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It started with an innocent tweet asking for suggestions on what to do with some leftover mashed potatoes. (A phenomenon I don't think I've ever encountered. I'd just eat them straight-up with a little butter, but I digress.) I threw out the idea of fish cakes and a few others also had ideas.
And somehow from there Cheryl started talking about pyrhohy and the next thing I knew I had managed to scam an invite over for a lesson on how to make them at home. (Call them what you want, but I'm going to go with pyrohy here because that's what Cheryl calls them and since she was kind — and patient — enough to teach me how to make them, I'm going to defer to her expertise.)
Anyway, I've long loved pyrohy though my only experience was the frozen kind from the grocery store. My first experience with homemade pyrohy was when my friend Colette had a group of us over for a Ukrainian dinner, serving up homemade cheese-and-potato dumplings and cabbage rolls made by her mom in Saskatchewan. They were fantastic and we all ate a lot that night. (There was kielbasa too and I provided a lemon tart, so we were all pretty stuffed at the end.)
Then an even larger group of us went to a fall supper at St. Stephen Protomartyr Ukrainian Cultural Centre where we supported the Knights of Columbus in their fundraiser by enjoying more homemade pyrohy, cabbage rolls, little meatballs in a dill and mushroom sauce and fried chicken. And then there was dessert . . . .
All this to say, it's been a pretty pyrohy-filled fall. And that's not a complaint.
So, a few Sundays ago, I drove over to Cheryl's, met her two adorable kids and then got set up in the kitchen, along with Andree who had also been invited over for the lesson. There, in Cheryl's beautifully lit kitchen (oh the photos I could take if I had that set up!), we became an odd little assembly line of workers. Cheryl showed us what to do and we tried to replicate it, occasionally with some success. And then we went home with two baking sheets full of pyrhohy ready to freeze or eat immediately.
So I did.
And they were delicious. (Due, I'm sure, in no small part to the onion I diced and gently fried in a generous dollop of butter.)
And, um, there are no photos of what they look like cooked because it was dark by then and the next time I ate them it was also dark and, well, now they're all gone. Guess I'm going to have to make some more.
Pictures are after the recipe because they are a bit of a play-by-play of how to make pyrohy, so that made more sense.
Thank you again to Cheryl for the lesson!
Cheryl's Pyrohy Dough
- 5 cups flour
- 1/2 teaspoon salt
- 1 egg
- 1/2 cup oil
- 2 cups hot water
Mix together the flour and salt in a large boil. Whisk together the egg and oil, then add to the flour, mixing to combine. Add the hot water and mix again to form shaggy dough. Let rest for 15 minutes before using.
While letting the dough rest, begin forming the filling into small balls. This will make it much easier when it comes to filling the pyrohy.
To make the pyrohy, take a portion of dough and roll it into a log (like you did as a kid while using playdough), then cut into portions and roll those into balls. Using a rolling pin, lightly roll out the dough balls into ovals.
Place the filling in the centre of the dough oval and pull it over so the two halves meet each other. Gently pinch the dough sides together, trying to ensure no air is trapped inside. You can use your finger, curved slightly, to shape the pyrohy into their distinctive half-moons.
(I'm going to be honest here, I don't think I'm explaining it well, but the pictures should help. Or you can check out Cheryl's own post on making pyrohy here.)
We made straight-up mashed potato, mashed potato with bacon (put the bacon inside the mashed potato to keep it from perforating the pyrohy dough and causing a giant mess when you boil them) and sauerkraut. But, really, what you put inside is limited only (and forgive me for being this cheesy) by your imagination. Ricotta and a bit of fruit? Yes, that would be good. Mushrooms mixed in with potato? Of course. And so on.


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*607* The Simpsons Already Did It
Moderator: Big-Will
*607* The Simpsons Already Did It
Cartman's "Sea People" evolve at an alarming rate. Stan, Kyle, and new friend Tweek, costar. Kenny is still dead.
- Posts: 12
- Joined: Tue Mar 18, 2008 6:49 am
The Simpsons Already Did It: MISSING VOICEOVER
Censored, or WTF?
- Posts: 15
- Joined: Mon Oct 19, 2009 5:30 am
Re: The Simpsons Already Did It: MISSING VOICEOVER
imabastard wrote:... happens around 01:21 to 01:25... Tweek looks like he is talking, for example, but no voiceover... only 4 seconds of silence.
Censored, or WTF?
there's no way they missed a voice over. Tweek is definitely not mouthing words at all, he is just twitching.
- Posts: 168
- Joined: Sun Nov 28, 2010 10:03 am
Re: *607* The Simpsons Already Did It
South Park lost a 1998 Emmy to the Simpsons. Then, in 2000, the same thing happened. In 2001, South Park wasn't nominated, but the Simpsons again got the Emmy. Finally, South Park's "Osama Bin Laden Has Farty Pants" lost to Futurama's "Roswell That Ends Well" sometime in 2002.
The Simpsons Already Did It aired on June 26 of 2002.
My question is: how much of a "f**k you" was this to Matt Groening?
It's not pedophilia if they should be your age by now.
Re: *607* The Simpsons Already Did It
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Re: *607* The Simpsons Already Did It
The simpsons have done everything, so coming up with original ideas can be pretty frusterating for SP sometimes.
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Margate Middle School Wins National Vocabulary Championship for 3rd Year in a Row
The results are in and Margate Middle School students have been named 2018/19 Vocabulary Bowl Champions by Vocabulary.com. This is the Margate Spartans third consecutive year winning the competition. The Spartans finished the competition with 316,142 words, becoming the first middle school to master more than 300,000 words in a single season.


