started on that one. But, I mean, referring to covers, you don't really have to model, I don't think. You just have to be some - have a strong personality that really comes through and basically says buy me. And you have to have a - you have to be interesting to such a wide variety of people. And I guess right now, actresses just do it better. You know, they certainly sell more magazines than models, sadly. I'm very sad about it. I wish it could go back to models, but I don't think it will, just because that's what the people demand. And the general public find that more interesting than a model. And also, there are not so many very strong models that could hold a cover right now - again, I say sadly, but there just aren't.
GROSS: Why would you rather work with models than celebrities?
CODDINGTON: Oh well, they're a whole lot easier, you know.
CODDINGTON: They probably have a better figure, and they don't make so many demands, you know. I mean, there are some actresses that are very, very nice, and there's a few that I work with and I adore. But - and they come with an entourage of people, which does make it difficult, you know. And everybody has an opinion. And, you know, so if you have an idea and you want to take the clothes somewhere and they don't agree with it, they're going to tell you, and that's a bit tough if you want to get across your point.
GROSS: You recently did Lady Gaga. And I'm thinking, like, what do you do with Lady Gaga that's going to attract attention, considering there's nothing more outrageous and attention-getting than what she's already done? So...
CODDINGTON: Well, I think you do less, you know.
CODDINGTON: You probably get more attention if you do less, because you certainly can't do more than she does. I mean, she's extraordinary. She's such a character. And she's a great woman.
GROSS: So describe what you ended up doing, which was - you know, I mean, there's one where she's kind of naked. You don't see anything, but in each of the photos, she has this, like, huge, bizarre hat on her head. Was that her idea? Your idea? I know that's - those headpieces are a part of her trademark. But...
CODDINGTON: Well, I took all these hats. They actually were from a Marc Jacobs show that had just happened, where he had many girls in the show - 45, something like that - and each one had one of these giant hats on. And I just thought they were so wonderful, and it gave her a character. And she doesn't have the easiest of hair, I can say, so I was kind of dreading dealing with her hair. So I thought the hat was the answer to that. So they sort of turned up in all the pictures, or - although, not on the cover.
GROSS: Yeah, there's one photograph where she's wearing this like really gorgeous red sweater, but there is this, like, huge thing on her head.
GROSS: And so...
CODDINGTON: Oh, did not look good? I'm sorry?
GROSS: No. No. Well, they're just so outlandish. But I was thinking like...
CODDINGTON: But she is. She's outlandish.
GROSS: She is. No, that's for sure.
CODDINGTON: She's larger-than-life. And...
GROSS: It's about - the cardigan - the sweater isn't going to be the first thing that you notice.
CODDINGTON: Well, good, you know. You're supposed to notice her, you know. So...
GROSS: Right. Right. OK.
CODDINGTON: ...I guess I did the job.
GROSS: Well, I want to thank you so much for talking with us.
CODDINGTON: It's been a pleasure.
GROSS: Grace Coddington is the creative director of Vogue. Her new memoir is called "Grace." You can read an excerpt on our website, freshair.npr.org. Coddington is one of the people featured in the new documentary "In Vogue: The Editor's Eye," which debuts on HBO December 6th.
Coming up, our rock historian Ed Ward tells us about the short-lived band from the late '60s, Insect Trust, that featured music critic Robert Palmer on clarinet and saxophone.
This is FRESH AIR. Transcript provided by NPR, Copyright NPR.


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Tough and Dangerous – powerful, dynamic, aggressive track featuring distorted guitar, deep bass, rock drums, heavy synths and more. Perfect for dramatic, warlike, suspenseful scenes. Excellent for action, intro, movie trailer, computer game, sport, motorcycling, racing, film, video, or any other project that could use a intense, punchy, serious, forceful, loud music.
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Cardigan in Stripes
Added Nov 18, 2012
by poplin
Seattle, Washing...
The stripes make me a little dizzy.
Loosely fitted knit cardigan with slouchy collar. I drafted this from the Japanese pattern drafting magazine Mrs. Stylebook April 2010, issue #158, pp 29 and 165.
The mismatched buttons were from those spare buttons usually found sewn on the seams of wool coats or jackets. They serve a purpose and that's to keep the front facings from flapping. I'll modify the facings to extend all the way to the front armholes and side seams.
I sewed the knit interfacing to the front facings rather than fuse it to keep it from getting that orange-peel look. I was careful to press only the seams during construction.
The back neck seam allowances were finished with a vintage rayon binding.
Material Notes
cotton/Lycra blend; coat buttons; vintage rayon bias binding
1 Comment Sign in to add a post
Nov 20, 2012, 05.31 AMby Amber Lara
looks great!
Add to Favorites 1 person added it


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You don't have to live on a busy street to get into an accident. It can happen to even the most defensive drivers. The On Your Side® Claims Service is one of the big reasons we've earned a 95% member satisfaction rating, but it's not the only one. What if you're looking for an upside to each claim—free year you enjoy with Nationwide, for example? Talk to one of our Tustin auto insurance agents about the Vanishing Deductible® program, or to ask any questions you may have about your coverage or policy.
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|Product Specifications
Static electricity can damage not only your new memory module, but also the components inside your computer! don't let electrostatic discharge (ESD) cost you time and money in repairs -- add an inexpensive, reusable ESD wrist strap to your order.
This reusable wrist strap is designed for static electricity control. It can reduce or prevent the buildup of static electricity, which can potentially damage your Crucial DRAM and other computer components.


