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Please note that we are seeing high patient volumes in the emergency department. Learn more >>.
A chondroblastoma is a rare type of noncancerous bone tumor that begins in cartilage. This is the tough, rubbery connective tissue from which most bones develop. It plays an important role in the growth process. There are many different types of cartilage in the body. Chondroblastoma most often affects the ends of the long bones, near the growth plate, in the arms at the shoulder, and in the legs at the hip and knee. It is also called Codman's tumor.
Chondroblastoma can affect people of all ages. But, it's most common in children and young adults. It's also more common in males than females.
The exact cause of chondroblastoma is not known. The tumors are believed to start from immature cartilage-making cells called chondroblasts.
Symptoms of chondroblastoma may vary depending on the location of the tumor. The most common symptoms include:
Pain in the knee, hip, and shoulder joint that may be slight or moderate and may be felt for months or years
Withered or shrunken appearance of the muscle near the affected bone
Joint stiffness
Joint swelling
A limp if the tumor is in the leg
The symptoms may look like other medical conditions or problems. Always talk with your healthcare provider for a diagnosis.
Your healthcare provider will ask about your health history and give you a physical exam. You may also have tests such as:
X-rays. This is a test that uses a small amount of radiation to make images of tissues, bones, and organs on film.
MRI. This is a test that uses large magnets, radio waves, and a computer to make detailed images of tissues in the body. This test can also rule out any problems of the spinal cord and nerves.
CT scan. This is a test that uses a series of X-rays and a computer to make detailed images of the tissues in the body.
Biopsy. A small sample of tissue is taken and tested. This is usually needed to confirm diagnosis.
The goal for treatment of chondroblastoma is to remove the tumor and prevent damage to the end of the affected bone. Treatment may include:
Surgery to remove the tumor
Bone grafting, a surgery to transplant healthy bone from another part of the body to repair damaged bone
Reconstruction or replacement of an affected joint
Physical therapy to restore strength and function after surgery
Nonsurgical treatment choices may be used in some cases. This is due to the high risk of major complications from surgery. These other choices include:
Cryotherapy. This is extreme cold treatment that is used to destroy the tumor.
Radiofrequency ablation. This is a high frequency electrical current that is used to heat and destroy the tumor.
The tumor may recur. For this reason, follow-up with your healthcare provider is essential.
Chondroblastoma is a rare type of noncancerous bone tumor that starts from cartilage.
It most often affects the ends of the long bones, near the growth plate, in the arms at the shoulder, and in the legs at the hip and knee.
It is more common in children and young adults and affects males more than females.
The exact cause of chondroblastoma is not known.
Symptoms may vary depending on the location of the tumor.
The goal for treatment is to remove the tumor and prevent damage to the end of the affected bone.
Tips to help you get the most from a visit to your healthcare provider:
Know the reason for your visit and what you want to happen.
Before your visit, write down questions you want answered.
Bring someone with you to help you ask questions and remember what your provider tells you.
At the visit, write down the name of a new diagnosis and any new medicines, treatments, or tests. Also write down any new instructions your provider gives you.
Know why a new medicine or treatment is prescribed and how it will help you. Also know what the side effects are.
Ask if your condition can be treated in other ways.
Know why a test or procedure is recommended and what the results could mean.
Know what to expect if you do not take the medicine or have the test or procedure.
If you have a follow-up appointment, write down the date, time, and purpose for that visit.
Know how you can contact your healthcare provider if you have questions, especially after office hours or on weekends and holidays.


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PADI Master Instructors embody the essence of a true dive professional having demonstrated a thorough understanding of the PADI System of diver education, and put it into practice by training 150 or more PADI Divers. They are dive industry leaders who help to shape the development of future dive courses.
The PADI Master Instructor rating is unique in the PADI System – it is the one rating that you do not earn through training. You earn it by exemplifying what it means to be a PADI Instructor in what you do.
You must be
For more information about this or other PADI courses have a chat with one of the ABCD DIVING Team members.

subset: commoncrawl


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Solving the homeless problem in Milwaukee with the Housing First Model is the subject of this episode from the Building Wisconsin TV series. Host Stuart Keith meets with Mark Klann from Cardinal Capital Management and Daniela Imig from Wisconsin Community Services to check out the Thurgood Marshall Apartments and learn about the new Harm Reduction Project in Milwaukee County.
Subscribe to the Building Wisconsin Blog to learn about major construction initiatives throughout Wisconsin.


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Digital audio is an exacting science with no room for error. That's why Studio Prop 1000 AES/EBU uses oxygen-free copper covered with polished silver for ultra-fast rise times and detailed, transparent sound. Careful engineering and precision dielectrics create a low capacitance, high speed cable that reduces jitter and bit errors, ensuring precise signal transfer even over long runs. Close-tolerance impedance and extra-wide-bandwidth exceeds AES/EBU specification for 110-ohm digital systems, and a dense copper braid and 100% foil shield reject leakage and outside interference. For professional sound, get SP1000 Digital Interconnect Cable.
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- Close-tolerance impedance and extra-wide bandwidth exceeds AES/EBU specification for 110-ohm digital systems.
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Benefits of Global Warming Greatly Exceed Costs, New Study Says
Nongovernmental International Panel on Climate Change (NIPCC) to Issue Its Critique
of the United Nations' IPCC Working Groups II and III Reports at National Press Club on April 9
What: Breakfast press conference with authors and reviewers of Climate Change Reconsidered II: Biological Impacts, and Climate Change Reconsidered II: Human Welfare, Energy, and Policies
When: Wednesday, April 9, 8:00 a.m. – 11:00 a.m.
Where: National Press Club, Bloomberg Room, 529 14th Street NW, Washington, DC
Who: Joseph Bast, president, The Heartland Institute; Dr. S. Fred Singer, professor emeritus of environmental science at the University of Virginia; Dr. Craig D. Idso, founder, Center for the Study of Carbon Dioxide and Global Change, and others to be announced.
An international panel of climate scientists and economists will release a massive new report April 9 that finds the benefits of global warming "greatly exceed any plausible estimate of its costs." The new report, the second and third volumes of Climate Change Reconsidered II, were produced by the Nongovernmental International Panel on Climate Change (NIPCC) and published by The Heartland Institute.
The new report summarizes scholarly research published as recently as January 2014 on the impacts, costs, and benefits of climate change. Hefty chapters summarize thousands of peer-reviewed studies of the impact of rising levels of carbon dioxide – a greenhouse gas produced during the burning of fossil fuels – on plants and soils, agriculture, forests, wildlife, ocean life, and humankind.
The authors find higher levels of carbon dioxide and warmer temperatures benefit nearly all plants, leading to more leaves, more fruit, more vigorous growth, and greater resistance to pests, drought, and other forms of "stress." Wildlife benefits as their habitats grow and expand. Even polar bears, the poster child of anti-global warming activist groups such as the Natural Resources Defense Council (NRDC), are benefiting from warmer temperatures.
"Despite thousands of scientific articles affirming numerous benefits of rising temperatures and atmospheric CO2, IPCC makes almost no mention of any positive externalities resulting from such," said one of the report's lead authors, Dr. Craig D. Idso. "Climate Change Reconsidered II corrects this failure, presenting an analysis of thousands of neglected research studies IPCC has downplayed or ignored in its reports so that scientists, politicians, educators, and the general public can be better informed and make decisions about the potential impacts of CO2-induced climate change."
The authors look closely at claims climate change will injure coral and other forms of marine life, possibly leading to some species extinctions. They conclude such claims lack scientific foundation and often are grossly exaggerated. Corals have survived warming periods in the past that caused ocean temperatures and sea levels to be much higher than today's levels or those likely to occur in the next century.
The authors contend the world's economies are heavily dependent on fossil fuels because such fuels are and will continue to be safer, less expensive, more reliable, and of vastly greater supply than alternative fuels such as wind and solar. Dramatically reducing the use of fossil fuels would have devastating effects on workers and consumers of both the developed and developing worlds, leading to severe hardship and even deaths.
Rather than continue to fight what is most likely a natural and unstoppable phenomenon, the authors call for adopting new energy and environmental policies that acknowledge current market and environmental realities. Such policies would encourage economic growth as the foundation for a cleaner environment, responsible development and use of fossil fuels until superior energy sources are found, and repeal of many of the regulations, subsidies, and taxes passed at the height of the man-made global warming scare.
A Summary for Policymakers (SPM) of the report, written in collaboration with the lead authors and approved by them, will be available at the press conference. The complete study will be released digitally in April and available in printed form in May.
Previous volumes in the Climate Change Reconsidered series were published in 2008, 2009, 2011, and 2013. Those volumes are widely recognized as the most comprehensive and authoritative critiques of the reports of the United Nations' Intergovernmental Panel on Climate Change (IPCC). In June 2013, a division of the Chinese Academy of Sciences published a Chinese translation and condensed edition of the 2009 and 2011 volumes.
For copies of previous reports and background on NIPCC, please visit the Climate Change Reconsidered website.
The Heartland Institute is a 30-year-old national nonprofit organization headquartered in Chicago, Illinois. Its mission is to discover, develop, and promote free-market solutions to social and economic problems. For more information, visit our Web site or call 312/377-4000.
Professor Robert (Bob) M. Carter