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Tales of Mystery & Imagination – Edgar Allan PoeS$75.00
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We've all seen these movies. In it, a horrible looking alien lands from outer space, finds a sleeping human being or—alternately—kills one, then while it is lying there, places a tentacle on top of its head and in about 15 seconds, right before your eyes, the horrible alien reconfigures itself into this very pleasant human being, with all its quirks, smiles, jokes and intelligence.
Then it walks off. And for the rest of the movie, until the very end, we are all in very, very deep trouble.
Now you would not tend to think that any humans on the planet today would want to create such a monster with these abilities. But you would be wrong.
In a laboratory at Carnegie Mellon University out in Pittsburgh, scientists are actually getting paid to teach a robot to do exactly that. They are deluding themselves into thinking that what they are doing is an advancement in science that will greatly benefit mankind, but they do, and so they are pressing on.
Their delusion is based on semantics. They are not using words such as aliens and monsters. They are using words like computer and software and mainframe. They are about to kill us all.
I read all about this in an article in The New York Times, which appeared on October 4 last fall. It was headlined AIMING TO LEARN AS WE DO, A MACHINE TEACHES ITSELF. Yes, this machine, or whatever it is, has been given some tools that enable it to "learn." And, day by day, in a sort of very slow-motion version of that horrible scene in many science fiction movies, it is moving along. [expand]
As we know from the sci-fi movies, what is slow motion today is, in just a very short time, a procedure that can be shortened to just, say, 20 seconds. Watch.
The people working on this project seem very satisfied with themselves. They are doing good work. According to the article, the team is headed up by Dr. Tom M. Mitchell, who is a computer scientist and chairman of the Machine Learning Department of Carnegie Mellon University.
"Our computer is called NELL," he says. "NELL stands for Never-Ending Learning System."
He might have said robot. Or alien. But he says computer.
NELL is, in fact, a silver-grey metal computer that is calculating, analyzing and soaking up billions and trillions of bits of information 24 hours a day and is working feverishly to understand the scientists who are feeding it not only information but 'right' answers so as to teach it to think like a human being.
The key to it, Dr. Thomas explains, is that NELL has been programmed to gather in information, process it, think about it, build upon it and put the pieces of it together. It does not act upon it. Yet.
It is programmed to do this relentlessly, non-stop, and when something doesn't seem quite right, it is programmed to go back and do it again until it does get it right—or at least nearly right.
"NELL is operating with 85% accuracy," Dr. Thomas says. "It has the ability to go back and fix itself, but then it goes forward with 85% accuracy again. If left alone, she can go off on a tangent in some direction from which it cannot recover."
Dr. Thomas gave an example of this. NELL was loaded with information about food. Within this category were sub-categories such as vegetables, meats, foul and baked goods. Under baked goods, it was asked to accept such things as pies, cookies, cakes, breads and muffins.
"We left NELL alone with all this stuff for the six months," Dr. Thomas said, "and when we came back we found NELL had most of it right, but had created a blind loop when it encountered the phrase 'internet cookies.' It put this into the category of baked goods. And that led it off into all these mistakes. For example, it decided that 'file' was baked goods, since it was used in the phrase 'internet file.' We had to go in and find the original error and fix it. After that it re-set itself and began again to move forward without this mistake."
NELL is also being provided with emotions. She learns that "anger is an emotion." She learns that "bliss is an emotion." She tries to relate this category of things with other things.
She is slowly succeeding at this.
The scientists have also seeded NELL with a group of 'truths.' NELL can compare things to those 'truths,' and if they match up, add her 'truths' to the database too. And then she can use that in other ways.
I really should at this point explain how the scientists came to teach NELL in this unique and unorthodox new way. They'd concluded, correctly, that much human learning is connected to semantics and probability. Humans interpret words with other words. Then they make decisions about them.
The scientists mimicked this ability to interpret within NELL. For example, they put a category into NELL called 'mountain.' With 'mountain' in there, they tried through trial and error to get NELL to understand that Pike's Peak is a mountain. NELL went through its vast database and noted that the word 'peak' very often appears with the word 'mountain.' Then it perceives that the word just before 'peak' had an apostrophe 's' at the end, which indicates possession or ownership. Thus it concluded there was some probability that 'Pike's Peak' was the name of a mountain. And it could move on from there. Soon, NELL was putting things into context.
Until now, computers have just been task oriented. The data goes in. Certain behavior comes back out. It's been known for quite awhile, for example, that a computer could best a human in chess. Chess involves the study of variables. The amount of variables are finite, too vast for a human, but not too vast for a computer. A computer can memorize tons of them. Thus computers beat humans at chess.
But computers, until now, could not think. Dr. Thomas gave as examples the two phrases "the girl caught the butterfly with the spots," and "the girl caught the butterfly with the net."
A human knows from his experience that the spots belong with the butterfly and the net belongs with the girl. But a computer does not. It gets confused, or the metallic equivalent of confused.
The key therefore was semantics and probability. NELL would every day scan and re-scan words and phrases putting them into its hard drives and memory chips in different categories or relationships to one another. NELL has begun to learn to make judgments about them. That's because the scientists not only seeded NELL with about 150 categories and relationships, they seeded NELL with things that were 'right.' NELL keeps trying to link things up, over and over and over. And, ultimately, it gets them 'right.'
"It learns that saying 'I climbed Pike's Peak' relates to a mountain. And it learned 'I climbed the stairs,' relates to building parts," Dr. Mitchell said.
NELL is by trial and error developing reason. She can speculate that something is related to something. And then, after scanning its database over and over billions of times a day, she can move it from speculation to probability and then to almost certainly. Eventually, with a little help from the scientists who shove NELL back onto the track when she makes a mistake, there comes certainty. And after certainty—well we are not there yet.
But NELL is getting help with all this not only from Carnegie Mellon University, but from several other giant organizations which are joining in. They include Yahoo, the Defense Advanced Research Projects Agency and Google.
"This technology is really maturing and will soon grow into understanding," said Alfred Spector, who is the vice president of Research at Google, about NELL.
"What's exciting and significant about NELL," said Oren Etzioni, a computer scientist at the University of Washington, "is the continuous learning, as if NELL is exercising curiosity on its own, with little human help."
The scientists say there is soon going to be a very big payday for the first company that can harness NELL and make use of her in the area of personal assistants, advanced data searches and shopping, just to name a few.
The scientists really have no idea what they are on track to create, in my opinion. They are on track to create a monster, one with enormous intelligence and emotion, who could push us aside and take over the world.
And no doubt run it far better than we. I just hope I live to see the day. [/expand]
Teaching Aliens To Take Over The Earth
We've all seen these movies. In it, a horrible looking alien lands from outer space, finds a sleeping human being or—alternately—kills one, then while it is lying there, places a tentacle on top of its head and in about 15 seconds, right before your eyes, the horrible alien reconfigures itself into this very pleasant human being, with all its quirks, smiles, jokes and intelligence.


