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Bicycles have always been important to me. Before you misread me though, I'm not a bicycle 'freak' – they aren't my sole activity. Actually, I don't really have a sole activity. I'm one of those guys who's always wanted to experience a wide list of diversions so I participated in a multitude of activities and became a master of nothing. But I've always loved biking. The importance to me of a bicycle stems back to my childhood (read me) when having a bike meant having freedom to explore the world.
Since our dating years, Kim and I have tried to purchase each other something we needed or wanted for special occasions like Christmas or Birthdays. The first nice present I bought for Kim while in high school was a Panasonic stereo system for Christmas. You know how some gifts you receive just stick with you for years? One year for Christmas my parents gave me a pair of binoculars. That was way back in 1979 I think, our, (Kim and mine), second Christmas together. I recall the first time we used them at a concert, it was at Miami University. We saw Linda Ronstadt with my parents. We still use those today for concerts and they are still like new.
As a side note, I put these binoculars to good use every year now to examine my roof. We have a 20 year old cedar shake roof and about every 2-3 years, it requires maybe 100 new shakes. The binoculars allow me to hone in on the highest parts of the roof, keeping me informed of the proximity of the next repair time.
The gift I received from Kim, the one that still sticks in my heart with a soft glow is a Christmas gift for my 20th birthday – a large 28″ metallic green Schwinn touring bike.
They say geniuses pick green
The year was 1978 and I was still living at home as we were not yet married. Kim brought the present over to my parents' house and I was totally surprised! We had not talked about a birthday gift, or at least I don't remember talking about one. Perhaps she tricked me out of it without my knowledge or she just saw a gap. There it was though, and it was my favorite color – a bright metallic green. I loved it!
Kim and I did a lot of riding that summer, the summer before we got married. She had a powder blue Schwinn 10-speed and now I had my green one. We had a few different long rides we both liked, once even riding all the way to Hueston Woods. That was one of the great things about our relationship from the start; we both just loved doing things of an athletic nature together and Kim can keep up with just about any guy in any sport.
Within Hamilton, our favorite ride went like this. I'd first ride my bike over to her house and we'd begin our ride over there. From her house, we'd ride all the way down Brookwood and then would ride through Taft Place subdivision, turning left on Eaton Rd. Eaton Rd – now there was a challenge. It was a relatively medium-length hill, but had a steep elevation change of perhaps 125-150 feet. That was the beginning of the ride so maybe that was best – take the hill while we had the energy. We'd ride out of town, up Eaton until we hit a road named Warwick.
Warwick is a nice winding country road that runs alongside a creek and was the beginning of the downhill elevation change for our long ride. Warwick eventually runs into a road called West Elkton, (running north to south naturally…and I'm fairly certain there was no road named East Elkton – this was typical of the famous town that put the exclamation point in its name). West Elkton then would eventually turn into a street named B St when it hit the city limits. From there then we'd make a right hand turn on a street named Gordon Avenue which would take us up a very short but steep hill, landing us on Prytania where we'd take a break then at my house.
After our break, we'd head on back to Kim's house. With the elevation changes, it made for a nice workout and given it was almost all on the outskirts of town, it was actually a fairly pretty and safe route (unless of course we had heart attacks climbing Eaton Rd hill). All told, I remember the ride being right around 13-14 miles.
The other route I was fond of was one we'd take when we briefly lived outside of town in a small little 1-stoplight town named Millvillle. The house was actually a rented home from a couple we went to high school with. We ended up staying there less than a year because of a horrible summer drought that caused too many issues due to lack of water. But anyway, we would get on a lightly travelled road that led to a town even smaller than Millville.
The town was Reily, Ohio (and I'm pretty sure they don't have a post office so all mail there likely says Oxford). The name of the road? Well of course – "Reily Millville Rd", naturally! It was only maybe 7 miles long one way, but it ran alongside a creek the entire way, offering several nice stopping points, including a couple of very old cemeteries and a county park. I have fond memories of that route as Kim and I would always stop at the cemeteries to walk around, reading the old burial stones, trying to capture a sliver of what the lives of those buried must have been like. I still enjoy doing that. I love the feeling of inner peace it delivers.
The green Schwinn, (which by the way weighed a ton compared to today's bikes), is long gone. I do however still have the original combination lock that Kim purchased for it – 3342. For me it's not about the bike itself; it's about the memories associated with them. All three of my baby boys enjoyed many rides on that green Schwinn, perched high in their rear child seat, complete with little helmets for their heads and thumbs in their mouths.
Since retiring, weather permitting, I ride every other day on a 14.3 mile route down on the American River Bike Trail. (Link) explore the pictures supplied in the link as it's a gorgeous ride. The ride isn't really about enjoying the scenery though, as gorgeous as it is. I've discovered that my knee feels much better when I'm riding regularly and that alone will get me onto the bike. You see, I had a horrible break while playing softball in 1987. Look for the story someday. The accident put a stop to all running sports, but I'm finding that the pain is greatly diminished when I'm having regular biking activity. We don't appreciate what it means to be pain-free unless we've experienced severe or prolonged pain. It puts everything into perspective, let me tell you!
From Lemon Peelers (read me) to a large green Scwinn tourer to my current ride – a vintage 1989 Cannondale Crest Racing Team 12 speed I found on Ebay. Like my cars, I like to hold a good vehicle for a very long time. Sometimes I feel I'm perhaps a little too introspective, but my introspection seems to have allowed me to log quite a few memories from childhood and beyond. I realize that my stories are not always funny, not always interesting, not always relevant to the readers. My hope is that while you are reading, you run across something that stirs up a forgotten memory of your own and maybe from time to time you smile and you come back for the next story.
My current ride is beautiful and it is helping to make me healthier. More than that though, riding a bicycle never fails to take me back in time to simpler times, both as a child riding through Millikin Woods with my childhood friend Timmy to seeing my own sons, sucking their thumbs on the back of my big green Schwinn. All of my boys are fully grown now and my oldest two are both riding their own bikes on a regular basis. I hope they are making their own memories and enjoying life because it really is beautiful; Life is beautiful.