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Welcome to the CRG Discussion Forum!Forum registration problems: Make sure you enter your email correctly and you check your spam box first. *Then* email KurtS2@gmail for help.Classified ads are not allowed on the forum.
There were definitely some 512 blocks used in production, most right about this timeframe.Block is real.
Thanks Rick. That's really all it takes. As the saying goes, 'you can take a horse to water but you can't make him drink'...or something like that.I do have someone looking to purchase it actually...as of a month ago anyway. He's in California I believe. His job has him tide up the last time we emailed each other. I actually have the block and the crank. He's been trying to figure out the best method to ship this across country and for me to get it there safely or not get it lost or stolen.
As far as I know, the 512 block never had a production application, which is why it never shows up in any of the books - it was used for many years exclusively as the "universal" Service and Warranty replacement 4"-bore block.And that is why I still have it and can't sell it.
The guestion still remains... If the CRG is comfortable with the documentation, will you get it out there to the main stream. What is the process for this to happen? Terry


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Use the Form to Compare 2013 Family Camping Holidays in France, UK, Spain, Italy
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Posted: Sat, 12 Jun 2013 21:12:38
Trevella Holiday Park in Cornwall is a 5-star caravan and camping site located just outside the seaside village of Crantock. At a few miles south of Newquay, the site is a perfect base to explore the Cornish coastline. We stayed in a Static Caravan on the site's 'Meadow' area for 4 nights over the [...]
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Posted: Fri, 22 Mar 2013 20:23:34
Paris is possibly the world's most popular destination for a city break and it is the 3rd city of my 40 cities to visit/write about in Europe this year. I could write pages and pages about Paris, but I have decided to focus on Paris' Fontainebleau… This former royal residence has 1,900 opulent rooms and [...]
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Marina di Venezia, Venice
Cambrils Park, Costa Dorada
Castell Montgri, Costa Brava


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"Jaime's China" is a weekly column about Chinese society and politics. Jaime FlorCruz has lived and worked in China since 1971. He studied Chinese history at Peking University (1977-81) and served as TIME Magazine's Beijing correspondent and bureau chief (1982-2000).
Beijing, China (CNN) -- In the months leading up to the G-20 summit, China has been branded as the bogeyman -- a scapegoat for many of the intractable problems that dysfunctional economies are now facing. Prickly topics include job losses, trade imbalances and currency manipulation.
Critics in Washington accuse Beijing of keeping its currency artificially low to enjoy an unfair advantage. They say the renminbi is 20 to 40 percent undervalued. Some U.S. lawmakers have even proposed legislation threatening to impose tariffs on Chinese imports.
China-bashing reached a crescendo during the midterm elections in the U.S., when several candidates aired political ads that attacked opponents for promoting policies that boosted trade with China. The message was simple: China is a sinister rising power; U.S. jobs are being lost to the Chinese juggernaut.
"What do you say to people who blame China for lost jobs in the U.S.?" I asked China's deputy foreign minister Cui Tiankai in an interview last week.
See more of CNN's coverage of China
"We're aware of the economic problems in some of the economies in the world, including some of the major economies," Cui replied. "But their problems are not caused by the value of Chinese currency. They have to look at their own economic structure, their own macroeconomic policies, to identify the real causes of their problems. If they caught a cold, they cannot ask China to take medicine because this will not cure their cold."
But China has become so big that when it figuratively sneezes the world catches cold. It has moved markets lately.
Last month, market shares dipped around the world when China announced a modest interest rate hike, the first in three years. Two days later, markets moved upwards on the news that China's economy, although slowing down, is still growing at about 10 percent.
Envy of China is now mixed with fear. There is fear, for example, that China has cornered the supply of rare earth elements essential in the manufacture of products ranging from iPads to missiles. China supplies about 95 percent of the world's market. Weeks ago, Japan, the U.S. and Europe complained that China is holding back its export of rare earth.
Will China use it as a "card" in a trade war? China says it will not, but fear remains.
Analysts blame that fear on China's recent behavior. They note China's tough words on the territorial disputes in South China Sea, elevating the disputes to the level of "core national interest." This has prompted concerns among other countries in the region that claim territorial rights in parts of the sea.
They see an angry China locked in political skirmishes with Japan over a collision of a Chinese fishing boat with two Japanese coast guard ships near disputed islands in the East China Sea. They also watched TV reports of large-scale ground, air and naval exercises by China's military.
"Dramatic military exercises and sharpened rhetoric about China's territory make for good domestic consumption but have a negative effect on foreign relations," said Drew Thompson, director of China Studies at The Nixon Center, a think tank in Washington.
But heightened tension has helped the U.S. consolidate ties with South Korea, Japan and other countries around China. When U.S. President Barack Obama visited in India this week, he even endorsed India as a future permanent member of the U.N. Security Council -- an idea that some analysts say must make China uncomfortable.
"China is probably feeling encircled, but it's their own fault," said author Gordon Chang. "They have driven India into the arms of the United States, so this U.S.-India tie-up is really a marriage made in Beijing."
China's status as a rising power makes it a potential friend and foe. To some, it is a valued trading partner. To others, it is a fierce competitor.
Deputy Foreign Minister Cui, a seasoned America-watcher, said the U.S. shouldn't fear the rise of China.
"I think the U.S. has to be confident that China will never challenge its position in the world," he told me. "We will never do that because leadership in the world would be very costly. We cannot afford it. If you want to waste your money on that, you do it. We're not going to do it."
It may be so, but what China urgently needs to do is to clearly communicate its long-term intentions. Otherwise, other countries can only look at China's growing military might and economic clout and wonder what the Asian giant will do with its power in the future.
Read last week's "Jaime's China": China's chess match with Myanmar