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"The boys from Sweden are not really interested in Kate's habits, her lifestyle, the clothes she wears; they're interested in Headless Ltd., a company they want to know more about. And they're interested in a book which they think Kate is writing about them, a book called Looking for Headless."
These lines are from the first chapter of Looking for Headless, a serial novel that artists Goldin+Senneby commissioned from author K.D. The chapter was originally published as the work of Kate Dent, an employee at the offshore consultancy Sovereign Trust, but Goldin+Senneby retracted their claim about the author's identity after some prodding from Sovereign's lawyers. By chapter three, the legal confrontation had already become part of the story, and the lawyers' communication was just another of the many real-world facts woven into the fabric of the novel.
Goldin+Senneby's project Headless (2007-ongoing) uses the idea of investigating the Bahamas-based company Headless Ltd as the basis for a wide-ranging study of how events are remembered, created, and communicated in the production of narrative. The seedy glamour of offshore finance provides an effective context; it is fertile for plots of mystery and intrigue, and the huge sums of virtual money floating offshore make an apt metaphor for the symbols and ideas that compel people to action and set events in motion. Goldin+Senneby further extend the financial trope by adopting corporate practices to make Headless, outsourcing the project's many texts, events, and performances to specialists. For their exhibition at the Power Plant in Toronto, on view through February 22, Goldin+Senneby commissioned documentary filmmakers to interview an investigative journalist about how to make a documentary about investigating Headless Ltd. They also hired a curator and a set designer to devise a didactic display introducing viewers to the characters of the novel Looking for Headless.
A system as rich and recursive as Headless simultaneously generates both questions and answers to them. In previous interviews the artists have responded to questions about the project exclusively in the form of quotes from its various parts. For the interview below, however, they produced some new statements, perhaps mindful of the opportunity to recycle them in future incarnations of Headless. - Brian Droitcour