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Meeting Minutes - 1/6/2013
In Attendance: Sir Cryheart, Shirkon, Karibeth, Perivan, Geijon, Goldstr, Evia, Sir Ruffelin, Meureii, Arpelli, and Cinabar.
We ring in the new year with lots of action in Wehnimer's Landing and our leadership nominations.
I. Squire Issues
Geijon's squire has returned, but hasn't shown renewed interest in pursuit of membership.
Goddi was approached by Ruffelin, but is having conflicts with our times.
A pair of potential squires were mentioned by Cryheart and Meureii.
We will, at a future time, discuss Monk squires as well.
II. Leadership nominations
Nominations will be open for two weeks time before voting begins.
Present nominations are as follows:
Cryheart for Leader.
Metadi, Geijon, Evia for First. Sir Ruffelin was nominated, but declined.
Geijon, Metadi, Perivan, Shirkon, Goldstr, Cinabar, Evia, Deavon, and Meureii for Council.
III. Event Planning and Completion We finished with 6 or 7 events this year and will maintain our Tier 3 status for the 6th? year.
Next meeting we'll begin voting and event planning for our first event in 2013.
IV. Of Lichs and Rooks Avoid engaging Barnom Slim in his own realm as he can manipulate reality and turn our shadows against us. The events surrouding KerlCorpse and OctodeathCorpse were a massacre.
V. Aznell's Assistant and Walkar's Rage We discussed the death of Amos, Aznell's intention to pay the rooks, Larton and Tykel's refusal to do so, currently, and Walkar's agitation before he shot Dragnell with the crossbow multiple times in his cell before coming to his senses and fleeing.
VI. A discussion and vote was taken. More details to come from Sir Cryheart.
By my hand,
Geijon Khyree

subset: commoncrawl


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There are several things that can cause flooding. I will address each.
The 1st thing most people want to do when their carb is flooding is change the float setting. Unless the float is hugely off, that isn't the problem. At least as far as the setting goes. Set your float to specifications and leave it there. Fudging the float setting is covering up the real problem.


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Is there anything more delicious than a juicy steak, cooked just right? Accompanied by a robust red, this is a dish that will never go out of style.
That said, it's also a dish that can easily go wrong. Cook your steak too long and it will instantly toughen and become chewy; cook it too little and you may as well be eating straight from the cow.
Owner of Richmond butchery, Bertie's Butcher, Darren Moncrieff says the secret to the perfect piece of beef is not so much the cut of meat, but the size. "Regardless of whether you are cooking a sirloin, porterhouse or fillet, the key to getting it right is cutting it approximately three centimetres thick." Chef Emily Bollinger continues: "When you first put the meat in the pan, don't be afraid to turn the heat up high to sear it because you won't burn it, but you will get the crust just right."
Below, Moncrieff has shared his simple formula to getting your steak bang on each and every time below – in this case to be cooked medium, but you can cook a little more or a little less if you prefer.
Firstly, choose your cut. Tenderloin, porterhouse (sirloin), Scotch fillet (rib eye) and rumps are the easiest cuts to grill. As mentioned, they should be three centimetres thick and 200 grams to 300 grams per person.
Grab a frying pan (aluminium, iron or steel, not non-stick as they do not get hot enough for searing) and take the steak it out of the fridge 60 minutes prior to let it reach room temperature (this is important!). If you are cooking rump, make two or three nicks in the fat to avoid the steak curling. Toss the steak in vegetable oil and Sea Salt (don't use refined salt – the chunkier the better) and turn your stove top to the highest heat, waiting until the pan is hot.
Next you need to sear the surface to trap the juices in. Add the steak to the pan for one minute searing one side then turn it (using tongs only so as not to pierce the meat) to sear on the other side for another minute. From here, reduce the heat to medium-low or 30 per cent of full heat, and leave the steak on its second side for three minutes before turning it back to its original side for a further three minutes.
Remove the steak form the pan and set aside somewhere warm for three-and-a-half minutes (ideally on a warm rack such as the barbecue shelf).
To test if your steak is done, press the centre with the back of the tongs. The steak will feel soft if it's rare, slightly firmer and springy when it's medium and very firm when it's well done. The best way to do this is through the finger test. Each one of your fingers, when touched with the tip of your thumb will reveal how the steak should feel to a particular level of cooking.
WELL DONE: Gently press the tip of your pinky and your thumb together. Feel the fleshy area at the base of the thumb with your other hand. It should feel quite firm. This is what well-done meat feels like when you press on it.
MEDIUM: Press the tip of your ring finger and your thumb together. The flesh beneath the thumb should give a little more.
MEDIUM RARE: Gently press the tip of your middle finger to the tip of your thumb.
RARE: Press the tip of your index finger to the tip of your thumb. The fleshy area below the thumb should give quite a bit.
BLUE (Or raw to rare): Open up the palm of your hand and feel below your thumb. This is what meat cooked to rare feels like.
To serve the steak, lubricate it with juices from the pan or add a teaspoon of seasoned butter.