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Captain's ReportAs the largest boat to ever pass the American Water Ski association's test criteria for towing, the Sunsetter LXi is a boat that gives you the best of all worlds. First and foremost it's a towboat, built on the same SV23 Diamond hull that tows many of the world's most prestigious waterski events. Now normally if you're building a world-class ski boat, that's the end of the story…but not in the Sunsetter since it also does double-duty as an all-around family sport boat/bowrider with a seating capacity of 10 persons.The first thing we noticed about the Sunsetter was its oversized aft trunk, located just forward of the swim platform. This allows skiers and boarders to stow their gear immediately after coming out of the water, so there's no need to drag equipment in or out of the cockpit…a feature you're guests will appreciate.Like most tournament-level boats, the Sunsetter has its powerplant—-in this case a beefy 325-hp Indmar Monsoon straight-drive—-located amidships for best balance, and the shallow shaft angle (turning a 4-bladed 14x17 wheel) helped the Sunsetter get up on plane with almost no perceptible bowrise in a blistering 2.4 seconds from idle-tow speed! There is good room all around the engine box to walk fore-and-aft, and the cover itself is well supported and easily lifted by two gas-assist struts.For precision driving there's a convenient arm rest just behind the single-lever throttle, and our tests showed the Sunsetter will hold its speed (and rpm setting) precisely throughout the rpm range. Moreover, the rudder is tuned to produce a slight right-hand turn pressure, which keeps play out of the steering system, and the company's R&D supervisor Danny Gasper says this attention to detail (along with triple fins on the forward hull) keep allow the Sunsetter to track straight and true within an inch or two of your desired course! The helm chair itself features a lumbar support for long days on the water, but its not really needed thanks to the soft ride delivered by the Diamond hull in short chop.Out on the water, we had a good chance to test the "Wedge", an exclusive feature Malibu introduced in 1997. This is an underwater hydrofoil that bolts onto the transom, and when its lowered and locked in the down position, it creates an incredible 1,000 pounds of downward force, converting the Sunsetter from a flat-wake ski boat to a jumbo-wake boarding boat for big air. That, combined with Malibu's Launch System (which adds another 500 pounds of water ballast in the boat), make it easy to transform this towboat into any configuration you'd like…ski boat, wakeboard boat, or all-around family fun boat.
Test Result Highlights
- Top speed for the Malibu Sunsetter LXI is 44.5 mph (71.6 kph), burning 23.0 gallons per hour (gph) or 87.06 liters per hour (lph).
- Best cruise for the Malibu Sunsetter LXI is 24.3 mph (39.1 kph), and the boat gets 4.19 miles per gallon (mpg) or 1.78 kilometers per liter (kpl), giving the boat a cruising range of 132 miles (212.43 kilometers).
- Tested power is 1 x 325-hp Indmar Monsoon gas inboard.
Standard and Optional Features
|CD Stereo
|Optional JVC
Exterior Features
|Outlet: 12-Volt Acc
|Swim Platform
|Full Canvas
|Optional Sunbrella
Full Warranty Information on this brand coming soon!
(It's quick and FREE!)


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Re: Starting to nod off during meditation
Posted: Wed Jun 06, 2012 7:58 pm
From Ajahn Chah:
Q: I feel sleepy a great deal. It makes it hard to meditate.
Answer:There are many ways to overcome sleepiness. If you are sitting in the dark, move to a lighted place. Open your eyes. Get up and wash your face or take a bath. If you are sleepy, change postures. Walk a lot. Walk backwards. The fear of running into things will keep you awake. If this fails, stand still, clear the mind and imagine it is full daylight. Or sit on the edge of a high cliff or deep well. You won't dare sleep! If nothing works, then just go to sleep. Lay down carefully and try to be aware until the moment you fall asleep. Then as you awaken, get right up. Don't look at the clock or roll over. Start mindfulness from the moment you awaken. If you find yourself sleepy everyday, try to eat less. Examine yourself. As soon as five more spoonfuls will make you full, stop. Then take water until just properly full. Go and sit. Watch your sleepiness and hunger. You must learn to balance your eating.


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