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The plumbers cut a roughly rectangular hole in the water heater/heater closet floor when fixing the drain pipe for the condensate line. The closet is located in the garage. There are two 2" PVC pipes coming out of the middle of the hole. Can I patch this without removing the water heater and air conditioner and replacing the entire plywood floor? What's the best way to do this?
Here's the "before" pics; I've included two images from two slightly different angles to help with the perspective:
Here are the "after" pics:


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A 41-year-old high-school English teacher has been arrested after police say she had sex with one of her 16-year-old male students on the campus of the small religious Baton Rouge school where she worked.
"This is a complete shock to us," said Preston Thompson, pastor at Redeemer Baptist Church, which is affiliated with Riverdale Christian Academy. "There was never any reason to suspect anything of this nature."
The relationship came to light when the boy's parents confronted him about explicit text messages on his phone on Aug. 12, according to the affidavit of probable cause. When the boy's parents realized the messages were from Ashley Dowden, a teacher at his school, the boy admitted he had been in a relationship with her, the affidavit says.
The boy later told police that he had sex with her on the school's campus and also traded nude photos and texts. Police say Dowden denied the allegations when they questioned her on Thursday until she was shown the nude photographs from the boy's phone. At that point, police said, she admitted to the photos and to having sex with him.
Dowden joined Riverdale Christian Academy last August and was just over a week into her second year when she was arrested, Thompson said. She was well-regarded and had never had administrative issues, Thompson said.
She has since been placed on administrative leave.
He added that police told him the boy was not actually a student at the school.
"We have a policy in place that requires extensive background checks and screenings of all our employees, especially our teachers," Thompson said.
Dowden has spent over 14 years teaching subjects such as English, creative writing, theater and art appreciation, according to her bio page on the school's website that has since been taken down. She also worked as an education coordinator for Playmakers of Baton Rouge, a children's theater.
She has been married for more than 10 years and has a daughter, according to the bio page.
Dowden, 314 Steele Blvd., Baton Rouge, was booked into Parish Prison on Friday on counts of computer-aided solicitation of a juvenile, indecent behavior with a juvenile and carnal knowledge of a juvenile.
Riverdale Christian Academy is a private school with about 175 students in grades from kindergarten through 12th grade.
The school was founded in 2001.


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The MUFF Diving Watch is for the original professional with its distinct deep white textured dial and luminous hands this watch is not for the faint hearted. The Blonde MUFF watch has a high endurance soft white rubber strap, a uni-directional rotating bezel, a date window and a screw down crown for water-resistance to 10atms (330ft). The weight of the solid stainless steel head combined with the soft rubber strap gives MUFF Diving a new meaning; wear it if you dare.
This product hasn't been reviewed yet.


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PARAMUS, NEW JERSEY – 13 Jul, 2017 – New Jersey has gotten some untypical weather compared to previous years. Weather has been slightly colder in May and June than previous years, but there was one huge increase: precipitation.
For the month of May, New Jersey was about two inches over the average amount of rainfall from years past. Even June has seen more rain that before. With these increases in precipitation, there is one pest people will need to look out for more now than ever.
Mosquitoes love humid and moist climates, which is why they will love New Jersey this summer. And now as temperatures begin to rise, more mosquitoes will be coming alive, creating more chances for contracting mosquito-borne diseases like West Nile Virus, which has already been detected in New York City.
What can people do to protect themselves and their families from these pests?
There are different things people can do with their home and themselves to fight against mosquitoes. One trick is using insect repellent every time you go out. Although this seems like such a basic requirement, it really makes all the difference when trying to keep these pests from biting you. You can also use candles and other products to keep mosquitoes away if you are outside by yourself or with a group of people.
To keep these pests away from your home, you want to eliminate any standing water that may be surrounding the building. Mosquitoes lay their eggs in water, whether it is in a marsh, lake or the puddle outside your front door. Removing these puddles or any other standing water near your home during this warm weather will prevent mosquitoes from nesting on your property.
You also want to ensure your yard is clear of any debris. Mosquitoes are comfortable in an environment with leaves, sticks, stones and any other unnecessary yard rubbish. If you have other things in your yard that are not from nature, it is best to remove that as well. If it rains, water can stay inside the item, creating standing water that you did not know existed.
Although it may not seem like a big deal, the types of light you use around your home make a difference. Using bright, white lights will attract more than just mosquitoes to your home during the summer months, which will prevent you from enjoying beautiful summer nights. Instead, using bug lights or lights with a yellow hue will help keep these pests away during your summer nights.
If you notice an influx of mosquitoes around your home, a pest control professional like UltraPro Pest Protection can help you solve the problem. With their expertise, you will be able to enjoy the outdoors of your home without the fear of being eaten up by these pests.
UltraPro Pest Protection
12 Sunflower Ave.
Paramus NJ, 07652
With over 30 years of experience in eliminating bed bugs, termites, and rodents, UltraPro Pest Protection is emerging as New York and New Jersey's leading pest control service for homeowners and commercial businesses.
For more information, visit ultrapropestcontrol.com
Media Contact
Company Name: UltraPro Pest Protection
Contact Person: Media Relations
Email: email@example.com
Phone: 877-492-2252
Country: United States
Website: http://ultrapropestcontrol.com