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Directed by: M. Night Shyamalan || Produced by: M. Night Shyamalan, Barry Mendel, Sam Mercer, Jason Blum, Marc Bienstock, Ashwin Rajan
Screenplay: M. Night Shyamalan || Starring: Bruce Willis, Samuel L. Jackson, Robin Wright Penn, James McAvoy, Anya Taylor-Joy, Betty Buckley, Sarah Paulson
Music by: James Newton Howard (U), West Dylan Thordson (S, G) || Cinematography: Edwardo Serra (U), Mike Gioulakis (S, G) || Edited by: Dylan Tichenor (U), Luke Ciarrocchi (S, G), Blu Murray (G) || Country: United States || Language: English
Running Time: 106 minutes (U), 117 minutes (S), 129 minutes (G)
Manoj Nelliyattu (M. Night) Shyamalan has had a roller-coaster of a career. The quintessential 1st-2nd generation Indian-American remains one of the most well known, recognizable Hollywood auteurs of this generation, dabbling in genres of all kinds (many successful, many outright failures), playing with director-cameos with such unabashed glee not seen since Alfred Hitchcock (some memorable, while others, pointless), and popularizing the filmmaking cliche, "The Shyamalan Twist" in the modern zeitgeist.
As amusing as it sounds, I hadn't realized I "grew up" on the man's filmography for the majority of my twenty-something life. Much as my childhood pop culture infatuations were informed by the original Star Wars (1977, 1980, 1983) trilogy, or how I embraced the violent, speculative science-fiction of the Alien (1979, 1986, 1992) and Predator (1987, 1990) series, I was more or less raised on popular Shyamalan works ever since The Sixth Sense (1999). Shyamalan's weird, identifiable thrillers were everywhere by 2002's Signs, which made the mainstream director's long, excruciating fall from grace even weirder by comparison. The weirdest thing of all, I'd argue, was how a non-blockbuster filmmaker specializing in confusing mainstream audiences won them over without angering them, becoming so mainstream himself that your average American redneck casually (re: correctly) pronounces his South Indian surname as they would common Japanese car brands.
Shyamalan entered a downslide with 2006's Lady in the Water, soon after producing laughable so-good-they're-entertaining disasterpieces like The Happening (2008) and The Last Airbender (2010) before hitting rock-bottom with the Will Smith/Jayden Smith vehicle, After Earth (2013). His career was given a new lease on life by the house that Jason Blum built, however, with 2015's inexplicable found-footage movie, The Visit. That in turn preceded the autuer's greatest meta twist of all: Returning to his thriller roots with a backdoor sequel to Unbreakable (2000), Split (2016), connecting James McAvoy's dissociative identity disorder (DID) villain to the deconstructive "superhero" universe of Bruce Willis' David Dunn. In other words, Shyamalan executed an effective "twist" on the Shyamalan-twist. I guess we all have to be good at something.
Enter Glass, the supposed final installment in the writer-director's "Eastrail 177" trilogy, so named after the villainous plot that revealed Willis' heroic Dunn to the world in Unbreakable. Like its predecessors, Glass works as a standalone thriller with odd yet insightful commentary on the superhero-adaptation, comic property-obsessed culture of today. One doesn't need to have seen the enigmatic Unbreakable or the creepy, abduction-horror flick that was Split in order to understand the point of Glass, named after Samuel L. Jackson's villain from the former. Also like its predecessors, Glass features some of Shyamalan's strongest visuals and editing flairs, showcasing his innate cinematographic talents beyond his weird premises or now cliched narrative twists. His latest film also features his strengths as an actor's director, coaxing a solid performance from a Bruce Willis who hasn't given a shit about acting since Rian Johnson's Looper (2012), reminding us of Jackson's enthusiasm for villainous characters, and cementing James McAvoy into the international mainstream. To top it all off, Glass ends its three-film arc with an inconsistent thud rather than a bang, summarizing its auteur's career highs and lows with remarkable efficiency.
To better understand this unorthodox franchise, however, we must look beyond its writer-directors' fascinating rise, fall, and rebirth and examine the films' cinematic minutiae in greater detail. The first installment, Unbreakable, was a respected yet sleeper-hit followup to Shyamalan's Academy Award nominated Sixth Sense, a film whose hype I first overlooked. Many of my peers and pop culture commentators profess to loving this movie so much they have longed for a reboot-sequel in today's age of reboots and long-postponed sequels. Released before the modern renaissance of superhero blockbusters and expanded franchise universes, Unbreakable was an introspective dissection on how superhero mythology has affected modern culture. The film spends the bulk of its time toying with the idea of whether its lead, Willis, is a would-be vigilante capable of superhuman strength and fortitude, all whilst Jackson's physically frail yet intellectual "mastermind" pulls strings to bring his graphic novel fantasies to life.
It's not a bad yarn when all is said and done; Shyamalan's creative premise — another screenwriting staple of his — uses Willis' gruff yet relatable masculinity to mull the psychology of social responsibility, vigilantism, and physical limitations. His subtle long-takes, great use of lighting and rain FX, and clever blocking (e.g. the opening train sequence) create an almost noir-like backdrop against which Willis' David Dunn can unfold his extraordinary abilities. Is Dunn truly a "superhero" in the traditional sense? Perhaps… but perhaps not. The film's ambiguity, like in much of Shyamalan's work, is part of its appeal.
Fast-forward 16 years to Split, a deceptive, bizarre thriller that meets or exceeds its auteur's weirdest self-aware projects. Starring Anya Taylor-Joy (see The Witch [2015]) as an outcast teenager kidnapped by James McAvoy in a career-highlight performance, the film morphs from a quasi-believable thriller about DID (McAvoy's antagonist is alleged to contain 23-24 unique personas) into an unapologetic grindhouse horror. Split may be Shyamalan's strongest visual narrative, flaunting wonderful set-design and terrific low-key lighting to accentuate McAvoy's transformation from creepy kidnapper to literal supervillain. Shyamalan frames his characters such that their mental state is front and center, utilizing flashbacks to gel characters' past trauma with their current predicament in ways that most horror movies (e.g. The Ritual [2017]) fumble. His close-ups feel deliberate and purposeful, emphasizing not just key lines, but manic, raw emotions (e.g. McAvoy wrenching apart iron bars with his bare hands) or character desperation (e.g. Jessica Sula's relentless attempts to pick a lock).
Split is such a strong, consistent, and genuinely surprising thriller that Willis' uncredited cameo as David Dunn, thereby linking both films in a mid-credit sequence, is just the cherry on top. The film is perhaps the greatest (… and only notable?) backdoor sequel of all time.
Wrapping up this trilogy — and perhaps with it, its auteur's career resurgence — is 2019's Glass. The film combines the main and supporting casts of both its predecessors to make the final exclamation point on Shyamalan's superhero commentary. Glass juxtaposes its multi-star ensemble better than the likes of Age of Ultron (2015) or Justice League (2017), providing ample character development for McAvoy, Willis, and Jackson via brief yet powerful flashback sequences, intriguing monologues, and conclusive arcs.
From a visual standpoint, Glass is comparable to Split. Its vibrant colors, striking scenery, and subtle yet obvious nods to comic book color palettes put the flat, digital color-grading of most blockbusters to shame. I've said it before but I'll say it again: It's these sidestream or niche graphic novel adaptations that most look and feel they're descended from comic properties (e.g. Blade II [2002], Hellboy [2004], Watchmen [2006], Scott Pilgrim vs. The World [2010], Dredd [2012], Deadpool [2016]), not Thor: The Dark World (2014).
But I digress… Glass wouldn't be a true bookend to an out-of-left-field Shyamalan franchise without stumbling at the finish-line. While I enjoy Glass' action sequences, creative camera angles and POV shots and all, its finale muddles pointless narrative twists that feel neither earned nor very "Shyamalan-esque." The closure he grants all three major characters is admirable, but the context of their battle is complicated for no good reason. The film's last narrative reveals feel like elements that could've been removed in a final draft, and without spoiling too much, tonally clash with the otherwise ambiguous themes of the previous two films.
With all that in mind, M. Night Shyamalan's pop culture evolution reminds us that a good thriller is much, much more than an effective twist. One needs to build an entire feature that is, in effect, thrilling. The informally titled "Unbreakable Trilogy" is a unique, eclectic summation of its auteur's strengths and mainstream resurgence, while also reminding us of his striking weaknesses as a filmmaker. He is unlikely to ever regain the highbrow critical acclaim of The Sixth Sense, as Red Letter Media pointed out: "M. Night Shyamalan has given up the facade of being snooty, pretentious artist-man, and he's just making schlock — really well crafted, entertaining schlock," noted Jay Bauman, and that observation may be the best explanation why the man is having fun making movies again. As someone who's adolescence was shaped in part by his work, from memorable thrillers to crap blockbusters, I am happy for him and even happier that, after all these years, he hasn't changed all that much. Here's to you, Manoj.
SUMMARY & RECOMMENDATION: Ambitious, eclectic, and undeniably unique in both good ways and bad, M. Night Shyamalan's almost impromptu superhero franchise showcases what made him a household name. His oners are stylish without calling attention to themselves, while his use of color and set-design are a benchmark for how "real" comic book-movies should stylize their films. Meanwhile, his inventive screenplays explore major characters portrayed by McAvoy, Jackson, and Willis with care, and yet also undercut their journey by the end credits. It's a journey that only Shyamalan could've written, so check your story-twist expectations at the door.
—> RECOMMENDED, warts and all.
? There was a clandestine meeting at a coffee shop where Jason Blum slipped him a gigantic check and said, "Do you like being an 'artist,' or do you like MONEY? Now, let's make a schlock film about psychopathic elderly people; it's gonna bring in the kiddies!"