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On "The Witch of Coös"
Jeffrey Meyers
"The Witch of Coös" (named for a county in northern New Hampshire) is a ghost - or skeleton - story inspired by the heroines in the tales of Edgar Poe who burst the confines of their coffins. The down-to-earth narrator confirms the reality of the supernatural events, which were told to him by the witch and her son (two "old-believers," or old-fashioned mediums) when their desire to confess overcame the need to keep their long-held secret. Forty years ago, they told him, a skeleton locked in the cellar carried itself "like a pile of dishes" up two flights of stairs and into the attic. The bones belonged to the woman's ]over, whom her late French-Canadian husband, Toffile Lajway (Théophile LaJoie), had killed and buried under the house. Punning and quoting Chaucer's "Prioress' Tale," Frost said the theme of the poem was "murder will out - he's murder trying to get out."
From Robert Frost: A Biography. Copyright © 1996 by Jeffrey Meyers.
Richard Poirier
Frost's sense of the plight of women who have nothing but a home to keep - with too little work if childless, too much if there are boarders or workers on the farm - is responsible for a series of remarkable poems about the frustrations of imagination and its consequent expression in the distorted forms of obsession, lies, or madness. Very often "home" is the prison of madness, recognized as such by the keepers and so acknowledged by the victims. . . .
A pattern seems to emerge from these poems. In "The Witch of Coös". . .we have a woman imagining a figure of insane, frustrated, and obscene sexuality caged in a house with a married couple. And this married couple, too, is ever so subtly characterized as possibly sexless, possibly frigid, and therefore potentially obscene. On the night of her vision
The bulkhead double doors were double-locked
And swollen tight and buried under snow.
The cellar windows were banked up with sawdust
And swollen tight and buried under snow.
The repetitions give an emotional intensity that might be expected from a woman who wants to interpret the always unsteady movements of a skeleton, reputed to be her former lover, as a "balancing with emotion." This is the same women who, before she offers her images of something "swollen tight and buried under snow," admits that
The only fault my husband found with me --
I went to sleep before I went to bed,
Especially in winter when the bed
Might just as well be ice and the clothes snow.
The night the bones came up the cellar stairs
Toffile had gone to bed alone and left me,
But left an open door to cool the room off
So as to sort of turn me out of it.
A widow now, with a son who seems surprised at her willingness to tell a stranger that the skeleton was of a man who once had his way with her, she at least has the pleasure, having also put her husband in the grave, of a bed to herself and some distraught bones that at night sometimes come down from the attic to "stand perplexed / Behind the door and headboard of the bed / Brushing their chalky skull with chalky fingers."
. . . .
The story is of a skeleton who, in the words of the son,
l eft the cellar forty years ago
And carried itself like a pile of dishes
Up one flight from the cellar to the kitchen,
Another from the kitchen to the bedroom,
Another from the bedroom to the attic,
Right past both father and mother, and neither stopped it.
Father had gone upstairs; mother was downstairs.
I was a baby: I don't know where I was.
Once more we have an account of something by somebody who did not see it and who, perhaps for that reason, extemporizes in vivid and show-off metaphors, such as the memorable skeleton that, according to the son, "carried itself like a pile of dishes." Understandably, the mother, in her account, chooses a metaphor no less inventive but somewhat more romantic - the bones are put together "like a chandelier":
I had a vision of them put together
Not like a man, but like a chandelier.
So suddenly I flung the door wide on him.
A moment he stood balancing with emotion,
And all but lost himself. (A tongue of fire
Flashed out and licked along his upper teeth.
Smoke rolled inside the sockets of his eyes.)
Then he came at me with one hand outstretched,
The way he did in life once; but this time
I struck the hand off brittle on the floor,
And fell back from him on the floor myself.
The finger-pieces slid in all directions.
The telltale keepsake bone cannot be found in the button box, and even if it could it would not prove that the skeleton was a former lover killed by her husband, Toffile. All Toffile does, even by her account, is act like an unusually indulgent mate, willing to believe his wife's claim that a skeleton has come up from the basement, though he cannot see it or hear it. He is then willing to bolt the attic, never to open it again, as if to support her further claim, never more substantiated than any of the others, that the skeleton has chosen to go there.
. . . .
In a peculiar way, his treatment of women recalls a nineteenth-century novelistic convention in which the repression of women, and the restriction on their active participation in the outdoor world, force them into exercises of free imagination and fancy.
From Robert Frost: The Work of Knowing. Copyright © 1977 by Oxford University Press.
Katherine Kearns
In "The Witch of Coös" only the woman/wife/lover/mother/witch can hear the bones' chalky progress upstairs, while her husband never "seem[s] to hear them," even as he rousts himself reluctantly from bed to help shut the skeleton in the attic. He only humors his wife's hysteria, but just as Frost's own mother funded him with magical stories, the "witch" has, over forty years' time, given her son an intimate knowledge of the night her buried ]over wandered upward. The poem is antiphonal, with mother and son speaking parts labeled with their names. The son has appropriated his mother's tale and tells it with great relish even though he admits that, when it happened, "I was a baby: I don't know where I was." Of the skeleton, he says, "It left the cellar forty years ago / And carried itself like a pile of dishes / Up one flight from the cellar to the kitchen. . . . " His metaphor, domestic and feminine as it is, is probably originally his mother's, although it also represents his own feminized, maternally oriented vision. It supports, too, as do the mother's images of the skeleton as "like a chandelier" and "a chalk-pile," the crucial interdependence of visual and aural components, a macabre sound of sense. This is, clearly, a story he has got by heart, a narrative embued with not only the sight but the sounds of bones that are "like the dry rattling of a shutter" in a house that is otherwise sealed tight, shutters closed and locked.
The pair remain in narrative accord until the astonishing disjunction of line 135:
Son. We think they had a grave down in the cellar.
Mother. We know they had a grave down in the cellar.
Son. We never could find out whose bones they were.
Mother. Yes, we could too, son. Tell the truth for once.
They were a man's his father killed for me.
The son is willing to tell the story as if it has nothing to do with him, as if the murdered man is not probably his own father, as if his mother is not, the whole time they are telling the story, fishing around in her button box for a finger bone she saved from the night the skeleton rose up. His (nominal) father could never hear the bones; the son can hear them clearly as long as they have nothing to do, finally, with him.
This is a familiar dynamic within Frost's poetry but for the son's presence: the women who can see beneath the skin to the grinning memento mori and can hear the disturbing cacophony of bone on bone are juxtaposed with the men, like the witch's husband, who can see and hear nothing. It is not, in "The Hill Wife," the husband who feels the stranger waiting in the woods but the wife; in "The Fear" it is the woman who hears in a stranger's footsteps the specter of an angry, abandoned lover, and who sees a man's face in the bushes, while the man can only say, "I didn't see it"; in "Home Burial" it is the grieving mother who looks out the window at "some fear" that her husband can't see ("She let him look, sure that he wouldn't see, / Blind creature . . ."). This kind of pairing often necessitates a third party who may represent a more balanced view, one that sees more rationally than the feminine and more insightfully than the nonpoetic masculine. In "The Witch of Coös," the brief, dry voice of the "visitor" - "I verified the name next morning," he says - is ostensibly closest to the poet's, as both are meant to be perceived as outsiders to all this madness and violence. But the son's voice may also be seen as the poet's voice as he translates himself out of complicity in this tale of sex and violence by making his "story" about strangers. The son, in his forties, is the very crucial center of this story, just as is the infant son of "Home Burial." He is the probable proof of his mothers infidelity, a baby when the lover is killed, and whether he is legitimate or not he can no more know the truth than the reader can know it. As living evidence, he becomes the goad for murder, caught forever in the knowledge that one of his "fathers" killed the other to keep from killing his mother. In this Oedipal struggle the son has achieved a pyrrhic victory, for both fathers have died and he lives alone with his mother in a sealed-up house. If the mother in "Home Burial" wants to enter the grave of her son, this son has entombed himself with his mother, whose identity as "witch" is a metonym for her capacity for wanton behavior. And yet he tells the story as if it has nothing to do with him.
Clearly drawn to recapitulate just such stories of lovers, murdered, abandoned, or escaped, Frost nonetheless feels it incumbent upon him to mitigate the appetitive impulses he documents. He disperses the lyric voice - the mother, the son, and the skeleton all bear testament to love and its painful consequences - while he infiltrates the enclosed environment with the stranger's psychoanalytic, listening presence. The son and the mother in "The Witch of Coös" are almost parodic reifications of this instinct for simultaneous revelation and containment: they have locked the doors to the basement, to the attic, and to the outside. They have limited their view and their audience absolutely and, except late in this telling of the story, have purified their narrative of spontaneity so that it becomes spellbinding, lethal in its ability to subvert temporality and, with temporality, rational "meaning. One listening to this tale comprehends the facts of infidelity, madness, and murder aesthetically, induced to a reverie in which the significance of the story is momentarily erased. One reclaims its meanings only in retrospect and only by force of will, for the often repeated story has become litanic, appropriating the individual words to the rhythmic whole. The fact that it is "told" by a witch and her son enhances its trancelike quality; the fact that Frost himself appropriated the tale from an old history of Coös county affords him the safe distance from which to have them tell it. Only at the end of the poem does the narrative chant break momentarily, when the mother says abruptly, "Tell the truth for once." The rattle of the button box, bone buttons and finger bone against metal, is like some primitive rhythm instrument that reinforces the beat. Thus the mother and son have repeated their shared erotic past without its specific horror, making each recounting a ritualistic event rather than a revelation - and recreation - of the actual guilt such a story should invoke. This is not to say that the story is without impact but to suggest that its blank verse cadences and its macabre humor, measurable evidence of a kind of emotional amnesia, contain and therefore qualify the madness as surely as does the sealed-up house.
Such lyric control is essential, for the witch and the mother's boy who reveal their story only within the locked enclosure of the house and for the poet; the "feminine" voice, which may reveal the maddening secrets of desire, must remain insulated for its own safety as well as for others'. Job's wife, another alleged witch, persistently asks in "A Masque of Reason" why "women prophets should be burned as witches, / whereas men prophets are received with honor," why, although "God's had / Aeons of time . . . still it's mostly women / Get burned for prophecy, men mostly never." The answer lies, of course, in what Frost believes that femality knows, for by traditional masculinist terms its knowledge is of anarchic truths whose powers to subvert rationality must be silenced, burned into nothing. Job's wife again reveals this dichotomy between masculine sight and feminine insight, whereby the bones either are simply not there or are tangibly there to be felt, seen, and heard. When the Devil enters the scene in "A Masque of Reason" he is as diaphanous as a sapphire wasp because "Church neglect / And figurative use have pretty well / Reduced him to a shadow of himself." Yet unlike the husband, who takes this wispy figure lightly, the wife says, "He's very real to me / And always will be." It is crucial for the poet to obscure his own prophetic femininity, which, against church doctrine and common poetic use, sees evil as quite real and even as provocative. Job's wife, for example, likes Satan's voice; "That strain again!" she cries. "Give me an excess of it! / As dulcet as a pagan temple gong!" She begs him to stay, she promises to go with him at twilight, and she reaches out and takes his hand. Superficially at least, Frost's must be the voice of the prophet, controlled, virile in its moderation, and relatively safe from attack, to insure against this willingness to court the devil's favor.
Throughout his poetry Frost thus exploits the potential of sound to circumvent or supersede stated meaning and to defuse explosive emotions, using complex countervoices that are reified in "The Witch of Coös" in the figures of mother, son, bones, and stranger; thus he walks the boundaries between subjectivity and objectivity. "The Witch of Coös" makes, in fact, a suggestive model for the excavational imperatives Frost's poetry thus imposes. The triad of speakers, the trileveled house, and the mobile skeleton ascending from cellar to attic predict the complex permutations of sound and meaning to be found throughout Frost's poetry. Sound, stated meaning, and subtext coexist, often in apparent contradiction to one another, and there is always a sense in which a given listener may be excluded from hearing the noise that is most crucial to meaning. As in "The Witch of Coös" the subtext (mother-woman-witch), the stated meaning (son), and the virile oversound (adult male stranger) may be paralleled to uncontrol, the pretense of control, and control. Yet if the maternally fixated son is sprung from the poet's mind, so too is the poet a son as well. Product of what he would define both as masculine and as feminine impulses, Frost here displaces his feminine and maternal identities so that they emerge in mediational constructs: the "witch" becomes a speaker whose "otherness" allows her both behaviors and insights that the man of moderation must repudiate in himself; the "son" who may not be a man until he alters his identification with the mother is a virtual hermaphrodite, a closed system whose intimate knowledge of "femaleness" is predicated on his equally intimate Oedipal participation in the sins of the fathers. The lover's skeleton is the memento mori, a noisy, tragicomic rhythm box of failed desire for those who can - or will - hear it. This skeleton is the perfect Frostian emblem for eviscerated lyricism, the animated lover who can neither speak nor otherwise make love. It is impossible to disentangle these elements from one another, of course; voices heard by the poet, they also come from him.
. . . .
Frost's skeleton/sound box in "The Witch of Coös" is at once a most tangible thing, relatively indestructible and immutable as natural parts go, and a most immaterial specter, a projection of buried guilt. Frost employs its dual and oppositional identities as symbol and object to pit meaning against sound, for as a symbol it is noiseless and as a skeleton it grates and rattles, scraping against itself with every step it takes. The skeleton actually appears visually to the woman only on the ground floor between cellar and second story. In this middle zone between the nether part of the house, which signifies desire, and the attic, which signifies madness, the bones make an appearance, but at the other levels they manifest themselves only by sound. Frost thus literalizes the interactive relationship between the aural and the rational - visually verified - apprehension of a given "reality." What the eyes may see - or not see - is only part of the picture, which also incorporates noise from the visceral/appetitive/cellar and the cerebral/inspirative/attic.
Like Paul's wife, who materializes from the merest pith to move briefly in bodily form through time and space before disappearing, the skeleton moves momentarily through the medium of the ground floor, locus of more rational behaviors than those found in either the cellar in which the murder has occurred or in the one finished bedroom upstairs. Its passage gives only a glimpse of the visual, consciously recognized version of its reality. In this it would seem to be one of the multitude of things in Frost's poetry that are, like the leaves that fall or the seeds that sprout, on the way to some other definition of themselves, and yet it is in a most fundamental way different from these other natural artifacts. It can move and lose pieces of itself, but it cannot regenerate or metamorphose: it is a hard, dead thing, and its original definition as a man suggests its obdurate formalism. One of the few mobile things in Frost's poetry that cannot generate through metamorphosis its own series of significances, it is a comically static construct. It becomes at one point, in fact, a "scribble," as if Frost plays on its identity as a poetic device gone dead: the remains of the lyric figure, in fact. Frost masterfully exploits the skeleton's dual nature as a densely tangible object and as a symbol of the woman's guilt - a supernatural/psychic/hysterical manifestation that is sound without substance. He takes this complex totem that is simultaneously so tangible and so nebulous, so symbolic and so real, and shakes it up the stairs, down the central hall, and up into the attic; its sound and his sound effects thus control the poem's effect despite the horrific truth of the story from which the sounds derive.
The bones first manifest themselves by their noise alone, coming haltingly up the cellar steps "The way a man with one leg and a crutch, / Or a little child, comes up": both the metrical pattern of trochaic inversions here and the visual image predict an ironic truth - that this lover divested of appendages, sexual and otherwise, is impotent, more a sound and sight of pathos than of terror. The sound of them on the stairs starts the woman wondering how the bones are "mounted." This is a pun that suggests immediately multiple levels of meaning, as "mounted" has inescapable sexual connotations in keeping with the bones' past as a lover (and in keeping with the use of the term in "The Witch of Grafton"), connotations of a dead thing "mounted" for display, and connotations of one who mounts, or ascends upward, as the skeleton does as it heads atticward. In fact, the woman imagines the skeleton specifically as mounted "like a chandelier," bones hanging like prisms, and this meaning is also to some extent confirmed as the skeleton spits out fire and has smoke in its sockets, like an electrical fixture shorting itself out (so much for enlightenment). When it comes toward the woman with hand outstretched "the way he did in life once," we may imagine it to recapitulate the seduction, which this time the woman repels, breaking off the hand (this time symbolically repudiating the penis and thus proving that the man is in effect "dismounted") and falling backward away from the skeleton. Inescapably, too, and oppositely, we may imagine this imploring stance to have been repelled once before as the woman has allowed her husband to kill her lover. (The ambiguity of her saying that the bones are "a man's his father killed for me. / I mean a man he killed instead of me" is interesting.) The significance of the skeleton is extremely variable, even contradictory: a symbol of past appetite, it sounds like stacked and emptied plates; a symbol of desire, it is metaphorically missing its leg and literally missing its hand, both clear metonymic references to the lost penis. It is an almost comically disintegrative structure whose meanings may be altered even retroactively.
Invested with multiple meanings, the skeleton begins immediately to disperse as a visual artifact - its leg has become a "crutch," the "hand" shatters into "finger-pieces." Its St. Vitus dance movement down the hall becomes the verification of its function as an image of ambivalence (the woman is both frightened and pleased to look at "him"; "he" wants outside but settles for the attic); the bones "go every which way in the joints" as they move down the linear hall, becoming a figure of the contradiction between impulse and conscious intent. The poet holds this jangling construct together prosodically, however, playing off its sound with an assertive formal control. The line "And set off briskly for so slow a thing" shows a perfection of controlled sound, as it embodies the "brisk" slowness of a skeleton whose "sk-sk" sounds ("like a chalkpile") are reified in the "s" alliterations of this line, in the one-syllable words grinding against each other and insisting upon the reader's own halting movement among juxtaposed consonants, and, in small, in the very sound of the word "briskly," whose meaning of "quickly" or "energetically" is less valid than its more Joycean aural suggestions of a word made from "bone," "gristle," and "skeleton." Frost, it is implied, may shake this box and make it sound any way he pleases - like a pile of dishes, a chandelier, a chalkpile, a loose shutter.
In yet another inversion of meaning, the skeleton "going every which way in the joints" is said to look like "lightning or a scribble / From the slap I had just now given its hand." Here the skeleton as signification becomes a "scribble," not a word; itself handless, it may not, in either the Marxist or the poetic sense of writing oneself to wisdom, make its own meaning. It in fact becomes not meaning but potentially the thing by which meaning is inscribed, the chalk itself, scribbling in the dark. Again embodied in the "sk" sound, this scribble of random movement is on its way to erasure, for in the full light only the sound confirms its existence as it becomes white lines on a white sheet. If, as William James suggests, an attempt to see "inside" to where the meanings are is "like trying to turn up the gas quickly enough to see how the darkness looks," this rack of bones "embodies" the paradox of such a pragmatic nihilism. It is a metaphorical construct made of the written word that may be "seen" only in the darkness inside one's head. It is a white scribble of chalk against black like snow-white branches up a black trunk, lightning against a black sky, and as such it is intimately associated with the poet himself, whose own hand holds the pen that must scrawl across the paper when jarred. The bones melt to nothing in the light, but locked behind the attic door they rattle like loose shutters, a reminder of portals once opened and since locked tight. They become that thing which constantly recedes from the vision, visible only peripherally at the edge of the light, but heard inside the head like chalky fingers brushing one's skull despite the "headboard" used to block its reappearance. Whether the skeleton actually exists as a thing or whether it is the cacophonous white noise inside the darkness of a madwoman's head/house, it is a complex figure of the way Frost invokes sound against meaning. His skeleton, daring one to take it seriously, may not by its very nature be made light of. It is simultaneously comical and dreadful, the very sound of nothingness, the mark made by a nonexistent hand.
As the skeleton/symbol would suggest, a paradoxical literalness emerges from Frost's consciously dichotomous use of sound and meaning, as he so frequently chooses language that eschews the abstract for the sensually tangible: the bones, the buttons, and the box, for example, make an alliterative noise as words and an actual noise as things brought together in "The Witch of Coös." One finds, in fact, that when Frost deviates from his own stated preference for the concrete, shapely correlatives by which one "say[s] spirit in terms of matter," he exhibits a spatial confusion that affects even his poetic structures. . . .
The poetic spell, like the narrative spell in "The Witch of Coös," is always on the verge of breaking.
From Robert Frost and a Poetics of Appetite. Copyright © 1994 by Cambridge University Press. Reprinted by permission of the author.
Robert Faggen
. . . Though the whole story appears to be a show the mother and son have developed for gullible visitors, the mother takes her spiritualism seriously and becomes troubled by some of its contradictions, particularly its failure to account for the material reality of the body as well as its desire to accommodate itself to the standards of proof of modern science. Inspired by "Ralle the Sioux Control," an Indian spiritualist who made her ponder the question of whether the dead "have souls" or are souls, she posits the persistence of a bodily, visceral presence, evoking the old religious controversy about what happens to the dead between the time of death and the resurrection. Caught between the Pauline view that in the resurrection we shall be given new bodies and the Neoplatonic view of purely spiritual resurrection, she fears the possibility of remaining in an earthly limbo. Christian and pagan intersect in her mind in a terrifying way, and she does reveal herself to be an old believer, despite the put-on way she appeals to the evidence of pieces of bone to accommodate modern skepticism:
[lines 1-20]
The story about the bones, however, exposes her desire to reanimate lost power, and the skeleton becomes a metaphor for her self. Like the dead, she too is "keeping something back," which makes her more compelling, threatening. Behind her story about the resurrected bonesa skeleton in the closetis her deeper psychological fear and, above all, guilt about her past.
The story about the skeleton tells a great deal about her attempts to overcome the coldness in her marriage and the cruelty of men. Her husband, Toffile, faults her for going "to sleep before [she goes] to bed," but one senses that the conditions he has created for her are equally cool, and that he feared her sexuality as much as she feared his control, leaving "an open door to cool the room off / So as to sort of turn me out of it":
[lines 36-43]
As she presents the resurrected skeleton, she creates a fantasy of control over its passion, "balancing with emotion," and fear of its desire, fire emanating from its mouth and smoke from its sockets. And she reminds herself and the narrator that "in life once" the man used to come at her with hand outstretched, perhaps with some violence. Both fond of what she has provoked and fearing it, she exerts ultimate control by knocking its bones to pieces on the floor and keeping them for proof (or so she would like the narrator to believe!).
[lines 65-81]
More important is the way she uses her sorcery to seduce her indifferent husband, reducing his egregiousness, and demanding a display of sexual prowess:
[lines 90-103]
Toffile, her husband, never saw the skeleton, and she told him that she had trapped it in the attic, pushing the bed against the door, nailing it shut. The imagined proximity of the skeleton to the bed keeps excitementthrough threat of intrusion and her fantasyin the marriage.
As much as she is fascinated by the skeleton and uses it to torment Toffile it also becomes a taboo by which she remains faithful to Toffile and his memory. She will be "cruel" to the bones for the cruelty she once inflicted on her husband by her infidelity:
[lines 125-134]
We finally learn the deeper tragedy behind her storytelling: Toffile had killed the man who had an affair with her and buried him in the cellar. This was more than enough for both of them to be tormented by the idea of the skeleton, for their guilt in a crime, for the inadequate burial of the dead:
[lines 135-151]
What we find out or can infer about the "witch"'s life is more horrible than the story she might be concocting to sell to visitors. Sexual jealousy, murder, loneliness, and fear are the memorable aspects of her domestic experience. She refuses to become spiritually buried by her past, but her spiritualism cannot hide her dependence on the memory of the passion she inspired in her lover and in her husband and of the guilt over the tragedy that it created. Only at the end is there an exasperated disavowal of her attempt to hide her life behind the mask of spiritualism: "But tonight I don't care enough to lie / I don't remember why I ever cared." If this is just another mask for the narrator, it is a doubt overcome when he sees her husband's name, Toffile Lajway, still on the mailbox.
from Robert Frost and the Challenge of Darwin. Copyright © 1997 by The University of Michigan
Return to Robert Frost