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Japanese Champion, Narita, to Race A1
Narita will be competing aboard a Honda CRF450R for Team HRC (Honda Racing Corporation). Narita sees his participation is the U.S. Supercross series as a way to boost his riding to the next level. "Supercross racing in the U.S. is the highest level of the sport, and the best possible training for me prior to the All Japan championship," said Narita. "I appreciate the support of HRC and American Honda in my racing here."
While this HRC effort is separate from American Honda, you can find Narita's support rig parked with the Team Honda Muscle Milk trucks so the teams can work together to assist Narita in his quest to compete in the most competitive Supercross field in the world. Look for this multi-time Japanese champion on the starting line at Anaheim 1 on January 5, 2013.


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I know you have suspected for quite some time there was a connection to the Ford Foundation. Here is a bit of interesting info that might be useful to you.
Timothy F. Geithner, Obama's tarnished selection for Treasury Secretary, is connected to Obama through their parents.
Geithner's father, Peter F. Geithner, is the director of the Asia program at the Ford Foundation in New York . During the early 1980s, Peter Geithner oversaw the Ford Foundation's microfinance programs in Indonesia being developed by Ann Dunham-Soetoro, mother of President-elect Barack Obama, and they met in person at least once.
Mr. Geithner's father was head of the philanthropy's Asia grant making for a period in the early 1980s and oversaw the work of Mr. Obama's mother, who developed the organization's microfinance programs in Indonesia .
During the vetting process, it was discovered that Geithner failed to pay his 1099, self-employment, taxes during the years he worked at the International Monetary Fund, making him uniquely qualified to direct Obama's election-scam that gives billions of dollars in "income tax rebates" to people who never paid any income taxes..... Continued...click on link....


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Drawing your graphics
Now that you have initialized the application, it's time to start coding the main parts. We'll now walk through how the application handles screen events and how to start drawing graphics using OpenGL ES.
In main(), we invoke the following two functions:
- The handleScreenEvent() function determines the type of screen event that has occurred and responds accordingly.
- The render() function draws the square on the screen.
As long as the NAVIGATOR_EXIT event has not occurred, this frame loop continues to execute. The loop calls handleScreenEvent() to handle new events and render() to update the display.
while (!exit_application) { //Request and process all available BPS events bps_event_t *event = NULL; for(;;) { if (BPS_SUCCESS != bps_get_event(&event, 0)) { fprintf(stderr, "bps_get_event failed\n"); break; } if (event) { int domain = bps_event_get_domain(event); if (domain == screen_get_domain()) { handleScreenEvent(event); } else if ((domain == navigator_get_domain()) && (NAVIGATOR_EXIT == bps_event_get_code(event))) { exit_application = 1; } } else { break; } } render(); }
Handle screen events
For all screen events, we do the following in handleScreenEvent():
Extract the screen event from the generic BlackBerry Platform Services event that we received by invoking screen_event_get_event().
screen_event_t screen_event = screen_event_get_event(event);
Determine the type of screen event that occurred and the position of the event on the screen. Every screen event is associated with a set of properties. You can query these properties by using the screen_get_event_property_iv() function, which is part of screen.h. For more information on event structure and other properties that can be queried in this context, refer to the screen.h library. Here, we determine the type of screen event and store it in screen_val.
int screen_val; screen_get_event_property_iv(screen_event, SCREEN_PROPERTY_TYPE, &screen_val);
If the event is a touch screen event, determine the type of touch screen event that occurred. Touch screen events have codes associated with them, which are listed in the screen.h library.
switch (screen_val) { case SCREEN_EVENT_MTOUCH_TOUCH: case SCREEN_EVENT_MTOUCH_MOVE: case SCREEN_EVENT_MTOUCH_RELEASE: break; }
Although this project template does not perform any actions for the different types of events, you can add code here that is appropriate for your application. Now that the framework is in place, you can try experimenting with it on your device or simulator before moving on.
Render the square
It's useful to organize your per-frame OpenGL ES code into a single function. We've called ours render() and we do the following:
Invoke glClear(). This function simply clears the color and depth buffers.
glClear(GL_COLOR_BUFFER_BIT | GL_DEPTH_BUFFER_BIT);
Enable GL_VERTEX_ARRAY state and provide an array of vertices that describes our simple square.
glEnableClientState(GL_VERTEX_ARRAY); glVertexPointer(2, GL_FLOAT, 0, vertices);
Similarly, enable GL_COLOR ARRAY state and provide an array that defines a color of each of our vertices.
glEnableClientState(GL_COLOR_ARRAY); glColorPointer(4, GL_FLOAT, 0, colors);
Add a small rotation with respect to the vertical axis and then render the square. This way, our square rotates gradually on every frame.
glRotatef(0.5f, 0.0f, 1.0f, 0.0f); glDrawArrays(GL_TRIANGLE_STRIP, 0, 4);
Even though it's not necessary to disable these client states in our specific sample, it's generally a good practice to disable all client states that were used by the current rendering logic. This simple step can save you a lot of time in front of the debugger as EGL code is typically quite difficult to debug.
glDisableClientState(GL_VERTEX_ARRAY); glDisableClientState(GL_COLOR_ARRAY);
After the frame is complete, it must be displayed on the screen. We invoke bbutil_swap() as all our EGL interactions are handled by bbutil.h (which simply calls eglSwapBuffers with an error check).
Clean up your application
After the user triggers the application to close (using the navigator), the NAVIGATOR_EXIT event is generated. A short time is given for your application to exit cleanly, but if it does not, the OS terminates the application's process.
To perform a clean exit, we add termination code to the end of main.c. This stops screen events, shuts down the BlackBerry Platform Services library, cleans up EGL artifacts, and destroys the screen context.
screen_stop_events(screen_cxt); bps_shutdown(); bbutil_terminate(); screen_destroy_context(screen_cxt); return 0;
That's it! You can now extend this template to change the graphics, modify the screen, and handle touch events to add different features to your application.