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Micro Stories
You probably remember my Book of Nature project. I used photos of nature I've taken and wrote short micro stories inspired by the images. I've since moved the project to Patreon only, however, I still do micro stories for all to read over on Instagram. These micro stories are a bit different. The images can be anything. I'm having a lot of fun writing these stories. Hopefully, they are entertaining and it's good practice for me.
That actually brings me to the point of this blog post. If you're a writer, I encourage you to do this too. Even if you don't want to share them with the world, it's still a great exercise. I'm now finding myself viewing nearly everything with the potential to be a story. It really helps keep the creativity flowing all day.
It makes for great practice as well. Think about it, you have to convey a story (or at least part of one) with 6 or less sentences. Not incredibly easy. It forces you to write far more creatively without the risk of getting burned out quickly. Some daily writing challenges have you write pages or paragraphs but it can get overwhelming. Especially, if you're a writer with a day job.
So, I present to you the idea of micro stories. If you're a writer, give it a try. I promise you'll love it. And please, share them with me. Use Canva to make some really cool images. Feel free to share them with me on social media or email them to me. My favorites will be featured on my Instagram page, with credit to the writer, of course. I look forward to seeing your stories and if you want to read some of mine, be sure to give me a follow on Instagram. Thanks for reading and remember, keep wandering. Just not alone.
Audience Participation
Hello and happy Friday! Got any cool weekend plans? I'm installing a fence this weekend, should be fun. Speaking of fenced in areas, I have a question for you. When it comes to the books you like to surround yourself with, what is your favorite genre? I'm just curious what everyone out there reads. Let me know if the comments below if you can't get enough fantasy. Maybe Sci-Fi is your thing. Maybe it's horror. Or, perhaps you love a good old school spy thriller. Or, maybe you read a genre that isn't main stream like erotica. Whatever it is, let me know!
Mountain of Death
Australia. A beautiful country of nature and culture unlike most other places on the planet. There's an endless list of snakes (that can kill you), aquatic life (that can kill you), spiders (that can kill you), and countless other things (that can probably kill you). It's no secret the outback can be a dangerous place. No, I'm not talking about the steakhouse. Although, that can be dangerous too. Don't take your Australian friends there to impress them. They will not be.
With the myriad of animals that can murder a human being which reside in the land down under, it should come as no surprise that a mountain is gunning for the job as well. I'm talking about a place called Black Mountain, a.k.a. Death Mountain, a.k.a. Kalkajaka. No, that last word isn't a planet in Star Wars. It's an aboriginal word which means "place of Spear". See, I told you, the mountain is hungry for violence.
All joking aside, Black Mountain is a fascinating, yet dangerous place. It's part of a protected national park, south west of Cooktown. The mountain is made up of granite boulders. Some of these boulders are the size of houses. If you haven't guessed already, they are black. Hence the name, Black Mountain. There's a lack of soil between the rocks which means there's a labyrinth of gaps and tunnels. I wouldn't recommend venturing into them, however. You probably won't make it out alive.
The rocks get extremely hot in the Australian sun. Over time, the cold rains can make the rocks crack or dissolve. Sometimes, they even explode violently, causing the rocks to shift and slide. If you're inside a chasm when that happens, you probably won't be coming back out.
Many people have gone missing around the mountain, which is why it earned the nickname Mountain of Death. Most likely, people have tried venturing inside some of the gaps and never made it back out. Others claim it's because it's a portal to another dimension, an alien artifact, or government conspiracy. Whatever the case, people have died and some have gone missing.
Something else I learned about Black Mountain, recently, really fascinated me. The volcanic rocks resonate in a particular pitch when struck together. The tone seems to be B flat. There's a cosmic entity that also emits a tone of B flat in our universe. The Black Hole. No, I'm not saying there's a black hole at the center of Black Mountain. But it's interesting to think of the connections of nature.
I'd suggest looking up Black Mountain. It's a very interesting place with a lot of history. I've merely scratched the surface for you today. However, there is one more thing I'd like to share concerning the mountain. It is going to be featured in an upcoming novel of mine. Not just any novel, either but my sci-fi debut novel. There's not a lot of details I can share right now but I think you're going to love this one.
If you like what you learned today, share it with a friend. If you haven't liked me on Facebook, followed me Instagram, or followed on Twitter then check me out there as well. You'll find the link to all my social media accounts at the bottom of the page. Also, I'm slowly uploading interesting videos to Youtube regarding my writing and even personal life, so check me out there. If you've read any of my novels, please consider leaving them a review. It's the best way to show recognition to your favorite authors. As always, thanks for reading. Remember, keep wandering. Just not alone.
I am a self-published horror/thriller author. I love reading, writing, and taking long walks through scary parts of the forest. I'm learning new tricks everyday to become a better author and occasionally will share those tips with you. Otherwise, you can read book reviews, info about my writing, and personal stories about my adventures in nature.
March 2020


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September 14, 2010
Release #10-341
|Firm's Recall Hotline: (888) 386-7833
WASHINGTON, D.C. - The U.S. Consumer Product Safety Commission, in cooperation with the firm named below, today announced a voluntary recall of the following consumer product. Consumers should stop using recalled products immediately unless otherwise instructed. It is illegal to resell or attempt to resell a recalled consumer product.
Name of Products: Click Armband Bracelets, Klick Klick Balls and BoBo Balls.
Units: About 14,400 Click Armband Bracelets, 7,900 Klick Klick Balls and 14,400 BoBo Balls
Distributor: Fun Stuff Inc., of Newport News, Va.
Hazard: The small balls on the end of the toy's arms can detach, posing a choking hazard to young children. The toys were marketed for children age 3 and over. CPSC staff has designated these toys for children between the ages of 19 to 35 months.
Incidents/Injuries: CPSC has received one report of a ball detaching in a 21-month old girl's mouth in Charlotte, N.C. No medical treatment was required.
Description: The recalled bracelets and balls are made of stretchy, rubber material with hard plastic, colorful balls attached at the end of the toy's arms. The toys were sold with orange, green, pink, purple and blue colored balls. The BoBo balls have a flashing lighted ball encased in the stretchy material. The following item numbers are involved in this recall:
|Item Number
|Click Armband Bracelet
|Klick Klick Ball
|BoBo Ball
The item number is located on the product packaging.
Sold at: Beach resort stores nationwide from January 2009 through August 2010 for between $2 and $5.
Manufactured in: China
Remedy: Consumers should immediately take the recalled toys away from young children and return them to the place of purchase or contact Fun Stuff to receive a full refund.
Consumer Contact: For additional information, contact Fun Stuff toll-free at (888) 386-7833 between 9 a.m. and 5 p.m. ET Monday through Friday or visit the firm's website at www.funstuffinc.net
Click Armband Bracelets
Klick Klick Balls
BoBo Balls
The U.S. Consumer Product Safety Commission is charged with protecting the public from unreasonable risks of injury or death associated with the use of thousands of types of consumer products under the agency's jurisdiction. Deaths, injuries, and property damage from consumer product incidents cost the nation more than $1 trillion annually. CPSC is committed to protecting consumers and families from products that pose a fire, electrical, chemical or mechanical hazard. CPSC's work to help ensure the safety of consumer products - such as toys, cribs, power tools, cigarette lighters and household chemicals -– contributed to a decline in the rate of deaths and injuries associated with consumer products over the past 40 years.
Federal law bars any person from selling products subject to a publicly-announced voluntary recall by a manufacturer or a mandatory recall ordered by the Commission.
To report a dangerous product or a product-related injury go online to www.SaferProducts.gov or call CPSC's Hotline at 800-638-2772 or teletypewriter at 301-595-7054 for the hearing impaired. Consumers can obtain news release and recall information at www.cpsc.gov, on Twitter @USCPSC or by subscribing to CPSC's free e-mail newsletters.
Please use the below phone number for all media requests.
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Durga Puja, the most important festival of Bengal is coming soon. Christmas in New York, Rio Carnival in Brazil, and the La Tomatina Festival in Spain summed up cannot beat the magnitude of the Durga Puja celebrations in Kolkata, India. Pujo spans 10 days filled with packed elaborate rituals, great food and a stunning display of creativity and art in the form of innovative themed pandals and idols. People deck up in new clothes, flock to the pandals and soak themselves in the festive spirit. The whole city transforms to a festive mood, work comes to a halt as the Pujo spirit hits Kolkata.
It is absolutely impossible to
Pre-Durga Puja
In Kolkata, the real celebration starts months in advance. Construction of the pandals starts way before the
Preparations involve shopping for new clothes and gifts for families and friends. The month preceding Durga Puja is always hectic. Everyone is in a joyous mood thronging stores and shops offering great sales and discounts, scouring for new sarees, salwar kameez and kurtas or dhotis for Durga Puja. Witnessing the city and its people gearing up for the festival is as exciting as the festival itself!
Mahalaya – The start of Durga Puja
The baritone of Birendra Krishna Bhadra reverberating the autumn dawn – Ya
The idols are prepared several months before the celebration, except for one part: their eyes. They are only drawn on 'Mahalaya' that is one day before the ten-day festival commences. This process is known as 'Chokkhu Daan', meaning the Goddess is invited to earth. The best place to witness this ritual is Kumartuli.
Pandal Hopping
Traditionally, idols are only placed in the pandals from the 6th day onwards. And so begins the pandal hopping. The highlight of the Durga Puja is 'pandal-hopping'! You'll find a different unique theme in every pandal across Kolkata. Pandal-hopping is one activity every Bengali enjoys to the T during Durga Pujas! Eat and drink, eat and drink! Once you've started pandal-hopping, that's all you're going to be doing for the rest of the might. This is the only day of the year when your parents don't expect you to be home before your 'in-time'. Best way to absorb the Pujo fever; is to choose a region (South / North / Central / Salt Lake) and start walking through the streets. The roads and streets are so crowded that if you took a vehicle, you would eventually end up spending the pujo in that car itself. Everyone is out the whole night visiting pandals and hanging out (read "adda") with friends enjoying the Pujo.
Bhog and the infinitely long queues
We not only celebrate Durga Puja; we actually breathe it! For the Bengalis, Durga Puja is more than culture and beyond religion. Our Puja is not to mention kind of incomplete without good food and naturally, we prefer to no to think about the calories at least these four-five days. After early morning prayers and long hours of the previous night's pandal-hopping, everyone deserves to skip cooking at home and spend some time with families and friends over meals.
There are many great options in town, but the best lunch, "Bhog" is served at the pandals. The bhog is the blessed food of the Durga Puja, a ritual meal lasting five days of the annual religious ceremony. It is eaten at lunch, traditionally by rows of persons seated on the puja bari floor, ladled out by volunteers rushing around importantly, holding large pails of steaming khichuri, straw baskets of fried vegetables and the eagerly-anticipated kheer in delicate pots. The bhog is laced with business-like shouts between eaters and servers ("Dada, eikhane baigune aaro laagbe!" More fried brinjal here, my brother!), sweetened by banter, even amongst strangers.
The ten days pass by so quickly and just like each year, the calls of "Ashchhe bochhor abaar hobe" resound the air. It means "We would have it again next year." Sure, we would!
Hope you enjoy this year's Durga Pujo.


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This project is funded by Culture Ireland and supported by the Arts Council
Presented in Virtual Reality, the Irish exhibition is curated by Jo Mangan, Artistic Director of Carlow Arts Festival and The Performance Corporation. This exhibition meets designers and their work within a Virtual Reality world – in their studios, on stage, in 360 visualisations, and during the inevitable destruction of their creations. With this approach we try to capture the reality that stage design exists for short and beautiful periods of time and the struggle to capture the essence of live experience.
PQ2019 Designers
ISSSD is a member of the Design and Crafts Council of Ireland


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WR780-14K White Gold Straight Band. Priced as shown 0.20cts 14K White Gold
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Though he left his eponymous label nearly a decade ago, there are few designers as influential today as Martin Margiela. While he aspired to be invisible — to the point of refusing to be photographed and conducting all interviews by fax or email — Margiela's impact is writ large on the contemporary fashion landscape. So many of his innovations — once radical — have become accepted norms in the industry (his deconstructed tailoring, his championing of recycling and his pioneering of the see-now buy-now model, to name but a few). Brands as diverse as Vetements, Marques'Almeida and The Row continually mine his archive for inspiration. The conceptual Belgian designer is being celebrated in two separate exhibitions in Paris this month: a retrospective at the Palais Galliera, which examines his career until he retired in 2009, and another at the Musée des Arts Décoratifs, which premiered in Antwerp last year and catalogs his six-year tenure designing for Hermès.
After starting his own label in 1988 with his business partner Jenny Meirens, Margiela spent the next two decades establishing an entirely new vocabulary for clothing — the "cigarette" shoulder, the iconic cloven-footed Tabi boot, the unfinished edges and paint-splattered surfaces, the repurposing of vintage garments into new clothes. He constantly questioned the received norms of luxury — particularly during his unconventional shows, which upended the traditional catwalk format, taking over abandoned Metro stations and, once, a Salvation Army store.
But the designer's fall/winter 2000 collection was perhaps the finest expression of many of his career-long preoccupations. The show was staged inside a disused freight train docked in a loading bay in Paris's 19th Arrondissement, and models walked to a dissonant instrumental track from David Lynch's "Twin Peaks: Fire Walk With Me" film soundtrack. The show saw Margiela develop the oversize concept he'd introduced the previous season — garments came in an Italian size 78 — but he also experimented with new techniques, such as baking knitwear over an XXXL dummy to retain its voluminous form. While some critics found the show's setting "disturbing," the clothes, with their blown-out proportions, achieved a new sculptural elegance. On the occasion of the Galliera exhibition, some of Margiela's longtime collaborators and fans share their memories of the designer and that radical show.
Marina Faust, artist and photographer who collaborated with Margiela for nearly 20 years
I had heard about a fashion designer's show that sounded like an underground performance, a bold and subversive act in the fashion world at the end of the 1980s. Intrigued, I went to the showroom and discovered a collection of clothes that blew my mind. As an artist, I am attracted to the uncompromising; there is no evolution without that. What spoke to me at first confirmed itself when I met Margiela to show him my series of photographs taken at a presentation in his showroom. It is not a point of view we shared; it is more that we agree on taste and a sensitivity we have in common. I think he liked my reportage, non-fashion approach to his work. The oversize collection is one of my favorites. It goes against any code. It seems impossible to wear but, on the contrary, looks wonderful on the body. And it changes its function depending on who wears it. Margiela was a risk taker. It is such a generous oeuvre he left behind. He made the impossible possible for everyone.
Harriet Quick, contributing editor at British Vogue who attended the show
I remember the [fall/winter 2000] show feeling ominous, humorous, surreal and enlightened in one go. The clothes were gigantic and engulfed the models. Disturbing those neat symmetrical proportions, covering the models' faces with giant crimped hair was a punkish act in itself — the conventional idea of beauty was disrupted and the clothes disembodied. The show was probably late at night, when they usually staged shows, and far out of the center of town — getting there was a mission in itself — and then to enter a gloomily lit freight train was deeply disturbing and chilly too. The soundtrack and the disco balls added a slice of bathos. It was as if the myths and fantasy of beautiful Paris had evaporated.
Patrick Scallon, artistic and communications director for Maison Martin Margiela, 1993-2008
I'd never chosen to work in fashion. I was living in Brussels doing speech writing when I was introduced to Jenny. What was meant to be a three-week placement turned into 17 years! Margiela is extremely enigmatic and quite reserved. I liked the fact that he showed there was a way of getting through the traditional gatekeepers if you had the right conviction.
What was impressive about the fall/winter 2000 show was what he did with the knitwear, with the women walking around wearing another, much bigger, woman's form. It was his way of exploring oversize — it was about taking something that had existed before and bringing it forth into a new context and giving it a new power. Both Jenny and Martin would challenge each other all the time, and this collection was the perfect mix of both of them — the alchemy of their talent created something that brought an idea to the edge of expression, but the clothes could still function as garments. Before that, it had been about ideas.
After the show, we got back to office and a call came through from Women's Wear Daily asking for comment. We started hearing rumors that we had evoked the transportation of Jews from Paris. That's not why we did it in any shape or form. People took a lot of poetic license. We had threats to the office, faxes that were extremely abusive. We weren't used to seeing what we were doing spilling over into the public. It was very painful and went on for quite some time. The interesting thing about the show was when you put unrelated elements together, you create a space that can be filled in intellectually by other people.
Inge Grognard, makeup artist for Maison Martin Margiela, 1988-2010, who did the makeup for the show
I'd known Martin since I was 14. We were all interested in fashion and clothes and that brought us together. The moment he started his own brand, it was understood between us that we would work together. We had a lot of the same references in books, movies — he was very influenced by punk and what the Japanese designers were doing. He always gave me a lot of freedom to execute the makeup.
For the fall/winter 2000 show, the makeup was pretty raw; I wanted to see skin, not like a doll. But what I really remember was that the models had these really big fringes that covered the eyes. That was something he did throughout his career — covering the eyes with masks, veils or sunglasses. A lot of time it was the clothes that were most important. But he was also interested in the attitude of the models — the way they moved, what they thought. With Martin, there was always evolution. He was always playing with proportions and deconstructing and reconstructing again.
Ronald Stoops, photographer who documented the show
I first met him through [the Antwerp Six designer] Marina Yee and then later through Inge. From the beginning, I had total freedom shooting as there weren't a lot of backstage photographers then, and I was always intrigued by his collections and castings. He was a visionary who was brilliant at taking from the past, mixing it with this level of craftsmanship that made his collections into something of the now. With the fall/winter 2000 show, we were not thinking about radical concepts; it was a natural progression for him. It's history that has made it radical.
Kristina de Coninck, model for Maison Martin Margiela, 1989-2005, who walked in the show
I first met Martin after he saw a picture of me from a photo shoot I did with Ronald Stoops and Inge Grognard. I was impressed by his openheartedness and charisma. Then I met him again when I moved to Paris, and we became best friends. My first time modeling for him was definitely a heart-beating experience. Everything about it was exciting and there was the feeling that something great was going to happen. When Martin was casting models, he was always looking for a certain attitude, to let our personality show through. The fall/winter 2000 show was such genius — elegant but done with a sense of humor and attention to the finest detail. What I loved about his work was how suddenly he could pick up an idea and give it a new personality with tenderness, humor and love. All my memories related to his work are easy to express in one word: emotion. He surprised me from the very beginning, and he still surprises me today!
Vicky Roditis, Sales Manager and "Ambassadrice" to Martin Margiela, whose personal archive is heavily featured in the Palais Galliera exhibition
The show felt new because of the revolutionary techniques Martin used and the fact that we were showing XXXL sizes at a time when the trend was about a slim silhouette and low-waisted skinny pants. What was so special about the oversize clothes was the fact that you could dress lots of different sizes of people in the same clothes, which I found very democratic.
I found that every time Martin came out with a strong collection, we always got the worst critics. I could mention other shows like "Terrain Vague" in 1989 or the spring/summer 1991 show in the garage — people always misinterpreted. I think this is a consequence when you choose to operate with complete creative freedom. When you stand far ahead of any trend, you can easily be mistaken.
For me, working for Margiela was mainly about freedom. With Martin, everything was possible — even what is normally considered ugly could become interesting and beautiful. There was playfulness and a sense of surprise.