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Accurate 2460
Product Overview
Accurate Powders is a company that definitely lives up to its name. The complete line of smokeless powders for handguns, rifles, and shotguns is engineered and lab-tested to maximize precision and performance. Accurate uses the best ballistic technicians and the highest quality components together to assure that every gun is better served with Accurate Powders.
Accurate 2460 is a fast-burning, double-base, spherical rifle powder that is a slower derivative of the AA2230 powder. Also, Accurate 2460 is suitable for small and medium-sized caliber applications but with slightly higher loading densities than AA2230. It provides an additional option for shooters to fine-tune and optimize loads and combinations with calibers ranging from the 223 Rem, 308 Win, and for light bullets in the 30-06 Springfield. 2460 is within the threshold limit for M14 systems.
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- Never mix any two powders regardless of type, brand, or source.
- Never substitute any smokeless powder for Black Powder or any Black Powder substitute.
Product Information
Weight |
Quantity |
1 Pound
Delivery Information
Shipping Weight
1.135 Pounds |
Yes |
HazMat Product
Yes |
Customer Reviews
So far I'm positive.
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By Richard
From Undisclosed
Verified Buyer
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Verified Buyer
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Clean & consisted high velocity
Submitted 4 years ago
By Kenny
From Brainerd MN
Verified Reviewer
Delivered very good results. Very clean, meters as well as ball powder. And very good shot-to-shot velocity. It got a one-star rating only because a guy doesn't understand pressure curves. Yes, it's too fast for gas-operated firearms.
Like This In The 35 Remington
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From Northeast Indiana
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Great 223 light bullet powder.
Submitted 9 years ago
By TR
From ND
AA2015 works very well with the 223. I have only loaded 53 & 55 gr bullets using data out of the Sierra (AR) data. Loaded many rounds working uploads with several powders(RE7, RE15, AR-COMP, Varget,8208, TAC, and 24. X GRS. of AA2015 was one the most accurate loads with 55 gr. Ballistic Tips and the 53 V-max. Velocity was very good also. Cycled my 5.56 chambered AR Target Match perfectly. Very close to the proverbial one-hole five-shot group at 100 yards.
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Verified Buyer
versatile powder
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Took a While
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For all of you going to order here's the timeline. Ordered beginning of February and was delivered on June 19th.
Great powder for loading Magnum and High Power Pistol Rounds
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This is a great Powder for loading High Power Pistol Rounds I use it for loading/reloading my .357, .44 Magnum, and 10mm Ammunition Very clean burning It flows GREAT through my Powder Throw, giving very accurate Loads Weights.