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Day 0 - Departure from Delhi in Luxurious Volvo
The thrilling Kheerganga trek begins from the small village of Barshaini, the point of confluence of the Parvati and Tosh Rivers, to start hiking. The trek to Kheerganga has two major stops- Nagthan around 4 kms from Barshaini and Rudranag around 8 km from Barshaini. On the trail, pass a few wooden bridges and some slippery sections. During this part of the Kheerganga trek from Barshaini, your eyes also feast on many picturesque waterfalls; remember to take pictures of every single one of these. Enjoy the feeling of perched at a place which is surrounded by mountains and greenery. Explore the area around you.
Later, enjoy a good nights sleep in your camp to gather energy for the next day.
Wake up to a magnificent view of the Himalayan peaks, and prepare for the journey Arrive at Rudra Nag, and take a small halt to admire the beauty of the landform. The serpent-shaped waterfall has become one of the biggest tourist attractions in the Parvati Valley and a popular stop for trekkers.
Afterward, get ready for the last leg of the steep climb. After reaching the green meadow of Kheerganga, take a refreshing dip in the hot springs to wash off the fatigue of the journey. The cool weather and vistas of the mighty peaks of the Himalayas, and the therapeutic water of the hot springs is a unique combination; an experience you will remember for the rest of your life.
Stay there for some time and get ready to descent back to Barshaini through the same route you took to reach Kheerganga. Seize this opportunity to click pictures of the Himalayan landscape once again.
Arrive at our Base Camp in Kasol, Experience the beauty of Parvati River and live the desired wildlife on the bank of Parvati River
Day 3 KASOL-CHALLA-KATAGLA
Experience the beauty of heritage villages and narrow road of "Pahari Culture of Himachal", Here we cover the 8 Km circuit to experience the exotic panoramic view of Katagla and Parvati River and give a delicious experience to our taste buds at amazing cafes with vibrant cuisines
Now It's time to Pack you Bags with amazing memories and gifts for your loved one and leave the Regular routine life
Day 4 Delhi Arrival
Round Trip Transportation from Delhi in Volvo and Car
Accommodation in dome tents in Nagthan & Kasol
2 Breakfasts and 2 dinners
Trek equipment (Sleeping bags, sleeping mats, and tent)
All necessary permits and entry fees
First aid kit
Mountaineering qualified & professional trek Leader, Guide and Support staff
Medical insurance
Anything not mentioned under inclusion
Meals not mentioned above
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US Megachurches Growing, Providing 'Heightened Sense of Spirituality'
A new study has revealed that megachurches in America with congregations larger than 2,000 people are not only growing, but also satisfying the spiritual needs of their members.
"The megachurches movement is one of the leading indicators of how American Christians exercise their faith these days, so therefore they should be understood," said James Wellman, associate professor of American religion at the University of Washington and one of the-co-authors of the study. "And our study shows they're doing a pretty effective job for their members, based on self-reports, contrary to public opinion that tends to pass them off as a type of consumerist religion. In fact, their members speak eloquently of their spiritual growth."
Wellman and his team used 470 interviews and 16,000 surveys of people attending megachurches, and their research noted that many found what they were seeking from America's largest churches, mainly acceptance and belonging, salvation and spirituality, and genuine admiration for the charismatic leaders. The churches create "membership feelings and symbols charged with emotional significance, and a heightened sense of spirituality."
"(T)he Holy Spirit goes through the crowd like a football team doing the wave. … Never seen it in any other church," explained one unnamed megachurch member in the study.
Evidence of the successful growth of megachurches in America was also found in the statistics – today more than half of all churchgoing Americans attend the largest 10 percent of churches.
"Megachurch services feature a come-as-you-are atmosphere, rock music and what Wellman calls a 'multisensory mélange' of visuals and other elements to stimulate the senses, as well as small-group participation and a shared focus on the message from a charismatic pastor," the study explains.
Wellman described the experience of people at a megachruch as a "good drug" because of the moral values the churches promote.
"That's what you see when you go into megachurches – you see smiling people; people who are dancing in the aisles, and in one San Diego megachurch an interracial mix I've never seen anywhere in my time doing research on American churches. We see this experience of unalloyed joy over and over again in megachurches," the associate professor said.
The messages preached at megachurches are also less likely to directly refer to heaven or hell and pass judgment on people, the research concluded.
"This isn't just same-old, same-old. This is not like evangelical revivalism. It's a new, hybrid form of Christianity that's mutating and separate from all the traditional institutions with which we usually affiliate Christianity," Wellman added.
The leader of the largest megachurch in America, Joel Osteen of Lakewood Church in Texas, has often been criticized for preaching a "watered-down" version of the Bible that excludes discussion about eternal damnation.
"Our message is God is good. He's on your side and He wants you to live a blessed life. Part of message too is that even if you've made mistakes you can get to where God wants you to be," Osteen has said in defense of his ministry.
"I think I do talk about the negative things and adversities but the Bible says it's the goodness of God that leads people to repent. I believe there's enough pushing people down. I like telling people you may have made mistakes, but God can forgive you," he added.