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Soundtrack review: Loving Vincent (Clint Mansell – 2017)
"Loving Vincent" is a 2017 biographical animated film. It is the first fully painted animated film. It tells the story of painter Vincent van Gogh. It is written and directed by Dorota Kobiela and Hugh Welchman, and is being produced by Hugh Welchman and Sean Bobbitt of BreakThru Films and Ivan Mactaggart of Trademark Films. The development was funded by the Polish Film Institute, and re-training of professional oil painters to become painting-animators on the film was partially funded through a Kickstarter campaign. It sounds like a fascinating project and I will watch it, especially since I have studied and read a lot about Van Gogh's life. The score was written by a composer to match, Clint Mansell.
Clint Mansell has always been one of the most exciting composers for me to listen to, reaching incredibly affecting peaks like "Requiem for a dream" in his career and also knowing when to be emotional without being insane. The opening theme "The night cafe" is a beautiful and troubled duet between the strings and the piano; the fairy tale like choral section at the end only makes the cue sound even more etherial. There is sadness and fervour in the music and I always like a layered composition like this one.
I hear traces of "Noah" in this score; somehow this makes sense since both characters, Noah and Vicent Van Gogh were troubled and determined men who stuck by their ideas and passions no matter what happened in the outside world. Clint Mansell uses the same kind of stormy string section in "The yellow house" that made "Noah" such a fascinating score. "Loving Vincent" doesn't have the same relentless fury but I can almost see the pouring rain and flood here as well.
Each cue takes its title from a famous Van Gogh painting. The music is very fit to art, to beautiful art as it uses lively tones and warm colours to express emotions. It's a permanent back and forth between strings and piano and each instrument gets its turn to be in the centre of a cue. I like the sudden burst of energy like the end of "Portrait of Armand Roulin". The soundscape of "Loving Vincent" is not very varied but it changes tone from determination to melancholy; "Marguerite Gachet at the piano" is my favourite piece from the score as it's the most emotional and the strings here evoke an unquenched melancholy.
"Loving Vincent" is a much more laid back and romantic score than Clint Mansell usually writes; it shows a new and just as valuable side of this composer who could have very easily written turmoil like he knows so well but chose to focus on the beautiful creative side of the painter. There are moments of angst like "Thatched roofs in Chaponval" but the are rare. The cues are long and robust and the composer wrote the kind of music that can be enjoyed while admiring Van Gogh's paintings or even when admiring real life scenes that mirror the ones he put on the canvas; I can see myself listening to this score while walking through an endless field. I can see myself listening to this score again.
Cue rating: 91 / 100
Total minutes of excellence: 15 / 46
Album excellence: 33%
The Night Café
The Yellow House
Marguerite Gachet At The Piano
The Painter On His Way To Work On The Road To Tarascon
Blossoming Chestnut Trees
The Sower With Setting Sun
Starry Night Over The Rhone


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ACT recently said that students with disabilities who apply for accommodations on the college entrance exam "will soon benefit from a new system that will simplify and speed up the application process." That new process will debut in June. The changes come after scrutiny from advocates, who have watched closely to ensure that students with disabilities have equal access to standardized tests. ACT said about 200,000 students applied for accommodations on the test during the 2015-16 school year, a 13 percent increase from the year before. That increase is likely due to growth in ACT testing overall, a spokesman said. Students who apply for accommodations represent 3.5 percent of all students who register for the test.
More: http://bit.ly/1WR9Cg7.