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iPad Pro 10.5 inch – GRADE MOBILE®
Like New
Almost perfect condition device with no signs of use when held at arms length from the eye. The device may have up to 3 blemishes such as hairline scratch.
A good condition device with minor signs of use from normal wear and tear. This may be a slight mark or blemish that prevents it from being put as Renewed or Pristine.
Standard condition device that may have minor dents and scratches to the housing and/or screen from everyday use. No cracks or heavy damage.
Heavy Wear
Used condition device that will have heavy wear and tear from everyday use to the rear case or screen from everyday use.
Battery Quality
All devices are checked to make sure they have a battery with adequate health percentage.
The Grade refers only to the aesthetic outer appearance of the device.
Grading does not affect functionality. All devices are fully functioning
Every device will go through intense testing using advanced robotics and industry leading software.
A USB to lightning charging and data cable that will charge or connect to your device.
Every single order will come with a free 12 month warranty as standard. There's also the option to extend this at the checkout to 24 or 36 months.
You'll also have access to our dedicated customer service team who will always be on hand to answer any questions or help with any issues you may have. Visit our FAQ page to find out how to get in touch.
FREE, FAST and SECURE Delivery Across The UK
Your Device Will be dispatched the same day if your order is placed before 2PM
(Monday-Friday). If you place your order past the cut off time, the order will be processed the following
working day.
All orders are dispatched with Royal Mail 24 Hour Delivery FREE of charge to all UK addresses.
Monday - Friday 9:00 - 17:00
Saturday - Sunday (CLOSED)
0300 303 4949
Buy & Trade
Select the device you'd like to trade
Last step: Enter the IMEI number for your device
Find your IMEI number
- Option 1 Dial *#06# to find your IMEI
- Option 2 Go to "Settings > General > About" to display IMEI
- Option 3 You can find the IMEI of the device written on the sim tray
Purchase Price: £224.00
Trade in item value: N/a
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Please check your device
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* Required FieldHow Does Buy & Trade Work?
Buy & Trade allows you to trade in your current device to go against the cost of the device that you would like to buy. The model works in the same way as a part-ex car arrangement! We only charge you the difference in value between the device you would like to buy and the old device you are trading in.
Once you have placed your order, we will immediately send your new device! You will then have 14 days to ship your old traded device to our facility using our provided free postage pack. (We will ship you a free postage pack with your new device. The postage pack includes a free shipping label, packaging, and instructions to send your traded or old device to our facility for free. The 14 days allows you to transfer your data and ensures you're never without a phone, tablet, or watch!
If we don't receive your traded device within 14 days, we may block the new device you have ordered from us until we have completed on of the following:
We have received your traded deviceWe have recovered the value of your traded deviceYou have returned your ordered device, to cancel the transaction