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Tom Snee, Office of Strategic Communication, 319-384-0010 (office), 319-541-8434 (cell)
When punters punt
When punters punt
When punters punt
When stock analysts aren't sure how to assess the earnings of a hard to value firm, they often just predict those earnings will follow the general trend of the market, according to new research from the University of Iowa.
"If there's too much uncertainty and they don't have a lot of information to go with, analysts look at overall market sentiment to guide their forecasts," says Paul Hribar, professor of accounting in the UI Tippie College of Business.
Hribar said this bow to investor sentiment is a form of bias that often influences how analysts forecast the earnings of the firms they cover. Sentiment, Hribar says, is driven as much by emotion as by analysis and can reflect errors in investors' expectations about future payoffs, leading to mispriced stocks and a market that doesn't reflect underlying fundamentals.
Yet, Hribar's study appears to show that analysts' forecasts are heavily influenced by investor sentiment when firms don't have a lot of data to analyze.
Hribar and his study co-author, John McInnis of the University of Texas at Austin and a UI PhD alumnus, examined analysts' earnings per share forecasts and long-term earnings growth forecasts for every month from August 1983 to December 2006. From a final sample of more than 646,000 monthly observations, they looked at how accurate those forecasts were one year after they were published.
One thing they quickly found was that analysts are exceedingly optimistic, over-estimating actual earnings in every month in the sample period. In cases where analysts were optimistic, actual earnings did not measure up to forecast earnings. In those cases where analysts were pessimistic, they weren't pessimistic enough because the firms lost more money than the analysts predicted.
The study also found that some firms proved especially troublesome for analysts to forecast, particularly when it come to small firms, young firms, unprofitable firms, stocks with high volatility, and stocks with no dividends. In those cases, the analysts simply don't have enough data to make a sufficiently informed forecast, so they appear to apply existing sentiment to help generate their forecasts.
"When sentiment is high, earnings forecasts become more optimistic for those firms, and when sentiment is low, the forecasts follow suit," says Hribar. The pattern follows in both monthly forecasts and long-term quarterly and annual forecasts.
Hribar said the research took into account the fact that the firms could not be arbitraged as a way to explain the difference between forecast and actual earnings, but found that was not responsible. The researchers also considered the idea that forecasters were intentionally overstating earnings estimates to drive a bull market, but their analysis found that was not the case either, so that any over-optimism is unintentional.
Instead, he says the analysts seem to apply an subconscious bias and assume the stock will perform as well or as poorly as they expect the rest of the market to perform, reflecting investor sentiment.
"Analysts rarely say they don't know, but in a lot of these cases, it would be better for them to say they don't know," he says. The reason is because investors rely on these forecasts to make investment decisions, and if those decisions in the end are being made only on overall investor sentiment, then those stocks are mispriced and the market is not an accurate reflection of economic performance.
Hribar's and McInnis' paper, " Investor Sentiment and Analysts' Earnings Forecast Errors," was published recently in the journal Management Science.