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This Thursday Best-Selling Author, Motivational Speaker, and the man who created "Extra Mile Day," joins your host, Winifred Adams on Making Life Brighter Radio!
Find out how Shawn Anderson has motivated Olympic Gold Medal Athletes and world record holders! Inspiring people all over the globe and appearing on NBC News, CBS News, CNN, ABC News and a host of other media outlets, Shawn Anderson puts the "M" in motivation, worldwide!
Then musically gifted sisters, CousinKate, will stun you with Imagine. This amazing musical contribution to the world is only the beginning-- hear them sing


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Richardson's Dairy, based in Middleton, MA, is famous for their great dairy products, especially their ice cream.
What separates them from other ice cream manufacturers is that they raise their own cows on their own land just to produce the milk for their ice cream.
It's an interesting story that Richardsons Dairy wanted to tell, so they hired Sound & Vision Media to produce both a corporate video and a new web site for them. The video is shown at two of their locations, in Middleton at their main location and at Jordan's in Reading.
The video tells the history of the Richardsons Dairy and maps the process your ice cream goes through, from cow to cone. Our production team worked closely with the Richardson family for more than a year to create a corporate video that was both informative and enjoyable to watch.
Richardsons is a dairy farming family that has been serving finest homemade dairy products for generations. We take our history seriously and endeavor to honor it by maintaining the highest standards for our products. Customers who discovered us as children relive the nostalgia of their youth and continue the tradition today by bringing their children and grandchildren.
Check out our SPECIAL OFFER Today!
Sound and Vision Media Boston is an Award winning, full service, video production company in Boston MA.
Call us at 781-284-9707


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October 2017
Zechariah 9 | Deliverance From Our Enemies
10/26/17 12:53 PM Zechariah
(PLAY) Jesus came the first time as a LAMB to save us from sin, He will come the second time as a LION to save us from our political enemies - the kings of this world. This chapter foretells BOTH.
Zechariah 8 | America The New Israel
10/12/17 12:57 PM Zechariah
(PLAY) Is it by accident that America became the superpower of the world, that our motto is "one Nation Under God", that we sing songs like "God bless America", and our national anthem includes the phrase "In God We Trust"? Or is it because we are New Israel?


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Carmix Marilao
- Published date: November 11, 2016
- Marilao, Bulacan, Philippines
Carmix provides pre-owned vehicle sales expertise for over 33 years now. Its goal is to create a pleasant car buying experience to its customers with practical transportation needs. With a diverse stock of all types of car brands at competitive prices, it is a trusted automotive business company under the Laus Auto Group. It boasts of a highly-experienced sales staff with a passion for customer satisfaction. Carmix is strategically located in San Fernando, Pampanga and Marilao, Bulacan.
Carmix Marilao Map Location Philippines
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Helplines & emotional support
Most Rape Crisis Centres provide a confidential helpline service for women and girls who have experienced any form of sexual violence at any time in their lives.
Some Rape Crisis helplines also support men and boys who have experienced sexual violence and/or anyone who is supporting a survivor. If a Rape Crisis helpline can't support you directly, they will help you find other specialist support.
Rape Crisis helplines have local or Freephone numbers, so they're low cost or free to ring, and will usually be able to call you back if you're worried about the cost of a call.
What to expect
Rape Crisis helplines are staffed by women who've had specialist training. Rape Crisis helpline workers will listen to you, believe you and support you. They can also give you information if that's what you want.
They won't judge you, advise you, tell you what to do or put pressure on you. Your call will be led by you; you can go at your own pace, you don't have to talk about anything you're not comfortable with, and you don't have to give your name if you don't want to.
There are rare circumstances when a helpline worker might be obliged to share information you give her outside of her Rape Crisis Centre, such as if a child is in immediate danger, but she will try and discuss this with you if this happens.
Other helpline services
Some Rape Crisis Centres offer helpline support in languages other than English and some have specific sessions dedicated to specific types of survivors, like young women and girls, trans women or asylum-seeking and refugee women.
Some Rape Crisis helplines offer support via text message (SMS) and/or e-mail if you prefer to communicate that way.
Some Rape Crisis Centres also provide face-to-face emotional support, using the same principles of non-judgemental, supportive listening as their helpline, as well as or instead of counselling.
Find out about the services your nearest Rape Crisis Centre offers here.
You can contact any of our member Centres' helplines to talk to someone and they will support you in finding out what is available in your area.
Occasionally, you might find it difficult to get through to a Rape Crisis helpline even during their advertised opening hours. This is usually because there is a high demand for the service and the helpline workers are talking to other callers. We understand that can be frustrating, and sometimes upsetting, especially if it's your first call and you've been thinking about ringing for a long time. If this happens, please keep trying. We know how difficult it can be to call but we're here for you and we want to listen.


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Intrigue Nouveau is a line of thoughtfully designed and handcrafted minimalist jewelry and soy candles. Our jewelry is made using lost wax casting and traditional jewelry making techniques made from brass, sterling silver, and gold fill metals. Our vegan friendly soy candles are created using high quality soy wax and phthalate fragrance oils to provide a beautiful, health conscience scent.
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|A Note from the Editor-in-Chief
|Lawrence D. Devoe, M.D.
Welcome to the March-April 2017 Editor-in-Chief's page. This editorial column focuses on the current United States Congressional reconsideration of the Affordable Care Act of 2010.
It was only a couple of issues ago (November-December 2016), after the United States Presidential election had concluded, that I weighed in on the problems associated with the implementation of the Patient Protection and Affordable Care Act (PPACA), otherwise known as the Affordable Care Act or ACA.
The lengthy discussions now being held in Congressional committee meetings revolve around the question of whether it is better to repeal and replace the ACA than it is to reform it. Replacing any law as complex as the ACA is never an easy process, as the Republican legislators are quickly discovering.
|Acrobat Reader 7.0 is recommended to properly view and print the article.
Reader can be downloaded from


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Mass Fantastic is
Mass Fantastic loves big, loves emotion, loves tomorrow.
People everywhere want to be turned on. They are hungry for exciting new products and experiences. They are aspirational for themselves and for the brands they allow into their lives. Copycat or ordinary or lazy won't cut it. People buy ideas and big ideas make brands.
Mass Fantastic is brand new. It loves breaking free of guidelines and convention. It re-invents how we interact with brands and how brands interact with us. It has the power to make big companies feel personal, engaging, even loved.
Mass Fantastic is about working closely, reacting instantly and thinking magically throughout the business. From the call centre to the CEO.
Mass Fantastic excites and delights. It shoots straight into people's imaginations, inspiring buying, not selling selling.
Mass Fantastic is bold. It's having the ambition to create groundbreaking work that excites millions of people. It's independent thinking, the freedom to go beyond the brief and invest in work everyone can believe in.
Mass Fantastic is emotional. It's about plugging into people's desires, in modern, wonderful ways. It's always pushing further to make ideas happen. It's everyone working closely together as one team to bring ideas alive in the real world.