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You enjoy your Satisfyer's pressure waves, but you miss the sensual vibrations of a classic lay-on vibrator? The new Satisfyer Pro Plus Vibration combines the coveted, stimulating pressure waves with sensual vibrations, gifting you an incomparable pleasure experience!
A boomerang for every occasion
The design of this Satisfyer looks a little like an Australian boomerang – once in your hand, it will always come back to you. This is how you will fare with the Pro Plus Vibration! Made entirely from silky smooth silicone, this handy pleasure dispenser features classic, touch-free clitoral pressure wave stimulation, as well as a tantalising vibrator function. The soft silicone attachment encircles your love bead, so that waves of gentle to powerful negative pressure drive you to pure ecstasy, while the pleasurable vibrations provide added stimulation for your vagina.
Like all the products in the Satisfyer family, the Pro Plus Vibration offers 11 intensity settings. The vibration function ensures added pleasure: the quiet yet powerful motor makes the head vibrate tantalisingly, massaging you with a choice of 10 varied vibration settings. The pressure waves and vibrations can be controlled separately, providing you with an extensive pleasure experience, complete with intense happy ending. Looking for underwater thrills? Thanks to its waterproof finish, this pleasure companion can be used in the shower and bath, inviting you to enjoy a relaxed love bath.
The pressure waves are activated by the On/Off button, and can be adjusted up and down using the +/- buttons according to your mood. The vibration is controlled by another button, meaning that you can always enjoy the two functions separately. Thanks to its integrated rechargeable battery, the Satisfyer Pro Plus Vibration can be easily charged with the supplied magnetic USB cable.


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Sharing the Honors
Question: In planning the forthcoming wedding of my daughter I am in somewhat of a dilemma regarding dividing the honors at the chupah amongst all the relatives and the distinguished rabbis connected to my family and those of the chatan. What is the right thing to do?
Answer: The most important thing to do is to avoid any dispute between you and the chatan's family. Although our Sages warn us that there is no marriage contract without some measure of discord, there is no need to go looking for a fight that is so unnecessary.
While it is customary for the rosh yeshiva or rabbi of the chatan to be honored with officiating as the mesader kiddushin, there are many honors left which can be fairly divided. There is the reading of the ketubah and the blessings that follow, and serving as a witness to the kiddushin and the ketubah is also considered an honor. And don't forget the blessings at the end of the wedding feast that can serve as an honorable consolation prize for anyone who was left out or came late.
It may indeed be impossible in some cases to cater to everyone who deserves an honor. In such a case it would be nice to approach the ones you left out and apologize for doing so because of unavoidable pressure.


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Mega Colors are the evolution of the classic Montana Colors Mega can. This paint possesses practically the same properties as Hardcore but comes in a 600 ml format. That translates not only to a greater quantity of paint, but also to a more powerful spray output that projects a much wider outline due to its valve system.
Faster, bigger and stronger. Fast-drying, good coverage and higher resistance. All of these technical features are presented in a generous format that contains more paint plus more pressure, making it a pioneering product in terms of technology and formulation on the high pressure spray paint market.
Although it's suitable for painting all types of materials ranging from domestic, hobby or fine arts purposes, this spray paint is specially designed to cover large surfaces with its wide outline and powerful paint output. With Mega Colors, it's possible to paint uniform lines of over 20 cm in width and cover a surface area of up to 5.75 m2. That's why it is considered one of the favorite spray paints of graffiti writers.
Different strokes for different folks. Mega Colors comes in 15 different colors that summarize the Hardcore range in a basic but complete manner. All of the chosen colors were selected for their excellent opacity, thus adapting to the needs of people who use this type of product. Mega Colors also comes in another silver paint version: Mega Plata, which has its own formulation.
- Synthetic paint
- 600 ml
- Gloss finish
- 15 colors


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The rapid progression of device communication has resulted in a formidable roadblock to the Internet of Things (IoT). Too many rival standards have emerged from big company alliances and individual expansions. While companies like Samsung, Intel, and Cisco have united around the Open Interconnect Consortium, individual corporations like Apple and Google are beginning to make headway on their own API projects.
In order for the IoT to work, every device pair must have identical network standards. Without matching protocols, individual objects won't be able to communicate. For example, in order to play music from a smartphone through a Bluetooth speaker, the phone must connect to the device over Bluetooth, and not through Wi-Fi. This can get far more complicated than just the internet connection. In addition to network standards like Bluetooth, ZigBee, and Wi-Fi, there are also application and security standards that must also be identical. Two devices that run on Wi-Fi still can't work together if one runs on the Apple HomeKit protocol and the other is designed for Works with Nest.
Inevitably, the jumble of standards has drawn all sorts of lines in the sand as far as companies developing for the IoT are concerned. This process has begun to follow a similar mess that occurred with the development of radio-frequency identification (RFID). It took 15 years to develop a common protocol for the RFID market, because of competing corporate interests.
Without standards, there is no possibility for interoperability, but it is important that companies work together to come up with fewer, more universal standards. Reducing the amount of these protocols opens up more avenues for product developers, and allows the consumer more product choice, rather than having to be selective based on the protocols they are already using in their home.


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Press the print screen key to print out a screenshot of the desktop. Press Alt + Print Screen to send a snapshot of the active window to the printer.
Supported features include scaling, centering, print date and time, automatic color inverting with dark images to save ink/toner. Go check out the free evaluation version for yourself!
The image shows a print-out of the Windows desktop.
As you can see, the image on the paper looks exactly like what you see on your screen.
The date and time are printed above the image by default.
With our software all you need to do is press the Print Screen key on your keyboard to print everything you see on your screen.
Read what people say about this handy print screen software.
System requirements:
Read the press release.
End User License Agreement


text:
A joint panel of the General Services Administration (GSA) and the Federal Bureau of Investigation (FBI) has concluded site evaluations for the new FBI Headquarters and has identified three sites as potential locations.
The potential sites for a new consolidated headquarters for the FBI are:
•Greenbelt – A portion of the site known as the Greenbelt Metro Station located near the intersection of Interstates 95/495 and Exit 24 (Greenbelt Station) in Prince George's County, Maryland.
•Landover – The site known as the former Landover Mall located near the intersection of Interstates 95/495 and MD 202 in Prince George's County, Maryland.
•Springfield – The site known as the GSA Franconia Warehouse Complex located near the intersection of Interstate 95 and Franconia Road in Fairfax County, Virginia.
In the next step, GSA will conduct National Environmental Policy Act (NEPA) reviews on each the three sites, which includes opportunities for public comment. During the NEPA review, GSA will initiate the first of a two-phase Request For Proposal (RFP) seeking qualified developers. The second phase includes the solicitation of development proposals from qualified developers identified in the first phase
(Source GSA)


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Midway Press has Direct Mail Printing in Round Rock
Direct Mail printing can be a necessary way to market your business to customers. Midway Press, Round Rock, TX, can support you through the entire direct mail printing process.
Reaching your customers with direct mail will help you increase sales in your business, boost exposure, and expand your existing customer base by giving your client base a solid and tangible piece of your company that they can hold in their hands.
Direct Mail Printing in Round Rock
Direct Mail allows you to engage in sales with your customers, without meetings and conferences, as they can peruse the direct mail at their convenience.
Direct Mail printing for Round Rock businesses, organizations, and individuals can inform existing customers of new ideas, promote new products for new customers, or reach your customers with special offers or opportunities.
What is Round Rock Direct Mail Printing?
Direct mail includes a variety of marketing materials, including brochures, catalogs, postcards, newsletters and sales letters. Large businesses and organizations know that direct-mail advertising is one of the most effective and profitable ways to reach out to new and existing clients. The increased sales can balance the costs of printing and distributing a direct mail in Round Rock.
In addition to the high-quality direct mail printing, Midway Press can offer mailing of your direct mail with the in-house mailing center and services in Round Rock.
What Kinds of Direct Mail Printing in Round Rock?
Midway press specializes in full color direct mail printings. Research has indicated that bright colors attract customers for certain types of businesses, like party planners or gift giving businesses, while subdued colors are more suited to businesses like lawyers and other services for businesses. Midway provides a variety of different paper qualities and ink colors to get you the direct mail best suited for your business.
If you're not sure about your designs or images, their graphic designers can help you complete your design.
They also provide a glossy finish as an option for your Round Rock direct mail printing.
The Process for Direct Mail Printing in Round Rock
From fundraising to business solicitations to order forms, Midway Press Round Rock, can help you get your direct mail organized and ready to go to direct mail printing, to direct mail distribution.
Onsite graphic designers can help you create an eye-catching direct mail.
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In some direct mail printing, the heatset inks are set on the paper by running the printed paper through an oven immediately after ink is applied. The heat will burn off the oil-based solvents, then pass through a series of chilling rollers. This is ideal for glossy paper stocks, such as those used in some direct mail printing in Round Rock.
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The Midway Press team will advise you for the best products to use in your direct mail printing in Round Rock.
Direct Mail printings then proceed to the bindery department. In the bindery department, they collate your printed pages, then bind them (if necessary) and trim them to your specifications. Midway Press can trim, fold, perforate, apply sticky labels, and shrink-wrap.
The in-house mailing department will get your finished direct mail to your customers in a timely and efficient manner. The mailing department may also be able to help you acquire new mailing lists.
Common questions about Direct Mail Printing in Round Rock
Can my Round Rock direct mail be mailed at a discount bulk mailing rate?
The in-house mailing team can help work up postal paperwork for the Post Office so your direct mail printing in Round Rock will mail at the best rate.
How much does it cost to print a direct mail in Round Rock?
Questions about pricing for direct mail printing in Round Rock can be answered by calling 972-233-8404 any time Monday through Friday.


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🕓 45 mins 👨👨👦👦 2 players 🎂 Ages 14+
Peter Quill was originally born on Earth, but dreamed of exploring the vast reaches of space. After a chance meeting with a celestial being on one of his first trips off world, Quill chose to venture out on his own to find adventure among the stars as the intergalactic hero Star-Lord. An expert marksman and a clever tactician, Star-Lord leads the motley group of heroes known as the Guardians of the Galaxy against any and all threats across the cosmos.
Marvel Crisis Protocol: Star-Lord
SKU: CP18en


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A platform that encourages healthy conversation, spiritual support, growth and fellowship
NOLACatholic Parenting Podcast
A natural progression of our weekly column in the Clarion Herald and blog
The best in Catholic news and inspiration - wherever you are!
VATICAN CITY — In his first Angelus address since announcing his resignation, Pope Benedict XVI asked for prayers and mentioned how unusual a period it is for him and for the church, but he did not explicitly talk to pilgrims about his resignation.
Addressing Spanish speakers, he said, "My heartfelt thanks … for your prayers and affection in these days. Continue to pray for me and the next pope."
And he told Polish speakers, "Thank you for your prayerful support and spiritual closeness in these days that are so unusual for the church and for me."
According to the Vatican, more than 50,000 people were in St. Peter's Square for the midday opportunity to pray with the pope and listen to his reflections. Rome's mayor and members of the city council were there, too.
Before leading the prayer, Pope Benedict commented on the beginning of Lent and today's Gospel reading about the temptation of Jesus.
He said Lent is a time for Catholics to renew their spiritual lives and turn to God, "renouncing pride and selfishness to live in love."
Making God the center of one's life, he said, requires "spiritual battle" because the devil doesn't want people to be holy.
The Gospel account of the temptation of Jesus in the desert, he said, shows just how "subtle" the devil can be: he does not try to trick Jesus directly into evil, but tempts him with "a false good."
The good news, he said, is that Jesus — through his incarnation, death and resurrection — already had defeated the devil. "Therefore, we are not afraid to take up the battle against evil; what is important is that we do so with him, with Christ, the victor."
The recitation of the Angelus with the pope on Sundays and feast days is an event requiring no reservations and no tickets. For many Roman families, attending the prayer is a normal part of a Sunday or holiday stroll.
But today was different. In fact, by 10 a.m., officers from a variety of Italian and Rome police forces, paramedics and even garbage collectors had deployed along the broad avenue leading to St. Peter's Square and along the square's perimeter.
An hour before the Angelus, thousands of people were already in the square. The young staked out places by sitting on the cold cobblestones. Others previewed their banners for the press: "You are Peter. Stay." "Thank you, Holy Father. We love you very much." "Thanks. Wherever you go (we'll be) always with you."
Acknowledging English speakers in the crowd, the pope said, "Thank you for the prayers and support you have shown me in these days."
And he told Italian speakers, "Thank you for coming in such large numbers. This, too, is a sign of the affection and spiritual closeness you're showing me."
Pope Benedict asked all the groups for special prayers for him and members of the Roman Curia as they begin their weeklong Lenten retreat this evening.
Tags: Angelus, papal resignation, Pope Benedict XVI, St. Peter's Square, Uncategorized, Vatican City


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Good typography skills are essential for any graphic designer - and those of us who work with text every day know how difficult it can be at times.
A well-planned grid is key to creating a good typographical layout, as having a strong foundation to work with is a great way to keep a text-heavy document looking clean, consistent and easy to navigate.
InDesign has some great features to make this process simple, enabling you to achieve some impressive results with minimal time and effort. As designers, we're always experimenting and pushing the boundaries of design, at times creating very complicated layouts. However, I believe a clean, simple and well-structured approach can be just as effective. In this tutorial I'll show you some of the processes I go through when creating a simple page template from scratch in InDesign, from building the initial grid to adding picture frames.


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A chief Austrian finding is that counterfeiting causes malinvestment. The fact that most counterfeiting is done by governments and called monetary policy does not change the consequences one iota. --Richard Maybury
Counterfeit n (15c) 1: Forgery 2: something likely to be mistaken for something of higher value.
Imagine if the Louvre crafted a near-perfect counterfeit Mona Lisa and hung it in the gallery behind bulletproof glass. Then imagine that the Louvre held a public auction selling the real Mona Lisa, but also refused to admit that the one in the gallery was a fake. Ridiculous! Isn't it?
In most cases a counterfeiter wants to pass off his work onto an unsuspecting and paying public or to a specific mark. This is true for works of art as it is for currency. The counterfeiter must make his work at least good enough to pass muster with the inteded mark.
But it is a special kind of counterfeiter that hides his deception as a prized possession within his own collection, only to sell the real thing in hopes of reducing its value. And I do mean special as in education, Olympics and central bankers.
Alan Greenspan
The Tungsten Story
I'm not going to say too much about this story yet because I am still skeptical. I'm not skeptical because it doesn't fit the context that we know. On the contrary, it almost fits too perfectly. But this, I think, is my main point in this post. What is most important as we observe this unfolding story is our clear understanding of the context that surrounds it.
We live today in a world of rampant fraud and misinformation. Not much is surprising. In fact, I fully expect some surprises which will DWARF this tungsten story. But still, so far this story relies on the credibility of only one analyst who has uncovered, and/or been given, some incredible information. If the story is true, then we will soon receive corroborating stories from other sources for reasons that I will discuss in a moment.
If this story turns out to be true, then the context discussed on this blog and delivered by ANOTHER 12 years ago explains it perfectly. This context stands alone and aside from this tungsten story. Also, if the story disappears or turns out to be false, it does not invalidate the pre-existing context that would have explained it.
Some believe this story is a myth because gold bars are melted down all the time to make coins, jewelry, or specialized gold disks for industrial plating used in commercial-grade electronics. This argument doesn't hold water with me. As I said in this comment, "You would not just set them loose on the market. You could not afford for them to get sold to the commercials who would melt them down..."
No, if this story is true then the delivery of tungsten bars to the Chinese was a fatal "leak". And not necessarily an accident.
What I am skeptical about is this part:
I know folks who have copies of the original shipping docs with dates and exact weights of "tungsten" bars shipped to Ft. Knox.
Not that Rob Kirby is lying, but this part of the story seems less likely to me. First of all, you would have to move the new gold in and the old (real) gold out at some point. It seems unlikely to me that you would do this in a way that would a) create shipping docs, and b) leave them existing in the hands of c) someone who was free to later talk about it to Rob Kirby.
I would like to see these documents released online to be scrutinized. I would be happy to release them here. ;)
The one other thing I would like to see before I attack this story with the deadly seriousness it deserves, is some sort of a corroborating story out of China that they indeed unearthed a tungsten scandal. Perhaps there already is one. If so, please post a link in the comments section!
The fact of the matter is that there should not have been any gold flowing in or out of Fort Knox during the mid-90's, let alone the whole enchilada. So "shipping docs with dates and exact weights" of the bars would be very interesting to see.
Larry Summers
On The Other Hand
On the other hand, like I said at the beginning of this post, the Kirby story fits the known gold manipulation paradigm perfectly. Let's have a quick review.
In his article, Rob Kirby says:
And here's what the Chinese allegedly uncovered:
Roughly 15 years ago – during the Clinton Administration [think Robert Rubin, Sir Alan Greenspan and Lawrence Summers] – between 1.3 and 1.5 million 400 oz tungsten blanks were allegedly manufactured by a very high-end, sophisticated refiner in the USA [more than 16 Thousand metric tonnes]. Subsequently, 640,000 of these tungsten blanks received their gold plating and WERE shipped to Ft. Knox and remain there to this day.
The mention of Rubin, Greenspan and Summers especially caught my eye. It tells me that Rob is thinking the same as me if this story is really true. For the sake of this quick run-through, let's imagine the tungsten bar story is true.
If so, this epic journey of stupidity by these three men began way back at the beginning of the Great Depression in 1930 when John Maynard Keynes wrote in his "A Treatise on Money" that interest rates and general price levels (infation) were observed to be correlated. Keynes called this Gibson's Paradox.
John Maynard Keynes
58 years later, in 1988, while at Harvard University Larry Summers published a paper called Gibson's Paradox and the Gold Standard. In the paper he theorized that government bonds could be made valuable by manipulating the price of gold downward. GATA summarizes it like this:
Essentially, the scheme as implied by Summers' paper is to keep interest rates down and government bond prices up by rigging the gold market, gold and interest rates ordinarily being inversely correlated.
I've long had a hunch that the scheme became U.S. government policy because of President Clinton's resentment upon being told, soon after taking office, that the foremost objective of his administration should be to placate the bond market. There is a famous quotation about this in Bob Woodward's book about the Clinton administration's early days, "The Agenda." The full book isn't available on the Internet but the quotation appears in several reviews of the book that have been posted. Clinton says:
"We're Eisenhower Republicans here. We stand for lower deficits, free trade, and the bond market. Isn't that great? ... We help the bond market and we hurt the people who voted us in."
Bill Clinton
So Clinton was elected in 1992 and took office on January 20, 1993. Meanwhile Larry Summers, who is known for proposing brash ideas, had left Harvard in 1991 and joined the World Bank as Chief Economist. On April 5, 1993, less than three months after Clinton took office, Larry Summers left the World Bank to join the Clinton administration as Undersecretary for International Affairs in the Dept. of Treasury.
One month later, on May 18, 1993, Alan Greenspan made an amazing statement at a Fed meeting that has only now come to light:
"I have one other issue I'd like to throw on the table. I hesitate to do it, but let me tell you some of the issues that are involved here. If we are dealing with psychology, then the thermometers one uses to measure it have an effect. I was raising the question on the side with Governor Mullins of what would happen if the Treasury sold a little gold in this market. There's an interesting question here because if the gold price broke in that context, the thermometer would not be just a measuring tool. It would basically affect the underlying psychology."
--Alan Greenspan (05/18/93)
Less than three months later, on exactly Aug. 5, 1993, the (c)overt gold manipulations begin:
The appearance of the intervention in NY, repeatedly led by principal actors JP Morgan Chase and Goldman Sachs, is so marked that a particular day August 5, 1993 can be identified as the date of onset of the anomalous downward trade in gold on the NY Comex. [1]
How do we know the date when the systematic interventions began? By observing their execution times. These actions are not divided evenly throughout the day, but instead tend to focus on important time points such as the PM-Fixing and the New York closing price. Additionally, COMEX trading hours are preferred. This creates an intra-day pattern that can be statistically identified and allows us to pinpoint the starting date of the interventions on August 5, 1993 (*). [2]
Robert Rubin
Of course Robert Rubin joined the team as Treasury Secretary on January 11, 1995, promoting Larry Summers to Deputy Secretary. This lasted until July 2, 1999 when Summers took over Rubin's job as Secretary of the Treasury!
A few years ago a man named Frank Veneroso did some amazing reseach on the mid 1990's and the gold market. This report is a must-read. Here was his conclusion about the mid-90's:
What are the implications of all this dry statistical analysis for the claims of GATA? To our mind, it is very simple. There is much evidence that the consensus data on supply and demand is wrong and that the supply coming from the central banks is higher than the consensus estimates. In our opinion, the fact that the central banks do not acknowledge this but simply keep affirming the consensus data---despite abundant evidence to the contrary---represents considerable support for the allegations of GATA that there may be something deliberate and intentionally clandestine about the large flows of official gold that have been depressing the gold price.
Now, with all of this context in mind, let's take one more look at Rob Kirby's "conspiracy theory"...
Roughly 15 years ago – during the Clinton Administration [think Robert Rubin, Sir Alan Greenspan and Lawrence Summers] – between 1.3 and 1.5 million 400 oz tungsten blanks were allegedly manufactured by a very high-end, sophisticated refiner in the USA [more than 16 Thousand metric tonnes]. Subsequently, 640,000 of these tungsten blanks received their gold plating and WERE shipped to Ft. Knox and remain there to this day.
Can you see now how his mention of Rubin, Summers and Greenspan caught my attention? I am still a little skeptical of the details, but the story sure seems to fit. It will be interesting to watch what else develops.
Clash of the Titans
I mentioned earlier that I would talk about why I believe that more information will definitely be forthcoming if this story is indeed true. Well, here it is.
Us little people (the Lilliputians) tend to believe that "the Giants" have a master plan for controling us and stealing everything we have. This is simply not true, hard as it is to believe for us lilliputians. Just because things work out a certain way doesn't mean it was planned just that way. Yes there are many evil plans. Yes there are some really bad guys. But with all the players in the global scheme of things the law of probabilities says that some will come out way ahead and be dubbed... "the masterminds".
But the way it works in reality is that there is a battle royale raging between these "Giants". I call it the Clash of the Titans. And in this tungsten story, as it stands today, one of these Giants has royally screwed another, and maybe many more.
Any Giant sitting on a hoard of 400 oz. LGD bars today as his personal wealth reserve is checking them out very closely. Count on it! And this includes some very large investors in GLD (among other ETF's) that were certainly not "in on the scam".
So keep your eyes peeled for relevant stories and please post them here. I don't have time to read everything. Like I said in my linked comment above, "if this duped buyer found out what he had, he might be inclined to keep it a secret until he could unload the bad bars on someone else." But now this strategy has changed. Now that Rob Kirby has published his articles, these "duped buyers" will come to the conclusion that it is better to blow the lid off this scam and go after the perps.
My Conclusion
It has been speculated by many people over the past decade that once we are in the heat of the fire the US Treasury's gold will be employed in defense of the dollar. Perhaps this was what some of the Giants were counting on. Before 1971 the dollar was considered to be "good as gold". Since then it was considered to be "hard currency" amongst a world full of soft currencies. Perhaps now it will be considered to be "Good as Tungsten"? I wonder how this will affect the next move from the People's Republic of China. Hmm....
This post was based on Rob Kirby's article,
On Doing God's Work
"Gold Finger" - A New Take On Operation Grand Slam With A Tungsten Twist
November 12, 2009
which can be found at the following websites:
These next three were the articles leading up to the "Gold Finger" article. All extremely relevant must-reads:
Central Banking: A Blight On Humanity
October 9, 2009
Blight on Humanity Addendum
October 15, 2009
28 days before he published "Gold Finger", Rob Kirby published this email from an acquaintance in Blight on Humanity Addendum:
I discussed these irregularities with a very informed source [the same one who informed me of specific [allocated] trades settled last week] and the reply I received was as follows:
"What can I tell you that you don't already know?
They are all scrambling big time since a number of large interests have demanded audits. Independent auditors are NOW descending onto the various vaults to verify, validate and certify.
They can move this as many times in circles as they like to try to fool people.
In an Asian depository they've found "Good Delivery" bricks that had been gutted and filled with tungsten.
Soon, there will be xxxx hitting the fan all over place."
10/20 Rob Kirby - Update to Addendum: Q and A
October 20, 2009


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What is the responsibility of a trustee?
When creating a trust managing family affairs, many of us designate a family member to serve as the trustee. A surviving spouse. The eldest child. In many cases, a family member does this job without compensation.
If you have agreed to serve as a trustee, you may not really know what you just agreed to do. You might even assume there is no legal risk in agreeing to serve as a trustee.
It's not easy to find articles describing the job of a trustee that is not filled with legalese. This articled titled "A Novice Trustee Primer" does a great job of describing the responsibilities of a trustee and is is recommended reading if you have a trust, are thinking about setting up a trustee, or if you have agreed to serve as a trustee.


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Discover the cosmos! Each day a different image or photograph of our fascinating universe is featured, along with a brief explanation written by a professional astronomer.
Explanation: How was this unusual looking galaxy created? No one is sure, especially since spiral galaxy NGC 7049 looks so strange. NGC 7049's striking appearance is primarily due to an unusually prominent dust ring seen mostly in silhouette. The opaque ring is much darker than the din of millions of bright stars glowing behind it. Besides the dark dust, NGC 7049 appears similar to a smooth elliptical galaxy, although featuring surprisingly few globular star clusters. NGC 7049 is pictured above as imaged recently by the Hubble Space Telescope. The bright star near the top of NGC 7049 is an unrelated foreground star in our own Galaxy. Not visible here is an unusual central polar ring of gas circling out of the plane near the galaxy's center. Since NGC 7049 is the brightest galaxy in its cluster of galaxies, its formation might be fostered by several prominent and recent galaxy collisions. NGC 7049 spans about 150 thousand light years and lies about 100 million light years away toward the constellation of Indus.
Authors & editors:
Robert Nemiroff
Jerry Bonnell (UMCP)
NASA Official: Phillip Newman
Specific rights apply.
NASA Web
Privacy Policy and Important Notices
A service of:
ASD at
& Michigan Tech. U.


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The products and services mentioned below were selected independent of sales and advertising. However, Simplemost may receive a small commission from the purchase of any products or services through an affiliate link to the retailer's website.
The pandemic prompted a surge of interest in gardening. Over the summer, the grow-your-own veggies trend became a modern-day iteration of victory gardens, imbued with a sense of self-reliance that helped relieve pressure from a struggling supply chain (and reduced those one-off trips to the grocery store when you just needed a couple of tomatoes or a few sprigs of thyme).
But now that we've gone through the banana bread baking phase of the pandemic and then aced our summer veggie gardens, it's time to graduate to indoor fruit trees, because fresh citrus perfuming the air has pick-me-up power and can also yield a tasty harvest. As it turns out, growing apricots for a marmalade or Meyer lemons to squeeze over salmon can be quite simple.
Here are seven fruit trees that you can grow indoors.
Meyer Lemon
The Meyer lemon tree is the most widely recommended indoor lemon tree because of its compact size and tolerance of cooler conditions, says Rosie Leary, a resident botanist with Candide Gardening, a site that sells plants, garden accessories and tickets to public gardens.
"It's a dwarf cultivar that self-pollinates, meaning guaranteed fruits," Leary says.
Citrus trees like soil that's moist and loamy (equal amounts of sand and silt, with less clay) and that's on the acidic side of the pH scale, Leary says. It grows best with bright sunlight all year round and will benefit from some added humidity, says Leary, who recommends giving it a regular misting or placing it on a pebble tray.
If you're going the citrus route, these trees do need a lot of light, so you'll need to have your lemons by a sunny window for at least six hours a day, says Rachel Brown, who runs DIY Garden, which helps inspire garden projects. If you can't get that much light, you can use full-spectrum grow lights to help your fruit plants thrive.
Calamondin Orange
This plant produces small, tart oranges that may be left on the tree for a long period, making harvesting easy, Leary says. It can do well with a little less light and grow in partial shade. The orange tree will benefit from a slightly acidic, well-draining, moist soil and a spring prune to encourage bushy growth, Leary says.
Banana Dwarf Cavendish
Most banana plants are way too big to be grown indoors. After a few years, this banana dwarf Cavendish plant can reach 9 feet in height and it's considered one of the smaller dwarf varieties, Leary says. The plant likes full sun to partial shade and must be kept above freezing temperatures. In optimal conditions, the fruits can be produced throughout the year.
Fig Tree
Fig trees are another easy indoor options, says Jill Sandy, a gardener and the founder of Constant Delights, a home and gardening blog. She suggests getting a Brown Turkey. This tree, she says, can deal with heavy pruning as you manage its height and it can self-pollinate. If you're a fig fan, put the tree in a large planter so it will yield more fruit, she says.
Avocado Tree
Love avocados? Grow one of these trees indoors and you'll have avocados on hand whenever a guacamole craving strikes. A fair warning: Avocado trees can be tough to grow indoors, but you can find lots of avocado plants suited for indoors on Amazon. The key is to find one that's grafted rather than seed-grown, like this cold hardy avocado tree that comes in a variety of heights, starting at $79.99 for a 1 to 2 foot tree. A grafted plant will produce more robust bushels, and do so quicker.
Apricot Trees
Both Goldcot and Moorpark are dwarf apricot tree varieties that will produce tasty fruit without growing through the roof, says Chris Cook, a hydroponic gardener based in Alabama who started the site Happy Hydro Farm to help teach others how to grow their own food.
"When regularly pruned to maintain a height of 5 feet, both types of these dwarf apricot varieties will happily provide you a fruitful harvest," Cook says. "Young apricot trees from a nursery typically begin producing fruit within a year."
Cook suggests keeping the soil in the container moist, and supplementing with fertilizer monthly to promote healthy growth. Dwarf apricot trees need six hours of indirect sunlight per day, and a grow light can help provide additional light, he says.
Nagami Kumquat Tree
Suitable for indoors or outdoors, this Nagami kumquat tree produces sweet and juicy kumquats. While you can eat the fruit (consider it nature's Sour Patch Kids), the thick skin is great for making marmalades or can be used in cocktails. The trees start at $60 on FastGrowingTrees.com.
The best part of growing fruit trees at home? You get to enjoy the fruits of your labor.
This story originally appeared on Simplemost. Checkout Simplemost for additional stories.


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List of articles about software development under Linux. |
Computer Assisted Simulation of DNA using Linux and Perl
In this article we discuss a way to generate n-DNA sequences with s-nucleotids using Perl programmes.
LF Tip: #defines for writing portable C-code
How to get a list of available defines.
Faulty Software
Controversial discussions have started around estimates about the number of faults which a given software has. Often the fault-density is used as a measure for the quality of software. Is that correct?
Cruising with the snavigator
This article presents the snavigator, a powerful code analysis, cross-referencing and re-engineering tool.
LINUX & PERL, computer tools for study and analysis of biological information
This article shows how easy it is to extract biological information from DNA, RNA and proteine sequences Databases using small perl scripts.
Optimizing C/C++ programs using the GProf profiler
One of the most important things to keep in mind while optimizing an application is: optimize the code where it counts.
Get To know a free pascal compiler: Free Pascal
Free Pascal is on the rise with a combination of text mode programming and OOP as powerful as RAD Delphi.
Platform independent software development
This article reviews different possibilities to build platform independent graphical user interfaces.
Temperature monitoring with Linux (part 2)
In the second part of "Temperature Monitoring With Linux" we see how to store the data in mysql and represent it graphically.
Talking to a Running Process
Run Time Access is a library that lets you view the data structures in your program as tables in a PosgreSQL database or as files in a virtural file system (similar to /proc).
GUI Programming with GTK - 3
In these article series, we will learn how to write graphical user interfaces (GUIs) using GTK.
Introduction to the TclMySQL library
MySQLTcl is a Tcl library to do SQL queries.
Gambas: Basic for Linux
Gambas is a Basic interpreter for Linux with GUI support.
An ISDN - Fax with Linux
This article describes how to use your linux box as an ISDN fax machine.
Concurrent programming - Message queues (3)
This is the last article in the series about concurrent programming.
Book review: The Art of UNIX Programming
Review of the book "The Art of UNIX Programming" by Eric S. Raymond.
The MySQL C API
In this article, you will learn how to use the C APIs (Application Programming Interfaces) that come with MySQL.
GUI Programming with GTK - part 2
In this second part of the GTK series we will discuss boxes and tables.
Concurrent programming - Message queues (2)
This series of articles has the purpose of introducing the reader to the concept of multitasking and to its implementation in the Linux operating system. Starting from the theorical concepts at the base of multitasking we will end up writing a complete application demonstrating the communication between processes, with a simple but efficient communication protocol.
Implementing a scroller in SDL graphics
SDL is the simple direct media layer often used to implement fast and portable graphics.
Concurrent programming - Communications between processes
This is the second article in the series on concurrent programming.
Bookreview: Beginning PHP4 Databases
This is a book from Wrox-press on PHP4
Basic Programming with Unix
Review of Basic interpreters, IDEs for Basic, and and other things to build Basic programms under Linux.
Concurrent programming - Principles and introduction to processes
This series of articles has the purpose of introducing the reader to the concept of multitasking and to its implementation in the Linux operating system.
Introduction to Ncurses
Ncurses is a library that provides function-key mapping, screen painting functions and the ability to use multiple non-overlapping windows on text-based terminals.
GCC - the root of all
This is an introduction to using gcc as a compiler.
Developing Gnome Application with Python (Part 2)
This article series is primarily written for beginners in the area Gnome and GNU/Linux. The author presents an educational tool to write Gnome GUIs using Python.
Bookreview: Professional Perl Programming
This is a review of the book Professional Perl Programming from Wrox Press.
Security holes - Part VI
Security of CGI scripts
Security holes - part V
This fifth article is about race conditions :what they are, how to avoid them ...
Book Review: Beginning Linux Programming
This is the review of a "Linux programming bible" published by Wrox press.
GNUstep, the open source OpenStep
An object-oriented framework
Security holes
This article explains how to exploit badly programmed software by using buffer overflows.
Security Holes - part II
This second article is not directly related with the subject of the series. It reviews some concepts before describing the fear of all the system administrators:Buffer Overflows. We shall see how the memory is organized as well as the stack and how a function call is performed. Then we present a tool used for every intrusion attempt: shellcode.
Security Holes - part I
This is the first article of a series of articles on security holes that can appear within a program. The series will show how to avoid security holes if programming habits are slightly corrected. We shall first discuss privileges, UID and EUID in this first article before dealing with the execution of external commands.
Make it anywhere with make!
This article explains how "make" works. It shows that "make" is more than just a command to compile software.
An Introduction to Tk
This articles explain how to build a graphical interface using the Toolkit of Tcl: Tk. The reader should also appreciate the simplicity of this toolkit compared to usual X-Windows libraries.
REBOL the rebel
Let's say REBOL is a messaging language, but as a matter of fact, it's much more than that.
Developing Gnome Application with Python (Part 1)
This series of articles is especially written for beginner in Gnome programming and GNU/Linux.
Product review: SNiFF+ for Linux
SNiFF+ is an integrated development environment for Linux. TakeFive Software provides a download version (limited to 200 files) free of charge.
Perl part III
This article explains how to use arrays in Perl.
Perl II
In the second part of the Perl tutorial we write our first real program.
Perl I
This is the start of a Perl tutorial
The Tcl Syntax
This article explains basics concept and syntax of the Tcl language
Dialog - a programming language for dialogs
Dialog is a programming language to program dialogs in games and computer simulations
PostScript III, Arrays, Variables, Loops and Macro Definitions
This is the continuation of two previous articles about postscript.
PostScript Part II: The Operand Stack
The author describes the operand stack of the PostScript language. The stack manipulations and mathematical operators are presented here.
Java. Part II
The second part of a tutorial about java
Easy Graphics: A Beginner's Guide to SVGAlib
SVGAlib is a simple graphics library that works without X11
SQL Tutorial Part II
Part II of the tutorial reviews several basic statements of the SQL language.
Programming with Java. Part I
This is the first article in a series about Java programming. The first part will describe Java as a language, its general characteristics and the location of the most relevant sources of information.
GLUT: using Menus
Our GL Utility Toolkit series continues, examining the windows menu programming interface with a simple example.
OpenGL: the 3D Scene
Explore the bolts and nuts of 3D rendering with OpenGL.
The Postscript Language
This is the first one of a series of articles about PostScript.
Introduction to SQL. (SQL Part I) and installation of PostgreSQL
A SQL tutorial intended for novice database developers.
Debugging Code with ddd
ddd is a wonderful graphical debugger.
OpenGL Programming:Simple Polygon Rendering
The author describes the first steps into any OpenGL application and tells us how to render simple polygons in 2D.
Enabling Profile on the Alpha
Tips for users of a DEC-Alpha
Making Shared Libraries
How to compile and generate shared libraries.
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