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Wow. Just the tutorial I needed. Thanks.
Thanks Everyone
Constitution Or Bust
Ron Paul 2012
Wow. Just the tutorial I needed. Thanks.
Do you build for pay or trade?-----Caroline
Great thread! I especially liked the pics and tips on the gas piston change out. The 1/2 turn out you give the piston after the change. Is this so the piston will kind of float??
Just wondering why you didn't include the forward grip on your AMD 65 build. Did so on mine. Makes her look meaner. Although does want to get in the way when ya try to lock in a 30 rounder.


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On View: through February 27, 2014
Shlomo-Zalman Dov-Baruch Schatz (1867-1932), who later changed his first name to Boris, was a renowned sculptor and founder of the Bezalel Academy in Jerusalem. He was born in the town of Vorno, near the Lithuanian city of Vilna and studied at Vilna's School of Drawing and later received work as a drawing teacher. The Jewish sculptor Mark Antokolsky had a strong influence on Schatz's work and on his decision to specialize in sculpture. Schatz came to believe that art should have a high degree of realism that expressed the authentic "Jewishness" of the characters it depicted. He was involved off and on with the Zionist movement. His most important work, Mattathias the Maccabee, is known today only in photographs. In 1905, in what was then Palestine, Schatz founded what is now the Bezalel Academy of Art and Design in Jerusalem.
In 1926, philanthropist Joseph Schonthal of Columbus, Ohio, made a generous gift to Hebrew Union College of a group of bronze reliefs, oils and sepia paintings by Boris Schatz, in memoryof his wife Hermine. These works had previously constituted the "Boris Schatz Gallery" at the Bezalel School. The works on view are excellent examples of Schatz's style, which combined elements of classical painting and sculpture with Jewish themes. The exhibition includes images of biblical figures, ceremonial observance, and cultural life, as well as celebrated personages such as beloved HUC-JIR professor Gotthard Deutsch and Isaac Mayer Wise, father of Reform Judaism in America, and works that reflect contemporary history of the period.
"Schatz is better known as the founder of the Bezalel School of Arts and Crafts than for his own work as an artist," says Abby Schwartz, Interim Director of the Skirball Museum. "I am delighted to be able to bring together in one space these works in a variety of media. This is an exciting opportunity to explore Schatz's artistic versatility and his contributions as a sculptor and painter."
At the time, the Jewish Daily Bulletin called the collection "one of the first conscious attempts in modern times at the creation of a specifically Jewish art, and considered to be of significance from a historico-cultural aspect." In addition to the works belonging to the Skirball Museum, this exhibition includes two ivories from the collection of Regine Weiss Ransohoff, two wood reliefs from the collection of Rabbi Tom and Joani Friedmann, and a bronze medallion from the collection of Morton and Jo Ellen Spitz.
Several programs will be offered in association with the exhibition. Those interested in the opening reception or special programs may make a reservation with Jenny Mendelson at email@example.com or by calling 513-487-3098.
In the Media:


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Attention Shoppers: Five Apps for a Brighter Black Friday
I avoid Black Friday sales like the plague. I'd much prefer to feast on Thanksgiving leftovers and watch college football. But I could see how saving a couple hundred dollars on that new HDTV could lure someone into the madness — maybe.
If you are going to brave the stores or even shop online, don't be a turkey. Arm yourself with some backup. And by backup, I don't mean a can of pepper spray. There are a number of apps that can help you sort through the various deals, compare prices, compile coupons and more. Below, you'll find five such apps, and to help kick-start your savings, all the ones I've chosen are free.
Happy shopping, and good luck!
Black Friday by FatWallet
Platform: iOS 5 or later
This app makes it easy from the get-go, with a simple interface that lets you search by store or category. It includes deals from more than 19,000 retailers and products, from Best Buy to Old Navy, from toys to electronics.
When you select an item, the app shows you more details about the sale. From there, you can also save the product to a Favorites list (though this requires registering with FatWallet), and if the item is available for purchase online, you can simply tap the "Shop now" icon to be taken directly to the retailer's Web site. Black Wallet also provides scans of retailer ads, including coupons.
There are more advanced options, too. For example, you can search for products that qualify for free shipping, and opt to receive notifications whenever a store posts a new deal.
Black Friday Deals by Shopular
Platform: Android 2.2 or later
Coupons are a great way to save money. But clipping them out and remembering to bring them with you can be a nuisance (it is for me, anyway). Shopular's app eases that pain by compiling mobile coupons that you can use in stores.
It will even surface deals based on your location. As soon as it detects that you're in a mall, the app will display any relevant deals. The developer says it covers 700 malls across the U.S., and uses cell towers and Wi-Fi rather than GPS whenever possible to find your location, in order to save battery life.
One thing to note: This may not be the best app if you're looking for electronics. Black Friday Deals largely lists coupons from clothing stores, such as Gap and H&M. But it does include some Black Friday ads from other retailers like Target, