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Ruth R. Wisse
National Humanities Medal
Ruth Wisse traces her passion for teaching to the new Jewish immigrants who were her grade school teachers in Montreal. "I had brilliant teachers at my Jewish day school. These young men had no better opportunities. They were displaced intellectuals and went into primary education to our extraordinary benefit. They were engaged with life. At an early age I saw the calling of literature and teaching as inseparable from civic responsibility."
Wisse has been a tireless advocate for a nearly lost literature. Through scholarly and popular books, anthologies, lectures, teaching, and helping to found libraries and archives, she has brought Yiddish writers to new audiences. Today, classes in Yiddish literature and Jewish studies are available at many American universities, and in 1993 Wisse became Harvard's first professor of Yiddish literature.
But when Wisse wanted to study Yiddish literature in the late 1950s there were few choices. She went to Columbia University, one of the rare institutions to offer such a program. It was part of the linguistics department, but you could read Yiddish writers in the department of English and comparative literature. Returning home to Montreal, she pursued her interest by other means, getting a PhD in English at McGill University, but writing her dissertation on the "Shlemiel as Hero in Yiddish and American Fiction."
As a teaching fellow there, she was able to start teaching Yiddish writers. Bit by bit, the classes she introduced led to a curriculum and eventually helped found a Jewish studies department. "I am proud that the university built this program without relying on private donors. To this day, I believe, there is only one endowed chair. McGill took the responsibility."
Wisse was born in Czernowitz in what is today Ukraine, but was then part of Romania. Her father, a Lithuanian, had gone there to start a rubber factory. He received a medal from the king for his work, and this honor saved the family. It allowed him to take his family out of the country as the Russians advanced in 1940, going to Lisbon as "stateless persons." From there they went to Montreal, where the family, with foresight, had bought a discarded textile factory—the Canadian government happily welcomed Jewish immigrants who were planning to create jobs.
The family spoke Yiddish at home, and Wisse considers herself a product of the thousand-year-old Yiddish culture that spread from Europe to America in the nineteenth century. She adores the culture's variety and the sudden fits and unexpected turns of its assimilation in America, citing Emma Lazarus's famous sonnet "The New Colossus" as an example. Wisse notes how it was Lazarus's work with Jewish immigrants from Russia that spurred her to write about the Statue of Liberty. Lazarus's words completely redefined the symbolism of the statue in New York Harbor.
"The STATUE was given to the United States by French republicans. She is holding a torch of liberty, which was supposed to represent what was passed from France to America—liberté, egalité, fraternité, shared between the Old World and the New. Along comes Emma Lazarus and writes a sonnet that is put at the base of the statue: 'Give me your tired, your poor/Your huddled masses yearning to breathe free.' [Lazarus] had worked with the new immigrants, people seeking escape from Europe. The passing of the torch from Europe to America is recast as American refuge from Europe."
Wisse's masterpiece is The Modern Jewish Canon: A Journey through Language and Culture, which presents decades of scholarship to the general reader. It makes the case for the centrality of Yiddish literature to any understanding of the modern Jewish experience. Wisse, though, calls the book merely "a signpost on an unfinished road," knowing that literature must be argued about and inflame passions to survive. And that is the real challenge for a scholar of a dying language. "Yiddish was an expression of the Jewish way of life, but also of the degree of separation from the rest of European society. Once Jews wanted to become more integrated into their surroundings, they sacrificed the language that kept them apart."
Yet Wisse notes the pluses too. "The possibility of assimilation is the greatest gift that America gives to the Jews. One should say a blessing for this possibility at Thanksgiving. Once there was great suspicion of what the Jews brought. Now there is a tremendous level of comfort."
Wisse is a prolific commentator on the Jewish experience and politics. Her 1990 book, If I Am Not for Myself. . . : The Liberal Betrayal of the Jews, caused widespread debate with its analysis of American Jewish politics and the epigram-like quality of its insights: "Despite the unparalleled success of anti-Semitism, few university departments of political science, sociology, history or philosophy bother to analyze the single European political ideal of the past century that nearly realized its ends." In 2007 she published a small book, Jews and Power, which argued that anti-Semitism has become a political phenomenon and can be understood today in no other terms. And she has grown more involved in the battles over the future of the universities. She views this work as inseparable from her scholarship. "The university has to be as good as possible. We must fight. My teachers took the same stands. We must all be upholders of certain values."
By Robert Messenger


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Resource Library Search
Type any text into the search box. Narrow your search using the dropdown boxes or the filters in the sidebar. If there are no results, try using fewer filters or broder dropdown options.
Annual report of the director of forestry of the Philippine Islands for the period 1907-1913backgroundThis report contains a number of sections relevant to early reforestation activities in the Philippines, including research on succession pathways, restoration experiments on degraded lands, tree nursery operations, and native species. Open access copy available |

subset: commoncrawl


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October/November 1982
When AMERICAN HERITAGE went to press with "The Story Behind the Tapes" in the February/March 1982 issue, my own curiosity in regard to the 1940 Oval Office recordings was far from satisfied. From the very beginning I had tried to learn as much as possible about the RCA machine itself. Tape recorders are a household item today but they did not exist in 1940. I knew that film had been used as a recording medium, but beyond that I could say very little else about the machine. Neither Henry Kannee nor Jack Romagna, the official White House stenographers during the FDR years, had any clear memories of the device, even though each of them had used it. This is not too surprising. The Continuous-film Recording Machine was in operation during a brief eleven-week period in the autumn of 1940 and thereafter was virtually ignored, if not entirely forgotten.
Since the two stenographers could not be very specific about the machine, I decided to put my questions to Harry Payne, the man to whom Henry Kannee said he had taken his idea of a recording device. But all my efforts to trace Mr. Payne ended in failure; if he still lived, no one knew where.
When I turned to other potential sources of information, my inquiries had to be somewhat guarded: I dared not say too much, for fear that word about the subject would get out and that I might end up, one day, reading about the FDR tapes, instead of being the one to publish the story.
The other problem on my mind from the outset concerned the installation of the recording equipment in the White House. Who had been involved? Was it the Secret Service, the FBI, the Department of Justice, or the Army Signal Corps? Since FDR was essentially an old Navy man, had he perhaps turned the matter over to that department?
When we finally released the story, the degree of interest in the Roosevelt recordings shown by the news media took me by surprise—and made me hopeful. The more people who heard about the FDR tapes, the more likely it would be that someone might appear with new information.
Three weeks passed before I got even a nibble. It came from a retired U.S. Air Force major in Maryland who thought he might be able to give me "the name and address of the man who set the bug, provided said man does agree." Unfortunately, "said man" told the major he did not want to get involved.
I refused to give up entirely. "Mr. X" might change his mind or possibly someone else would come forward, but I realized that the chances were not in my favor. After all, I had written about something that had happened four decades ago; a man who had been thirty-seven or thirty-eight in 1940 would now be contemplating his seventy-ninth or eightieth birthday. In fact, the odds against new information coming to light at this late date suddenly seemed staggering.
Then it happened, just as I had hoped it would! In winding up her coverage of the tapes story on The Today Show, Jane Pauley had said: "Because the detective work is still going on, Professor Butow would like to point out if anybody at RCA knows more about the experimental taping system that David Sarnoff helped set up, you can sure find him and let him know about it."
Exactly four weeks later, on Friday, February 12,1 received a letter from a gentleman in Florida, J. Ripley Kiel. You can imagine my excitement as I read his opening sentence: "Your article in AMERICAN HERITAGE is of vast interest to me because I am the inventor of the machine on which the 'Roosevelt tapes' were made.
"When your article was discussed by Dan Rather on the CBS evening news on January 13," Mr. Kiel wrote, "I was amazed that one of my inventions from so long ago was being commented upon by the national news media. … On January 15 I tuned in to The Today Show just at the end of Jane Pauley's interview with you! I immediately phoned NBC in an attempt to speak to you but they said you could not be disturbed." And so with Mr. Kiel dictating (failing eyesight is the only way his seventy-nine years have caught up with him) and with Mrs. Kiel at the typewriter, they wrote to me instead.
John Ripley Kiel strikes me as a born inventor. His first success came at age nine when he won a national contest sponsored by the Meccano Corporation. After studying engineering at Northwestern University, he worked full time in family-owned laboratories that made sound equipment. Most of his work has been in the recording and reproduction field, but he began his post-college career by inventing a photoelectric light meter. Technically living in retirement, Mr. Kiel is still at work, his most recent inspiration being a device to alert nurses if a patient's I.V. is running low.
Mr. Kiel came to hold a half-dozen patents for recording and reproduction devices, all predating the development of the one used in FDR's White House. RCA did not invent that machine and neither did Harry Payne. It is a curious fact, however, that one of Mr. Kannee's ideas—filling a reel of film with nothing but one sound track after another, side by side—corresponded to a Kiel invention that did precisely that. Following this success, Ripley Kiel, working on his own in Chicago in 1937 and '38, invented a "Sound on Film" recording device that he called the Kiel Reporter (to distinguish it from another invention of his, the Kiel Recorder, which had been used by the FBI during the John Dillinger era).
The Kiel Reporter was the first recording device that could operate for as long as twenty-four hours unattended. It had a playback mechanism that permitted its users to listen immediately to the recorded material without waiting for the time-consuming processing associated with recordings-on-film in the motion-picture industry.
On October 27, 1938, Mr. Kiel filed an application (Serial No. 237,225) for a patent and followed it with a second application (Serial No. 334,357), filed on May 10, 1940. Two patents were ultimately issued: the first on August 19, 1941 (No. 2,253,302), and the second on March 23, 1943 (No. 2,314,834).
The Reporter provided a method of recording and reproducing "Sound on Film" (the name used in the patents) "transversely rather than longitudinally" on the filmstrip. This was done "diagonally in parallel lines extending at an angle of approximately 30 degrees to the [film] strip axis." Since the recording was continuous and compact, a substantial amount of material could be recorded on a very short piece of film: fifteen feet of 35-mm film was more than enough for a full hour.
Not only was this a very economical way of using the film; it also meant that a person working with the Reporter could easily locate a particular point for reproduction purposes. In the Kiel machine, the progress of the soundcarrier film beneath the stylus (a single, stationary needle mounted virtually perpendicular to the film surface) was so gradual that portions of the recording widely separated in time were not widely spaced in terms of distance.
"Indices of position," showing where something was located, were imprinted on the carrier film to assist the user in pinpointing the material he or she wished to review. A log, kept by the user, would supply the necessary information: "Reel C, 106-112: September 6, 1940, FDR discusses Roy Howard's activities in the Far East."
A very important feature of Mr. Kiel's Reporter was a "remote-control" mode that could be used not only for normal dictation but also for "the automatic recording of conversation or other sound without the intervention of an operator exercising manual control." Once someone had turned the machine on and had set it for remote-control operation, it would begin recording automatically, without further manual intervention, as soon as any sound was made. A person's voice, a cough or sneeze, a pen scratching across the surface of a piece of paper, or the ringing of a telephone would start it. I was wrong when I wrote that the machine would go right on running if neither the President nor Mr. Kannee turned it off. If the microphone picked up no sounds, the film would not move at all, but as soon as someone started talking, it would immediately resume recording whatever was said. This feature helps greatly to explain why a number of the President's conversations in the Oval Office in the autumn of 1940—possibly even all the ones we have—were captured on the "one roll of scribed acetate sound recordings" found in the White House after FDR's death.
No matter how brilliant the conception may be, inventions do not help the inventor very much unless they go into production and are marketed. Just as some authors have agents, so do some inventors; that is where Harry Payne came into the picture. His full name was Charles Harrison Payne. He was not an inventor himself but a promoter of inventions, among them the Jeep. Mr. Kiel hired Harry Payne to bring his Reporter to the attention of potential manufacturers. When RCA proved interested, a demonstration was arranged at RCA's plant in Camden, New Jersey. As a result RCA obtained from Mr. Kiel the rights to manufacture his Reporter, and hired him as consulting engineer.
So much, then, for the machine itself. How about the installation? There seems to be no doubt that the Secret Service was involved at least to the extent of maintaining security. Ripley Kiel recalls helping members of the RCA Service Company install the equipment in the Oval Office "under the close supervision of the Secret Service." He does not remember exactly when the work was done but feels that early to mid-August 1940 might be about right—it was summer and it was hot. FDR was away from the White House at the time.
Because the President's desk lamp was not suitable for concealing a microphone, Mr. Kiel purchased an appropriate replacement and hid the microphone—an RCA Model 88D broadcast type—inside the shade. Only one microphone, about two inches in diameter, was used in the Oval Office; its presence in the lamp explains why the President can be heard so much more clearly on the recordings than his aides and visitors.
What would look to any visitor like an ordinary lamp cord coming down in front of the desk was in fact the electrical connection linking the microphone with the rest of the system. This wire, wrapped in thick insulation, ran from the lamp to the floor, where it disappeared under the desk. There, out of sight of inquisitive eyes, it made its way up through a hole in the bottom of the desk to a small box containing controls that duplicated the ones on the machine in the basement. Thus, without leaving his desk, FDR could start or stop the machine, put it on "idle," or rewind the film to hear what had been recorded.
All the wires connecting the control box in the President's desk drawer with the machine in the closet-like enclosure in the basement were secreted in a cable, about one inch in diameter. Mr. Kiel was concerned about the need to drill holes in the desk, and in the floor beneath it, to accommodate the cable, but a presidential secretary (possibly Marvin McIntyre) gave the necessary authorization.
When I was in Hyde Park in January for the centennial celebration of FDR's birth, just before I first heard from Mr. Kiel, I had a unique opportunity to examine every inch of the desk. A new exhibit was being set up in the museum, and so the desk not only had been cleared of all the knickknacks with which the President had always loved to clutter it but also had been removed from its inaccessible display space. I found a small section of wire still attached to the desk, as well as a hole underneath it—in the front and on the left (as viewed from FDR's desk chair).
On both sides of a middle drawer there had originally been three drawers. At some point, however, the arrangement on the left-hand side had been changed: the second and third drawers had been converted into a double drawer without any sides and with a thick plywood panel added to the bottom. As nearly as I could judge, something electrical had been housed in that drawer.
As I was examining the desk I remembered that Grace Tully had once told me FDR had kept a small radio in there. She recalls sitting in the Oval Office, with the President, listening to Winston Churchill speaking to a joint session of the Congress soon after the Japanese attack on Pearl Harbor.
In 1945, on the day FDR died, an Associated Press reporter wrote a detailed description of the President's Oval Office desk, as he had left it for the last time. According to this account, "a panel" on the left-hand side of the desk, "opened onto an elaborate radio. Underneath were the buttons which summoned White House assistants."
Mr. Kiel says that "if there was a radio" in there, "it was independent of our equipment. " Perhaps the AP reporter saw the radio Miss Tully remembers; perhaps he also saw the buttons of Mr. Kiel's control box. The conversion of two drawers into one to accommodate a radio could have taken place after the installation of the Kiel Reporter. If so, the control box, which Mr. Kiel originally placed in a single-depth drawer, might have ended up in the new double drawer.
Why did FDR keep the Continuousfilm Recording Machine in the White House if he was not going to use it regularly? The answer can be found, I think, in the story filed by the AP reporter: FDR apparently never discarded anything. One desk drawer, for instance, contained not only "knickknacks that were broken and awaiting repair" but also a bottle of wine an aide said had been there "at least eight years. "
The fact that the Kiel Reporter was still in the basement underneath the Oval Office at the time of FDR's death probably explains why the museum in Hyde Park does not have what was perhaps the only presidential desk lamp in the history of the United States to be equipped with a broadcast-type recording microphone. When the machine was removed from the White House early in the Truman Presidency, the control box in the desk drawer and the lamp containing the microphone probably went with it, ending up at RCA as "salvage." What a shame.
It is also "most unfortunate," as Mr. Kiel points out, that the re-recording of the FDR material in 1947 was apparently not done properly and that the original 35-mm film was destroyed. Of course we do not know what condition the film was in when it was delivered to the National Archives, but Mr. Kiel has a sample of film recorded on his Reporter over forty years ago, and it is still as good as new. Film can shrink, however, and this may have been the problem. If he had been consulted, or if the film had been sent to RCA instead of to the National Archives, "excellent recordings could have been made after President Roosevelt's death" merely "by decreasing the circumference of the mandrel [in the machine] to compensate for the shrinkage." The disc recordings would then have been clear and accurate rather than garbled, as some of them are.
Because of the war, RCA never mass-produced the Kiel Reporter. Responding in March 1942 to a letter from Mr. Kiel's father, asking about "the number of units … manufactured to date … to whom sold or rented and where located … ,"an executive of the RCA Manufacturing Company replied that eight machines had been made. One had been "sold to the British," two were in RCA's Washington office, three were at the Indianapolis plant, one was being used by the Potomac Electric Power Company, and there was "one at the White House."
According to this same letter, RCA had promised to lend one of the Indianapolis machines to the University of Chicago. Mr. Kiel believes that this particular Reporter was subsequently used by the scientists who were at work there on the early stages of the development of the atomic bomb.
Many years ago Mr. Kiel had a prototype of his Reporter in his home, but when he and his wife retired to Florida in 1959 they did not take it with them. "Now I wish I had," Mr. Kiel says, "because I could show you just how those recordings were made." Today probably all the machines are gone: like the one at the White House, the other seven may have been dismantled. If a Kiel Reporter has somehow escaped destruction, AMERICAN HERITAGE and I—to name only two of the interested parties—would certainly like to hear about it!


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C&C:Online is a community-made and -managed online server for Generals, Zero Hour, Tiberium Wars, Kane's Wrath, and Red Alert 3, allowing you to log in and continue playing online just like you could when GameSpy's servers were still online.
C&C:Online - The new Command & Conquer multiplayer server
C&C:Online supports all 5 Command & Conquer titles affected by the GameSpy server shutdown.
Playing on our server is absolutely free, but donations to our server are always welcome and needed. Your donations go directly towards server maintenance and improvements to the C&C:Online infrastructure.


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On Sunday, February 26 at 4:00 pm, Historic Huguenot Street (HHS) is presenting a special talk, The Missing Chapter, about the lives and working conditions of African-Americans in the Hudson Valley region during the colonial and antebellum periods.
The award-winning presenter, Susan Stessin-Cohn, Director of Education at HHS, will discuss her current research on slavery including the personal stories of several local African-American families over the course of 200 years. The presentation will include information gathered from HHS's archives as well as the Ulster County Hall of Records, the Senate House, and 18th & 19th century local and national newspapers. Susan will also discuss her virtual "Missing Chapter" exhibit which can be found at www.hrvh.org.
Susan Stessin-Cohn is currently the Director of Education at Historic Huguenot Street in New Paltz. She was formerly an instructor at SUNY New Paltz and Vasser College and is a past trustee of the Elting Library and a member of the New Paltz Preservation Committee. She now serves on the board of the Ulster County Historical Society, the Southeastern New York Library Resource Council and the Hudson River Valley Heritage Digital Advisory Committee.
For more information, call 845-255-1660, x108 or email Jan Melchior at [email protected].


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CNC Summer Open House 2017
At the open house, experience the power of MERLIN Tempus, an award-winning shop-floor-to-top-floor Industrial Internet of Things (IIoT) communication platform that offers 10% – 50% productivity increase. Also gain insight from MEMEX representatives about harnessing the true power of Data-Driven Manufacturing.
CNC's Open House will enable visitors to experience the latest technologies in tooling and comprehensive machining strategies. Participants will learn about 5-axis manufacturing with SMOOTH TECHNOLOGY, participate in interactive automation demonstrations, and have the option to go head-to-head in a putting competition vs. a FANUC Robot.
Venue: CNC Machine Services, 7808 184th Street SE, Snohomish, WA 98296
Date: August 9–11, 2017
Time: 10.00 am – 5.00 pm
Click here to learn more


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Organize your Space
Here's a few tips that'll help you organize your space so that everyone can find what they're looking for and stay on top of what's important to them.
On this page:
How do I organize content within my space?
Pages and blogs
Everything you create in Confluence, from meeting notes to retrospectives and everything in between, takes the form of either pages or blogs.
- Your homepage will be the first thing that visitors to your site see, so to help them find relevant content, start by curating your homepage with useful macros and including information about what is in your space. See Set up a Space Home Page for more information.
- If you're creating content that is specific mainly to the current timeframe, and isn't going to change over time, create it as a blog post. Your blog displays as an infinite scroll, so it surfaces the latest news and visitors just need to scroll down if they're interested in older content.
- If you're creating content that you want to last, and possibly evolve over time, then create it as a page. Pages nest, so every page can have its own child pages, which lets you organize your content into categories and subcategories.
Configure the sidebar
You can Configure the Sidebar to make it easier to navigate through your space.
The space shortcuts section of the sidebar lets you link to important content. You can use this to highlight pertinent pages within your space, related content from other spaces, or to external content that is relevant to your space.
The navigation display lists the pages in your space in either a page tree or child pages format. If you only want some content to be visible in the sidebar, you can hide the navigation display and put the pages you want to remain visible under Space shortcuts instead.
The page tree in the sidebar shows the 200 pages closest to where you are. Hit Show all pages, if you want to see all the pages in a space.
Using labels
Labels are keywords or tags that you can add to pages, blog posts, and attachments.
- Define your own labels and use them to categorize, identify, or bookmark content in Confluence. For example, if you assign the label 'accounting' to all accounts related pages on your site, you'll then be able to:
- Browse all pages with that label in a single space or across the site.
- Display a list of pages with that label.
- Search based on that label.
- Use theContent by Label Macro to create a table of contents for your space that is organized by label categories.
- Labels aren't exclusive, so you can have as many labels as you want on a page. The page will then appear under each of those categories. See Use Labels to Categorize Spaces for more information.
How do I keep my space tidy?
If you have lots of people creating in the same space, things can get messy fast. You can prevent this by taking a few easy steps.
Create a set of guidelines
- Let your collaborators know about what parent pages to create their child pages under, so no content gets lost or misplaced.
- Decide on standard labels to add to pages, blogs, and attachments so all content gets neatly categorized.
- Add a link to this in the Space Shortcuts section of the sidebar so that it's easy to find.
Use page blueprints
Blueprints are templates that come with formatting, macros and sample content. You can customize these Blueprints for each space. Everything created from a Blueprint will have it's own index in the sidebar, so for example if you use the Meeting Notes Blueprint, you can select 'Meeting Notes' in the sidebar to see a list of all the meeting notes in your space.
Create from template macro
Make things simpler for other contributors by using the Create from Template Macro. The Create from Template Macro lets you put a button on a page that links to a specific template of your choice. When the button is clicked, the macro opens the editor, ready to add a new page, and adds content to that page based on the given template.
Create your own page templates
Create your own templates for any content that you want formatted the same way every time. For example, if you have to create a regular report tracking the same criteria, create a template with headings, variable dates, tables, and spaces for any graphics, so that each time all you have to do is input the new data instead of creating the whole report from scratch.
How do I help my team stay on top of what's important?
If you've got a lot of content on Confluence, staying on top of everything may seem a little daunting – but these features will help your team save and track all the content they care about.
My Spaces
Add any spaces that you want to be able to navigate to easily to your list of 'My Spaces'. This list can be found under your dashboard and in the Space Directory, and you can also use the Spaces List Macro to display it on a page or blog.
To add a space to your list of 'My Spaces', either navigate to that space or find it under the Space Directory, and select the star icon next to the Space Name. To remove it from the list, just select the star icon again.
Save for later
If you only want links to certain pages or blogs rather than a whole space, you can choose Save for later and these will appear on your dashboard and under your profile. You can use the Favorite Pages Macro to display a list of all of everything you've saved for later.
Watch a page, blog or space
If you want to keep track of all the changes made to a page, blog, or space, you can also watch them. Watching any content means that you will receive email notifications for all edits, deletions, attachments or comments made to that content.
- To watch a page, navigate to the page you want to watch, then choose Watch > Watch page , or if you want to watch the whole space, select Watch all content in this space.
- To watch a blog, navigate to that blog and choose Watch this blog.
- To stop watching something, deselect the relevant checkbox.
You can also manage watchers for your own space. This is useful when, for example, you're creating a new project, and want the team members on that project to stay notified of its progress. Go to any page in that space and choose Watch > Manage Watchers, then add or delete any names under 'Watching this space'.
Use @mentions for any work where you need someone else's input or want to assign someone a task. Mentioning someone works like a tag; they'll immediately receive a notification that they've been mentioned, and can click through to that page or blog. If you mention someone when creating a task, it'll assign that task to them and they'll also be able to find it under their profile.
You can use this in place of emails – if you want someone to look something over, add in additional information, or approve anything, simply put that work on Confluence and assign it to them as a task. They'll be able to make any changes or comments within Confluence and let you know when they're done by mentioning you back.


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- The original California restaurant chain, Marie Callender's Restaurant and Bakery
- A line of frozen foods produced under license and made since 1993 by ConAgra, who purchased the frozen food company and retained the rights to the name, and
- Marie Callender's Gourmet Products, which make the baking mixes.
25 September, 2011
Marie Callender's Baking Mixes: Honey Butter Corn Bread
6 comments:
- Unknown said...
What did you think of it? Does it have a pronounced honey flavor? I have a big sack of the regular mix from Costco and was looking at the honey flavored one.
- 26 September, 2011 06:58
- Lynnafred said...
Jodi: Speaking in Dave's absence (and because it was my bright idea to buy the things in the first place) I can say that, while the cornbread is in fact sweet, neither Dave nor myself thought that it had an overwhelming honey flavor, or really one that stood out. I think the addition of the honey certainly helped keep it moist, but it didn't smack you in the face with a honey flavor as much as it vaguely danced across your tongue while doing a little honey jig.
- 26 September, 2011 21:28
- Andrew said...
Mass-produced, pre-packaged corn bread???
Count me in!
I loves me some corn bread. - 26 September, 2011 22:17
- Unknown said...
hmmm, very interesting. I think I'll get a package and check it out. Thank you, Lynnafred. :)
- 29 September, 2011 18:51
- Kim said...
Doing the honey jig.. hee hee
- 01 October, 2011 18:52
- Me & my girl said...
Has anyone tried the microwave cook method?
- 12 March, 2016 16:08


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Peak scanning performance guaranteed
ZEISS VAST gold
Ideal sensor for contact scanning
The active scanning sensor offers higher dynamics through optimized moving masses and higher rigidity resulting from optimized joints.
ZEISS VAST gold
FeaturesFast scanning with navigator technology
ZEISS VAST gold is the ideal sensor for contact scanning and single-point measurements with long styli up to 800 mm and stylus weights up to 800 g. Asymmetrical stylus configurations can also be used with ZEISS VAST gold.
ZEISS VAST gold is also known for its high scanning speeds with navigator technology. Thanks to the integrated collision protection, ZEISS VAST gold is extremely robust. Dynamic damping enables continuous operation.
The probing force can be adjusted to the stylus geometry and the workpiece material, and is always constant – it can be programmed between 50 and 1,000 millinewtons.
Increased measuring performance
In combination with navigator technology in particular – object-oriented ZEISS CALYPSO software featuring automatically generated measurement strategies – ZEISS VAST gold increases the measuring performance and thus productivity considerably. The FlyScan and QuickChange technologies in the Performance Package ensure maximum productivity.
The short travel path on FlyScan results in time savings of up to 40 percent. The QuickChange function accelerates the automatic change out of measuring styli by up to 60 percent.
Highest flexibility
With the ZEISS Articulating Stylus, the stylus can be adjusted to any angular position between -135° and 135°. A new angular position can be set in just a few seconds, saving both time and storage space for fixed position stylus systems.
Due to the combination with the high-precision ZEISS VAST gold measuring head, the stability of the articulating stylus delivers high accuracy.


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Do the Mario!
It had been more than a decade since we'd had a traditional 2-D Mario platformer. The last of which was Super Mario World-- not counting Yoshi's Island as that was a different series altogether. In 2006, gamers' dreams came true as New Super Mario Bros. for the Nintendo DS brought with it 3-D sprites and backgrounds with 2-D gameplay. And not a moment too soon! The release of New Super Mario Bros. Wii is upon, the first console 2-D Mario in over fifteen years, so it seems to be a perfect time to look back on the DS original and see how it holds up before its big brother releases. Was it worth the excruciating wait?
Our simple story starts off with Mario and Princess Peach frolicking just outside of Peach's castle. Suddenly, a bombardment of Bowser's henchmen start invading the castle. Mario, quick to save the day, runs towards the castle. However, he unintentionally leaves Peach behind who is then scooped up and kidnapped by Bowser Jr. Mario catches on to Bowser Jr.'s plan, and he chases after Bowser's scheming son from castle to castle and from fortress to fortress in attempt to take back Peach from Bowser's sinister clutches. As stated, it's a simple story, but Mario games were never about intricate plots. They're more about running and jumping and bouncing off Goombas. New Super Mario Bros. succeeds in this to a "T".
There are eight worlds in New Super Mario Bros., and each one has an overworld map for Mario to explore. Right away, one of the problems with the world structure is that to access worlds four and seven, you need to beat the previous world's boss with a specific power-up. While this is annoying in of itself, you are basically forced to skip two of the worlds. Yes, you can go back to any previous world you've visited to unlock the two hidden worlds, but it'd be much more preferable to take on the worlds one-by-one. As for the overworlds, each map has multiple paths to take, secret areas and levels to access, item and 1-up mushroom houses (akin to Super Mario Bros. 3), and warp cannons that can shoot players to new worlds. There's a myriad of level types from grasslands to deserts to icy slopes to castles to haunted houses to fortresses and much more.
The levels themselves are filled to the brim with challenges and hazards. A wide cast of classic Mushroom Kingdom denizens are featured like goombas, koopa troopas, bob-ombs, piranha plants, bloopers, cheep-cheeps, dry bones, whomps, thwomps, and wigglers plus creatures from Mario's 3-D exploits like those enemies that skim across the water in Super Mario 64 as well as Dorrie from the same game's Hazy Maze Cave. In addition to old favorites, some new ones march onto New Super Mario Bros. such as a ghost that pummels through blocks and unaware plumbers with its giant boxing gloves. Meanwhile, there's a bunch of non-living obstacles to contend with such as giant spike-filled pillars that can crush Mario within a moments notice, poisonous water that will kill anything it touches, logs that roll into bottomless pits, fire bars from the very first Super Mario Bros. that rotate in foreboding fashion, and platforms that will shortly fall if Mario stays on them long enough-- and that's just for starters! Each world ends with a boss battle that follows the general three hit-death rule where Mario will face off against foes like Petey Piranha, a gigantic goomba, and a monty mole piloting a bullet bill-blasting tank.
Thankfully, Mario has a new bag of tricks this time around. Taking some tricks from his 3-D adventures, Mario can now jump off walls as well as ground pound enemies and blocks that get in the way of his progress. Both moves work well and they feel great to use, too. There's also a new host of items in Mario's repertoire aside from the traditional fire flowers, starmen, and mushrooms. First off, there's the koopa shell item that Mario can use to hide into a blue shell as he runs and plow into enemies and blocks. It's the perfect way to get through tight platforms covered in blocks. There's also two new types of mushrooms of the mega and mini variety. While not common, the mega mushroom turns Mario into gigantic form, allowing him to destroy anything in his way from baddies to blocks to pipes. Meanwhile, the mini mushroom takes Mario and shrinks him down to almost microscopic size. He can enter warp pipes otherwise too small for regular Mario, run across water, and leap into air higher than ever before. You can even store one item as a back-up, Super Mario World-style, and touch the screen to unleash its aid.
Apart from getting to the finish of a level, there's three star coins hidden in precarious locations in each level. These unlock new paths on the overworld for Mario to take, usually leading to extra levels or item and 1-up-giving mushroom houses. Tracking down each of the three star coins is no easy task in later levels. They can be placed in dangerous areas of a given level, hidden in warp pipes, placed in an area that only a miniature Mario or koopa shell Mario can reach, or just fiendishly hidden in general. Some levels even have secret exits. Unlike Super Mario World, there's no way of knowing whether or not a level possesses a secret exit or not which is vexing for one, and it two, it can be very annoying searching for a secret exit in a level that doesn't even have one!
One more problem that plagues New Super Mario Bros. is the lack of a decent saving structure. For a portable game that's supposed to be pick-up-and-play, there is no quick-save feature. Instead you have to play through sometimes three or more levels at a time before you can finally get to a castle, beat it, and then unlock the option to save at that, and only that point in time-- at least until you beat another castle, fortress, or ghost house. Thankfully, when you spend star coins to get through signposts, you are given the option to save there, but these are too few and far in-between for someone who may decide just to play one or two levels and then quit.
On the other side of things are a slew of familiar mini-games to anyone who has played the DS launch title, Super Mario 64 DS. These games are all played with the stylus, and they can be played with up to four players. Additionally, there's a two-player competitive mode for two players to face off to see who can collect the most stars within a set time limit. These modes are enjoyable, but they won't last too many players too terribly long. Nonetheless, they are a fun distraction for the time you play through these modes.
Presentation-wise, the 3-D visuals are pleasurable to look at. The animations of enemies and characters alike are quite good. The game is colorful and runs smoothly for the most part. What isn't as good is the soundtrack. While not horrible, many tunes just aren't very good or memorable-- though some tracks like the castle theme and overworld themes are nice to listen to.
New Super Mario Bros. may not innovate like past Mario titles have, but it's certainly holds up well to them. With a bounty of somewhat challenging levels to complete, three star coins to collect in each level, extra levels, secret exits, bonus mini-games, familiar gameplay, and charming visuals, New Super Mario Bros. takes the cake as one of the best 2-D platformers the DS has to offer and an incredibly enjoyable 2-D Mario on its own merit.
[SuperPhillip Says: 9.25/10]


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All of the game's modes can be played in co-op locally with the exception of the shootout.Online co-op is only a quick, unranked match called online team play. Players can lock into a position.
When you're on the ice, anything can happen - and frequently does. A puck-smashing, opponent-pummeling, ice-dominating prodigy, you are fast on your way to hockey greatness, and the success of just one match lies between you and your NHL dream. You glide to the center red line and look into your opponent's shielded face as you crouch down in preparation. The puck falls, as if in slow motion, as you both spring forward, sticks thrashing, ice flying and limbs thrusting. Just as you start to break away, you take a bone-crushing hit and hear the splintering of wood as your stick snaps apart. If you can't use your sharp reflexes and agile intuition to wrest away the puck, your dream could slip away forever. Are you a true NHL champion?
Skate into realistic hockey action, the likes of which you've only seen at the rink itself, as you take on the future of hockey gaming in NHL 11. This time, as you take it to the ice, every deke, hip check and scramble is in revolutionary, real-time, physics-triggered realism. With a pioneering physics engine, NHL 11 reacts to your every move with precision for the most authentic hockey experience available. Use all-new and enhanced skills as you strive for the Canadian Hockey League's Memorial Cup for the first time in a thrilling new career mode and celebrate your glories in banner-raising ceremonies. With NHL 11, the ice action has never been so real, and if you're lucky, neither has your puck prowess.
This page contains co-op info for NHL 11 on the Playstation 3. All information about NHL 11 was correct at the time of posting. Information is subject to change. If you see any errors please email us.


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Amazing Formulas Selenium
Selenium is an essential mineral that the body requires for a number of vital processes. In the body, selenium mineral supplies play a role in:
* Defending the body from free radicals by acting as an antioxidant
* Promoting proper thyroid function
* Supporting the activities of the immune system
* Assisting with proper cardiovascular function
While deficiencies of selenium are uncommon, studies show that increasing one's daily supply of the mineral with a vitamin selenium supplement can provide a number of health benefits. As a result, people often use selenium dietary supplement to:
* Support healthy aging
* Improve the functioning of the immune system to keep the body healthy
* Address symptoms of joint pain due to inflammation
*Support Respiratory Health
* Keep the cardiovascular system healthy
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Increase your intake of selenium the simple way. Order Amazing Formulas Selenium today!


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Emirates and Arsenal Renew Sponsorship Deal
Emirates, the world's largest international airline, and Arsenal Football Club, have announced a new sponsorship deal. The sponsorship, the largest ever signed by the club and one of the biggest ever agreed in football, grants the airline a 5-year extension to their shirt partnership with the Club until the end of the 2023-2024 season.
The new sponsorship agreement, strengthens one of the most recognisable and respected partnerships in sport. The agreement was formally finalised today by Arsenal Chief Executive Ivan Gazidis and Emirates President, Sir Tim Clark.
Mr Gazidis said: "Our shirt partnership is the longest running in the Premier League and one of the longest relationships in world sport. This mutual commitment is testimony to the strength and depth of our unique relationship. Emirates are again demonstrating their great belief in our approach and ambition and their significantly increased investment will help us continue to compete for trophies and bring more success to the club and our fans around the world."
"Emirates is a great partner for Arsenal – a world class brand with a truly global reach. The airline plays a significant role in our ambitions to extend our influence and following around the world. The new deal, extending our shirt partnership until 2024, underlines how much both organisations value and benefit from the relationship."
In addition to being shirt sponsors, with the Emirates brand continuing to appear on Arsenal's playing and training kits, Emirates will provide access to their award winning planes for Arsenal to use on pre-season tours. Emirates will retain marketing rights to develop campaigns and initiatives around the world. Arsenal's home will continue to be known as Emirates Stadium up to 2028, as part of the extension agreed in 2012.
Emirates' shirt partnership began in the 2006/2007 season, and this extension means that Emirates branding will remain on the shirt of all Arsenal teams for at least 18 years.
Emirates President, Sir Tim Clark, said: "Arsenal's strong appeal and influence around the globe, combined with their ambitions as a Club makes them an ideal partner for Emirates, with values that reflect ours as a brand. As a long-standing supporter of football, we are passionate about the game and are a proud partner to the team."
"As a business, we are hugely committed to supporting sports all over the world and our relationship with Arsenal is no different. Our partnership with Arsenal Football Club is a great combination of two truly global brands and we're very pleased to have extended this relationship for five more years – connecting fans from around the world with one of the greatest teams in the world."
Aside from partnerships with some of the biggest clubs in European football, Emirates is the Official Airline of international sporting events across golf, tennis, rugby, cricket, horse racing and motorsports.


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Although a "miracle" diabetes diet does not exist to cure the disease, if you have type 2 diabetes, there are dietary rules you can follow that will ensure you stay as healthy as possible. When it comes right down to it, proper nutrition is the only "diet" you need to follow. Many people are inexperienced with following a healthy diet, but once you get into the swing of things, eating properly will become part of your lifestyle.
To start off, it's best to follow the nutrition guidelines in the Food Pyramid, with special attention to carbohydrate intake. Also, diabetics should maintain a regular meal schedule and exercise portion control.
Starches are allowed in a diabetes diet, as long as you control portions and don't consume too much starchy food. Starches are present in bread, cereal, and starchy vegetables.
Consume five fruits and vegetables on a daily basis. This can easily be accomplished by eating a piece of fruit for a snack several times a day, or by eating vegetables with dinner. Soups, stir-fries, and chili make good hiding places for veggies if you need clever ways to add more good stuff into your meals.
You can still eat sugars and sweets (perhaps surprisingly) with type 2 diabetes, but do so in moderation, which means once or twice a week maximum. One way to eat fewer sweets without neglecting your sweet tooth is to split a dessert in half.
Especially beneficial for diabetics are soluble fibres, so you need to get as many as these into your diet as possible. Luckily, you can find soluble fibres in many foods, including fruits, vegetables, and seeds. Soluble fibres are excellent because they aid in slowing down and reducing the absorption of glucose from the intestines. Legumes (such as cooked kidney beans) have the highest amount of soluble fibres, and also keep blood sugar levels in check. Insoluble fibres, found in bran, whole grains and nuts, are also part of a healthy diet because they work like intestinal scrubbers, by cleaning out the lower gastrointestinal tract.
For many people, contacting a dietician is the best way to put together a good diabetes diet. Everyone is different, so keeping in contact with your physician and nutrition consultant will ensure your diet plan is the optimum one for you. A professional will take into account your lifestyle, medication, weight, other medical issues, and your favorite foods to come up with a plan that will keep you healthy and satisfy your cravings for particular flavors.
A Healthy Weight – and Lifestyle
If you have type 2 diabetes, it's also very important to maintain a healthy weight ( http://www.healthline.com/adamcontent/diabetes-diet ). With type 2 diabetes, added body fat actually makes it more difficult for your body to produce and use insulin. Trimming down as little as 10 or 20 pounds has the potential to improve your blood sugar significantly.
Smokers are advised to quit as soon as possible, as smoking can aggravate diabetes and make it more difficult to cope with the disease. Because diabetics often experience circulation problems in the legs and feet, smoking is a dangerous habit to continue – it decreases blood flow even more. Smoking also increases LDL cholesterol and raises the risk of heart attack and stroke.
If you keep your blood sugar under control, moderate alcohol consumption is allowed, but avoid drinking on an empty stomach, as this can lead to low blood sugar. To learn how much alcohol you can safely include in your diet, consult your doctor.
Fat and Carbs
You can control the amount of carbs you consume by practicing carbohydrate counting. This involves keeping track of the total number of grams of carbs you need to eat at meals or snacks, depending on your medication and exercise. Usually this method involves the use of a carbohydrate counting book, which you can purchase at a supermarket or bookstore.
Those with type 2 diabetes are at a higher risk for heart problems, so most physicians make a recommendation to limit fat below 30% of your total daily caloric intake – this tends to be done by eating less fat overall and staying away from saturated fat. You should also pay attention to cholesterol levels by eating smaller amounts of meat, and sticking to lean meats, such as poultry and fish.
It will take some time to adjust to your new diabetes diet and healthy lifestyle, especially if you haven't followed healthy living practices in the past, but the results will be worth the effort. Not only will you be able to better manage your diabetes, but you will also become a much healthier person.
If you want to find out more for the above topic, please email us at [email protected]. Thank you.
Content: PLR, Image: Pixabay


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Ready the Pickles, Keane Morgan is finally here!
Meet Keane in this STANDALONE romantic comedy!
(No Prior reading required)
Amazon US: http://amzn.to/2a5ezvc
Amazon UK: http://amzn.to/29XGgau
iBooks: http://apple.co/2aisFfT
Nook: http://bit.ly/2a9KfDc
Kobo: http://bit.ly/2alSfU0
Keane Morgan wouldn't return any of my calls or texts, and I was pissed as hell about it. I didn't want to drive from Seattle to L.A. with the guy any more than he wanted to drive with me, but I had no frickin' choice in the matter--at least, not if I wanted to use his brother Dax's coveted parking spot at UCLA.
Okay, so it turned out Keane was objectively gorgeous, and, fine, pretty funny, too. But did he have to be so damned in love with himself? I mean, jeez, the cocky way he flashed those dimples was just so orchestrated. And, honestly, what kind of guy uses the phrase "baby doll" with a straight face? Oh, that's right: the kind of guy who's a male stripper.
Yup, the cocky jerk turned out to be Seattle's answer to Magic Mike, a stripper known as "Ball Peen Hammer"--which meant Keane Morgan was emphatically not the kind of guy I'd ever fall for.
Not. At. All.
No freakin' way.
Well, until Keane convinced me to fall for him, that is.
Which I did.
As they exchange information, I make my way to the end of my aisle and loop into theirs, not taking my eyes off Baby Face the whole time. Shit. This dude's hunting Maddy so hard, it's making my blood boil. Jesus, he's going full-throttle rifle on Maddy's ass right now, completely foregoing his crossbow altogether.
When I reach the two of them in the middle of their aisle, I shuffle past the dude and stand next to Maddy, shoulder to shoulder, and then, on a sudden impulse, put my arm around her shoulders and squeeze her tight, making her wobble in place at the unexpected jolt to her balance. "Hey, sis," I say, squeezing her like a rag doll. "You totally fell down on your candy-acquiring duties."
"I know. I'm sorry." She subtly wiggles out of my grasp. "Brian and I got into this hilarious argument about the best candy bar of all- time, and—"
"And I'm totally right," Brian says, cutting her off, and they both chuckle at some inside joke.
"No, I'm totally right," Maddy corrects.
Brian smiles at her. "I'll actually be down in L.A. in a month. How 'bout I call you then?"
"Nice to meet you, man," Brian says, looking at me. He nods but doesn't put out his hand.
I nod back.
Brian strolls away, buys a Snickers bar and a can of Red Bull, and leaves with a little wave to Maddy.
The minute he's out the door, Maddy takes a giant step away from me, her face etched with annoyance. "What was that?" she asks.
"That weird thing you just did?"
"I don't know what you're talking about."
Maddy puts on an exaggerated scowl, like she's Hulk Hogan eying an opponent. "'Hey, Brian,'" she says in a low voice, clearly intending to imitate me but sounding more like Arnold Schwarzenegger imitating Maddy imitating me. "'I'm Maddy Milliken's bodyguard and I'm going to beat you the hell up now,'" she adds.
"What are you talking about?" I say, chuckling.
Maddy pauses, assessing me, and finally shrugs. "Nothing. I guess I imagined it."
"Imaged what?"
"Your weird... I dunno... vibe."
"Oh, well, yeah. I was worried about you."
"Worried about me? I was standing in a minimart, buying candy. Pretty low-risk activity, I'd say."
"Uh, you absolutely were not standing in a minimart, buying candy—you totally fell down on that job, dude. You were standing in a minimart, getting picked up by a douche. And second of all—"
Shit. What the fuck am I doing? I've got to stop this shit right now. "Don't get riled up, baby doll," I say in my most soothing voice. "All I'm saying is you took so damned long in here, I started thinking maybe the store was getting robbed or you'd fallen into the toilet or something."
Maddy twists her mouth. "Brian didn't seem the least bit douchey to me."
I shrug.
"What gave you the impression he's a douche?"
"Just a figure of speech. So are you gonna do the job I hired you to do or not?" I motion to the candy rack. "'Cause based on your performance thus far, you're totally fired."
"And I wasn't getting 'picked up,'" Maddy says, her tone full of indignation. "Brian's brother goes to UCLA. Can't I talk to a helpful, nice guy without it being some sort of a sleazy pick-up?"
"Sure you can. However, in this instance, you were talking to a helpful, nice guy who was picking you up so he can bone the living fuck outta ya."
"Keane." Maddy's cheeks burst with color. "Don't say that. Oh my god. You're insane. Brian was just being helpful, that's all."
"Yeah, so he can bone the living fuck outta ya."
"Stop saying that. Please. It's offensive and absolutely not true. This topic of conversation is officially over."
Bahaha! Yes the cover and the title of this book had me curious.
Also quite of few of my book loving friends said I had to read this book!
Soooo happy I Did!
This book had me from the 1st page to the last. I was instantly wanting to know who Keane Morgan and Maddy Milliken were and what was going to happen between them.
I laughed, said OMG way too many times to count and totally had a blast reading this book.
The main character Keane Morgan seriously had my cherries bursting with his secret language he communicates with his BFF Z. I was at times saying to myself; "He speaks Lauren".
But then we he gets down to business, especially with Maddy the girl who is his brother's friend but he knows he shouldn't want, WOW did my iPad mini start smoking!
I loved dirty talking Keane to Maddy. I was blushing cherry red in more places than just my face!
This is my 1st book I have read from this author and I am now a fan & can't wait to see with what she comes up with next.
This is a book you want to make sure your e-reader is fully charged as well as some other things.
Go 1 click! It's a must read!
**ARC kindly provided in exchange for an honest review***
5 Cherries Popped
🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒🍒 🍒🍒
🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒 🍒🍒 🍒🍒
About the Author
Lauren Rowe
USA Today and internationally bestselling author Lauren Rowe lives in San Diego, California, where, in addition to writing books, she performs with her dance/party band at events all over Southern California, writes songs, takes embarrassing snapshots of her ever-patient Boston terrier, Buster, spends time with her wonderful family, and narrates audiobooks. Much to Lauren's thrill, her books have been translated all over the world in multiple languages and hit multiple domestic and international bestseller lists. With enticing characters, enthralling situations and a general love of romantic fiction, Lauren has created a world of her own, full of wit and sensual desire.
Signed Paperback of Ball Peen Hammer


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For a while this year, I was on a crusade, editing posts to remove "Thanks".
But there were far too many of those posts.
So I started to remove "Thanks in advance".
But there were too many of those.
So I started to remove "Thanks in advanced", which in addition to being inappropriate for Stack Exchange, is a corruption of the English language, and needs to be stamped out before too many people decide that it's correct English (thus making it into correct English).
But I got bored with that and gave up.
But now, I've seen a new outrage and I want your help cleaning it up: "Thanks in advantage". Yes, really, "Thanks in advantage"! There are 221 of those on Stack Overflow right now: https://stackoverflow.com/search?tab=newest&q=%22Thanks%20in%20advantage%22.
Can we please clean those up before the English language changes out from under us?
Thx 4 ur hlp.
Obviously, I have trouble making myself understood. Any time I talk about editing one part of a post, there are many people who believe that I mean to only edit that part of the post. In fact, I never edit just one part of the post. I don't as much as cast a close or delete vote without editing the entire post!
Please take the time to read "Should 'Hi', 'thanks,' taglines, and salutations be removed from posts?.
BTW, when I say "edit" in this question, I mean full edits, not suggested edits. I'm not advocating filling up the suggested edit queue with large numbers of "thanks" edits. And I'm certainly not suggesting suggested edits which only remove "thanks".
We're up to 6,600+ "Thanks in advanced" questions! This did not work!


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Ideas from IDEO for Museum Designers
Fred Dust from from the design firm IDEO gave a great session at the AAM Conference on Tuesday morning.
There were many great takeaways involving IDEO's approach to "design thinking" that were useful for museum folks. Here are some bullet points that I rapidly scribbled down on my legal pad:
• Good design reframes problems.
• Constraints create/Create constraints.
• Every design problem is an opportunity to learn.
• Don't survey (design for behaviors, not demographics).
• Museums need to look at everything as their competition, not just other museums.
• Evolution is revolution --- create cheap, easy prototypes! (real-time and full-scale, if possible.)
• Crowdsource for questions not answers.
So get out there and start looking for questions!
Don't miss out on any ExhibiTricks posts! It's easy to get updates via email or your favorite news reader. Just click the "Free Updates" link on the right side of the blog. P.S. If you receive ExhibiTricks via email (or Facebook or LinkedIn) you will need to click HERE to go to the main ExhibiTricks page to make comments or view multimedia features (like videos!)


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Working for The Billionaires Club
Sky Corgan
Publication date: August 16th 2016
Genres: Contemporary, New Adult, Romance
Now enlisting volunteers! Looking for ten super-rich men willing to please some lucky ladies for a good cause.
Requirements: You must make at least a billion dollars annually. You must be hot as hell. You must be a stud in the bedroom.
Job duties: Treat our clients like the queens they are. Fulfill their every fantasy while they enjoy their stay at our state of the art resort. You'll have access to all of our amenities and fantasy rooms so that you can create the best experience for our clients.
The Billionaires Club is a non-profit organization. Clients pay good money for your time, and all proceeds go to a charity of their choice.
Do something great for your community and have some fun in the process. Join The Billionaires Club!
On sale from 03/15 – 03/21 only!
"I wouldn't trade you for any woman in the world, Raven." He clutches my hand tightly before pressing it over his chest. "You are my heart. I love you, and I'd never do anything to fuck things up between us again."I smile, letting my guard down. "You're a really good guy sometimes, you know."
"I'm a really good guy for you. I don't care what anyone else thinks of me."
"You're a really good guy. Don't pretend to be an asshole." I tap my fingers over his heart.
He draws me to him, and I rest my head on his chest, listening to the rhythmic sound of his heartbeat. "I would kill any man who ever tried to touch you. You are mine."
"I am yours," I reply, dropping my walls and allowing myself to feel for him.
Author Bio:
Sky Corgan is a USA Today Best-Selling author. When she's not typing away at the next steamy romance series, she's busy planning for future vacations.
You can get a FREE Sky Corgan book and stay up to date on her latest releases by signing up for her newsletter here: http://eepurl.com/v0PwX


text:
- Details
- Written by Webmaster Webmaster
- Published: 19 November 2014 19 November 2014
Article Index
The moral clarity of Richard Falk
14 November 2014
"The Palestinian struggle for self-determination has become the great international moral issue of our time," the international law expert Richard Falk declares in his latest book, Palestine: The Legitimacy of Hope (Just World Books).
Falk calls it "the last major anticolonial struggle."
In this wide-ranging book, the professor emeritus of international law at Princeton University embraces the boycott, divestment and sanctions (BDS) movement, advocates abandoning the two-state solution and argues that the best way of understanding Israel is as a settler-colonial state.
He notes that the importance of BDS lies in the fact that it is Palestinian-led and that Israel has "no intention of allowing a viable Palestinian state to be established."


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By John Hendrickson, Stone Circle Farm and Small Farm Works
Tools and equipment appropriate for small-scale, highly diversified vegetable farms have been a passion of mine for a long time. I discovered one of my favorite tools about 12 years ago while living in Japan. I was abroad with my wife, who was doing international relations work, and my two young sons. Knowing that the average farm is much smaller in Japan than in the U.S., I set out to discover what kinds of equipment Japanese farmers were using to grow vegetables.
On the internet, I discovered a small, grainy photograph of a hand-pulled tool that appeared to be transplanting crops. When my wife came home from work, I asked her to translate the Japanese caption. She informed me it was some sort of "paper chain putting plants into the ground machine." Intrigued, I asked her about the name and location of the manufacturer. The company happened to be in the town where we were living!
We met with representatives of the company, and eventually they invited us to their R&D facility just few stone throws from our rented house. My jaw nearly hit the ground when I saw the machine in action. I immediately asked about buying one to take back to my farm in Wisconsin, which was resting for a year under cover crops, as well as about the possibility of importing and selling them. The company did not think much of this latter idea, having the impression that their little "pull-boy" – the Japanese name for the transplanter – would be out of place on American vegetable farms, which they assumed were all extremely large and only used large-scale equipment. However, they did not know about the growing market-farm and local food revolution. Twelve years later, we are now quite busy selling and shipping paper chain pot transplanting systems throughout North America.
The paper chain pot transplanting system is a unique, ingenious, and highly efficient means to transplant vegetables, flowers, and herbs. It is unlike any standard transplanter used in the U.S. or Europe: it has no motor, and is instead pulled by hand. The system relies on planting into paper pots that are in a chain. Because the pots are in a chain, they feed themselves through the transplanter. This allows a single person to transplant hundreds of plants in less than a minute while standing upright, eliminating countless hours spent kneeling, crawling, or stooping.
In addition to paper pots, the system components include plastic bottom trays for holding the paper pots, an opening kit for opening the compressed paper pots, a dibble board for making impressions in the potting mix prior to seeding, a whole flat gravity seeding device, and the transplanter itself. The paper pots are a consumable input, as they go into the ground at planting and eventually decompose. The paper pots are available in many sizes and in-row spacings to accommodate a variety of crops.
The transplanter has had a huge impact on our farm. We would likely have stopped planting some crops, such as onions, leeks, and scallions, because the labor to transplant them was just too demanding of our time and bodies. It has allowed us to transplant other crops – peas, beets, and spinach – to achieve better, more consistent stands and improve profitability. On other farms, it is currently becoming a very popular way to transplant Salanova and other head lettuces.
Due to the size of the paper pots and available in-row spacings, it cannot be used for all crops. But for those it can accommodate, the effects are significant: reduced labor costs, reduced time spent in awkward, painful body positions (increasingly important as you age as a farmer, I can tell you!), improved stands, improved weed control due to transplanting crops that might otherwise be direct seeded, and improved profitability. We regularly hear from others who use the paper chain pot transplanter that it has revolutionized their farming systems.
If you have questions about the paper chain pot transplanting system, you can visit our website and Facebook page or contact us directly.
Like what you've read? Check out our Beginning Farmer Forum home page, and join the conversation in the Beginning Farmer Forum Facebook group.


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On-site Maintenance Training
Avoid downtime and ensure optimal performance of your conveyor systems with preventative maintenance training from the Dorner staff. Our maintenance training services will give your staff the skills to properly upkeep your conveyor equipment, maximizing uptime and productivity, which increases your ROI over the life of your systems.
Tailored to your equipment and taking place on-site at your facilities, we take a hands-on, reliability-centered approach to conveyor maintenance. Preventative care will help you get the most from your industrial equipment. With Dorner, you get complete support from parts to installation to maintenance.
Customized Maintenance Training Programs
Training sessions can be done in groups or one-on-one at your product facility or factory. An experienced Dorner technician will take your employees through a comprehensive program that includes safety training, parts changing, mechanical troubleshooting, and preventive maintenance tips.
Literature and videos are available from Dorner as resources to help your team throughout the life of your conveyor system. With our 10 year warranty, expert engineering staff, and cutting-edge product development, Dorner is leading the way in precision conveying equipment, and our training programs are no exception.
For your convenience, Dorner also has a 24/7 service hotline you can call at 1-888-417-3515 for emergency service.
Conveyor Maintenance
From showing you how to choose the right grease, to specialized belt training and common issues that can come up with conveyor equipment, our staff can teach it all. With Dorner you'll also learn some of the common issues that can arise from improper maintenance and what to do should something affect your equipment.
For example, if there is irregular wearing on the bottom of the belt, it may be due to improper loading of the belt. Or if the fasteners are pulling out of your belt, it could be from the tension being too high, improper starting, or even mildew.
Maintaining Conveyor Parts
The major parts of most conveyor systems include the belt, idlers and pulleys, and chutes and hoppers. That means maintenance for a lot of small and moving parts!
We'll arm your maintenance staff with the knowledge they need to clean, maintain, or replace parts. Maintenance training will increase your efficiency and productiveness, which means your packaging or assembly line is up and running as much as possible.
For more information on Dorner's maintenance services, please call 1-800-351-8712. For emergency service, call our hotline at 1-888-417-3515 twenty-four hours a day, seven days a week.


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Statement of Best Practices
Using The Statement
Background Information
Examples of Fair Use
November 2005
Report by:
Association of Independent Video and Filmmakers
Independent Feature Project
International Documentary Association
National Alliance for Media Arts and Culture
Women in Film & Video (Washington, D.C. chapter)
In consultation with:
The Center for Media & Social Impact,
American University
The Program on Intellectual Property and the Public Interest,
American University Washington College of Law
With funding from:
The Rockefeller Foundation
The John D. and Catherine T. MacArthur Foundation
And additional support from:
Grantmakers in Film and Electronic Media
This Statement of Best Practices in Fair Use is necessary because documentary filmmakers have found themselves, over the last decade, increasingly constrained by demands to clear rights for copyrighted material. Creators in other disciplines do not face such demands to the same extent, and documentarians in earlier eras experienced them less often and less intensely. Today, however, documentarians believe that their ability to communicate effectively is being restricted by an overly rigid approach to copyright compliance, and that the public suffers as a result. The knowledge and perspectives that documentarians can provide are compromised by their need to select only the material that copyright holders approve and make available at reasonable prices.
At the same time, documentarians are themselves copyright holders, whose businesses depend on the willingness of others to honor their claims as copyright owners. They do not countenance exploitative or abusive applications of fair use, which might impair their own businesses or betray their work.
Therefore, documentarians through their professional organizations, supported by an advisory board of copyright experts, now offer the statement that follows.
"Fair use" is a key part of the social bargain at the heart of copyright law, in which as a society we concede certain limited individual property rights to ensure the benefits of creativity to a living culture. We have chosen to encourage creators by rewarding their efforts with copyright. To promote new cultural production, however, it also is important to give other creators opportunities to use copyrighted material when they are making something new that incorporates or depends on such material. Unless such uses are possible, the whole society may lose important expressions just because one person is arbitrary or greedy. So copyright law has features that permit quotations from copyrighted works to be made without permission, under certain conditions.
Fair use is the most important of these features. It has been an important part of copyright law for more than 150 years. Where it applies, fair use is a right, not a mere privilege. In fact, as the Supreme Court has pointed out, fair use helps reconcile copyright law with the First Amendment. As copyright protects more works for longer periods, it impinges more and more directly on creative practice. As a result, fair use is more important today than ever before. Creators benefit from the fact that the copyright law does not exactly specify how to apply fair use. Creative needs and practices differ with the field, with technology, and with time. Instead, lawyers and judges decide whether an unlicensed use of copyrighted material is "fair" according to a "rule of reason." This means taking all the facts and circumstances into account to decide if an unlicensed use of copyright material generates social or cultural benefits that are greater than the costs it imposes on the copyright owner. Fair use is flexible; it is not uncertain or unreliable. In fact, for any particular field of critical or creative activity, such as documentary filmmaking, lawyers and judges consider professional expectations and practice in assessing what is "fair" within the field. In weighing the balance at the heart of fair use analysis, courts employ a four-part test, set out in the Copyright Act. In doing so, they return again and again to two key questions:
- Did the unlicensed use "transform" the material taken from the copyrighted work by using it for a different purpose than the original, or did it just repeat the work for the same intent and value as the original?
- Was the amount and nature of material taken appropriate in light of the nature of the copyrighted work and of the use?
Among other things, both questions address whether the use will cause excessive economic harm to the copyright owner.
If the answers to these two questions are affirmative, a court is likely to find a use fair. Because that is true, such a use is unlikely to be challenged in the first place. Documentary films usually satisfy the "transformativeness" standard easily, because copyrighted material is typically used in a context different from that in which it originally appeared. Likewise, documentarians typically quote only short and isolated portions of copyrighted works. Thus, judges generally have honored documentarians' claims of fair use in the rare instances where they have been challenged in court.
Another consideration underlies and influences the way in which these questions are analyzed: Whether the user acted reasonably and in good faith, in light of general practice in his or her particular field. In the future, filmmakers' ability to rely on fair use will be further enhanced by the Statement of Best Practices in Fair Use that follows. This statement serves as evidence of commonly held understandings in documentary practice and helps to demonstrate the reasonableness of uses that fall within its principles.
Documentarians find other creator groups' reliance on fair use heartening. For instance, historians regularly quote both other historians' writings and textual sources; artists reinterpret and critique existing images (rather than merely appropriating them); scholars illustrate cultural commentary with textual, visual, and musical examples. Equally important is the example of the news media: fair use is healthy and vigorous in daily broadcast television, where references to popular films, classic TV programs, archival images, and popular songs are constant and routinely unlicensed.
The statement that follows describes the actual practice of many documentarians, joined with the views of others about what would be appropriate if they were free to follow their own understanding of good practice. In making films for TV, cable, and theaters, documentarians who assert fair use often meet with resistance. All too frequently they are told (often by nonlawyers) that they must clear "everything" if they want their work to reach the public. Even so, some documentarians have not been intimidated. Unfortunately, until now the documentarians who depend on fair use generally have done so quietly, in order to avoid undesired attention. In this statement, documentarians are exercising their free speech rights—and their rights under copyright—in the open.
This statement does not address the problems that result from lack of access to archival material that is best quality or the only copy. The statement applies to situations where the filmmaker has ready access to the necessary material in some form. The statement also does not directly address the problem of "orphan works"—works presumably copyrighted but whose owners cannot be located with reasonable effort. Generally, it should be possible to make fair use of orphan works on the same basis as clearly sourced ones. Sometimes, however, filmmakers also may wish to use orphan works in ways that exceed fair use. A more comprehensive solution for orphan works may soon be provided through an initiative spearheaded by the U.S. Copyright Office (for more information, seewww.copyright.gov/orphan).
This statement finally does not concern "free use"—situations when documentarians never need to clear rights. Examples of types of fre use are available in documents at centerforsocial media.org/fairuse.
The Statement
This statement recognizes that documentary filmmakers must choose whether or not to rely on fair use when their projects involve the use of copyrighted material. It is organized around four classes of situations that they confront regularly in practice. (These four classes do not exhaust all the likely situations where fair use might apply; they reflect the most common kinds of situations that documentarians identified at this point.) In each case, a general principle about the applicability of fair use is asserted, followed by qualifications that may affect individual cases.
1. Employing copyrighted material as the object of social, political, or cultural critique
This class of uses involves situations in which documentarians engage in media critique, whether of text, image, or sound works. In these cases, documentarians hold the specific copyrighted work up for critical analysis.
Principle: Such uses are generally permissible as an exercise of documentarians' fair use rights. This is analogous to the way that (for example) a newspaper might review a new book and quote from it by way of illustration. Indeed, this activity is at the very core of the fair use doctrine as a safeguard for freedom of expression. So long as the filmmaker analyzes or comments on the work itself, the means may vary. Both direct commentary and parody, for example, function as forms of critique. Where copyrighted material is used for a critical purpose, the fact that the critique itself may do economic damage to the market for the quoted work (as a negative book review could) is irrelevant. In order to qualify as fair use, the use may be as extensive as is necessary to make the point, permitting the viewer to fully grasp the criticism or analysis.
Limitations: There is one general qualification to the principle just stated. The use should not be so extensive or pervasive that it ceases to function as critique and becomes, instead, a way of satisfying the audience's taste for the thing (or the kind of thing) critiqued. In other words, the critical use should not become a market substitute for the work (or other works like it).
2. Quoting copyrighted works of popular culture to illustrate an argument or point
Here the concern is with material (again of whatever kind) that is quoted not because it is, in itself, the object of critique but because it aptly illustrates some argument or point that a filmmaker is developing—as clips from fiction films might be used (for example) to demonstrate changing American attitudes toward race.
Principle: Once again, this sort of quotation should generally be considered as fair use. The possibility that the quotes might entertain and engage an audience as well as illustrate a filmmaker's argument takes nothing away from the fair use claim. Works of popular culture typically have illustrative power, and in analogous situations, writers in print media do not hesitate to use illustrative quotations (both words and images). In documentary filmmaking, such a privileged use will be both subordinate to the larger intellectual or artistic purpose of the documentary and important to its realization. The filmmaker is not presenting the quoted material for its original purpose but harnessing it for a new one. This is an attempt to add significant new value, not a form of "free riding"—the mere exploitation of existing value.
Limitations: Documentarians will be best positioned to assert fair use claims if they assure that:
- the material is properly attributed, either through an accompanying on-screen identification or a mention in the film's final credits;
- to the extent possible and appropriate, quotations are drawn from a range of different sources;
- each quotation (however many may be employed to create an overall pattern of illustrations) is no longer than is necessary to achieve the intended effect;
- the quoted material is not employed merely in order to avoid the cost or inconvenience of shooting equivalent footage.
3. Capturing copyrighted media content in the process of filming something else
Documentarians often record copyrighted sounds and images when they are filming sequences in real-life settings. Common examples are the text of a poster on a wall, music playing on a radio, and television programming heard (perhaps seen) in the background. In the context of the documentary, the incidentally captured material is an integral part of the ordinary reality being documented. Only by altering and thus falsifying the reality they film— such as telling subjects to turn off the radio, take down a poster, or turn off the TV—could documentarians avoid this.
Principle: Fair use should protect documentary filmmakers from being forced to falsify reality. Where a sound or image has been captured incidentally and without prevision, as part of an unstaged scene, it should be permissible to use it, to a reasonable extent, as part of the final version of the film. Any other rule would be inconsistent with the documentary practice itself and with the values of the disciplines (such as criticism, historical analysis, and journalism) that inform reality-based filmmaking.
Limitations: Consistent with the rationale for treating such captured media uses as fair ones, documentarians should take care that:
- particular media content played or displayed in a scene being filmed was not requested or directed;
- incidentally captured media content included in the final version of the film is integral to the scene/action;
- the content is properly attributed;
- the scene has not been included primarily to exploit the incidentally captured content in its own right, and the captured content does not constitute the scene's primary focus of interest;
- in the case of music, the content does not function as a substitute for a synch track (as it might, for example, if the sequence containing the captured music were cut on its beat, or if the music were used after the filmmaker has cut away to another sequence).
4. Using copyrighted material in a historical sequence
In many cases the best (or even the only) effective way to tell a particular historical story or make a historical point is to make selective use of words that were spoken during the events in question, music that was associated with the events, or photographs and films that were taken at that time. In many cases, such material is available, on reasonable terms, under license. On occasion, however, the licensing system breaks down.
Principle: Given the social and educational importance of the documentary medium, fair use should apply in some instances of this kind. To conclude otherwise would be to deny the potential of filmmaking to represent history to new generations of citizens. Properly conditioned, this variety of fair use is critical to fulfilling the mission of copyright. But unless limited, the principle also can defeat the legitimate interests of copyright owner—including documentary filmmakers themselves.
Limitations: To support a claim that a use of this kind is fair, the documentarian should be able to show that:
- the film project was not specifically designed around the material in question;
- the material serves a critical illustrative function, and no suitable substitute exists (that is, a substitute with the same general characteristics);
- the material cannot be licensed, or the material can be licensed only on terms that are excessive relative to a reasonable budget for the film in question;
- the use is no more extensive than is necessary to make the point for which the material has been selected;
- the film project does not rely predominantly or disproportionately on any single source for illustrative clips;
- the copyright owner of the material used is properly identified
Fair Use in Other Situations Faced by Documentarians
The four principles just stated do not exhaust the scope of fair use for documentary filmmakers. Inevitably, actual filmmaking practice will give rise to situations that are hybrids of those described above or that simply have not been anticipated. In considering such situations, however, filmmakers should be guided by the same basic values of fairness, proportionality, and reasonableness that inform this statement. Where they are confident that a contemplated quotation of copyrighted material falls within fair use, they should claim fair use.
As already indicated, two goals of the preceding statement are to encourage documentarians to rely on fair use where it is appropriate and to help persuade the people who insure, distribute, and program their work to accept and support documentarians in these choices. Some common errors about fair use and its applicability may stand in the way of accomplishing these goals. Briefly, then, here are some correctives to these misunderstandings:
- Fair use need not be exclusively high-minded or "educational" in nature. Although nonprofit or academic uses often have good claims to be considered "fair," they are not the only ones. A new work can be "commercial"—even highly commercial—in intent and effect and still invoke fair use. Most of the cases in which courts have found unlicensed uses of copyrighted works to be fair have involved projects designed to make money, including some that actually have.
- Fair use doesn't have to be boring. A use is no less likely to qualify as a fair one because the film in which it occurs is effective in attracting and holding an audience. If a use otherwise satisfies the principles and limitations described in the Statement of Best Practices in Fair Use, the fact that it is entertaining or emotionally engaging should be irrelevant to the analysis.
- A documentarian's failed effort to clear rights doesn't inhibit his or her ability to claim fair use with respect to the use in question. Everyone likes to avoid conflict and reduce uncertainty. Often, there will be good reasons to seek permissions in situations where they may not literally be required. In general, then, it never hurts to try, and it actually can help demonstrate the filmmaker's good faith. And sometimes (as in connection with Principle Four) it can be critically important.
Legal Advisory Board
Professor Julie E. Cohen
Georgetown University Law Center
Washington, D.C.
Michael C. Donaldson, ESQ.
Donaldson & Hart
Los Angeles, California
Professor Michael J. Madison
University of Pittsburgh School of Law
Pittsburgh, Pennsylvania
Gloria C. Phares, ESQ.
Patterson Belknap Webb & Tyler
New York, New York
J. Stephen Sheppard, ESQ.
Cowan, DeBaets, Abrahams & Sheppard
New York, New York
Authoring Organizations
Association of Independent Video and Filmmakers (AIVF)
Works to increase creative and professional opportunities for independent video and filmmakers and to enhance the growth of independent media by providing services, advocacy, and information.
Independent Feature Project (IFP)
Fosters a sustainable infrastructure that supports independent filmmaking and ensures that the public has the opportunity to see films that more accurately reflect the full diversity of the American culture.
International Documentary association (IDA)
Promotes nonfiction film and video around the world by supporting and recognizing the efforts of documentary film and video makers, increasing public appreciation and demand for the documentary, and providing a forum for documentary makers, their supporters, and suppliers.
National Alliance for Media Arts and Culture (NAMAC)
Provides education, advocacy, and networking opportunities for the independent media field.
Women in Film and Video (WIFV), Washington, D.C. Chapter
Works to advance the professional development and achievement for women working in all areas of film, television, video, multimedia, and related disciplines.
Academic Consulting Organizations
Center For Social Media
Directed by Professor Pat Aufderheide, showcases and analyzes media for social justice, civil society and democracy, and the public environment that nurtures them, in the School of Communication at American University in Washington, D.C.
Program on intellectual Property and the Public Interest
Directed by Professor Peter Jaszi, sponsors events and activities designed to promote awareness of the social, economic, and cultural implications of domestic and international intellectual property law, in the Washington College of Law at American University.
Arts Engine
Bay Area Video Coalition
Electronic Arts Intermix
Full Frame Festival
Independent Television Service
Kartemquin Films
National Video Resources
P.O.V./American Documentary
University Film and Video Association
Video Association of Dallas
Women Make Movies
Video Association of Dallas
Fair Use in Documentary Film Discussion Clips
For classroom use – For each video, ask your students to consider the following questions: Why is this video fair use? What specific categories of fair use does the video employ? What arguments can you make for why this video is fair use?
Watch more videos on Fair Use & Documentary Film at bit.ly/doc-film!


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Activities in the Air
Things to Do – Adventures and Activities
There is plenty of light seasonal adventure, local culture and incredible tranquility to enjoy while visiting this empty stretch of beach as well as several day trips in the more developed tourist towns of Mal Pais and Samara for those who like to get out and explore. Activities in the air, on land and at sea. Your hosts are on site to help plan all activities and make daily suggestions. Kick back, relax and play as much, or as little, as you like – we will handle all of the details for you!
Activities & Packages are available during the High & Green Season, weather & space depending.
Some require a 20-minute to one-hour very scenic drive and are considered "Day Trips" to the neighboring towns of Mal Pais & Samara.
Prices subject to change.
Soar high over Playa Samara and Carrillo Beach and down to Playa San Miguel with this very unique experience. Fly with the birds and look over the sea and spot sharks, giant mantas, dolphins, coral reefs, buzz the beaches and soar above mountains and much, much more. Fly over the oceans and see sharks, whales and giant mantas. Volcano trips available. Bring your camera, sunglasses and sun screen. English, Spanish, German speaking pilots available.
20 minutes for $110 US per person | Professional pilot. |
30 minutes for $150 US per person | Professional pilot. |
60 minutes for $230 US per person | Professional pilot. |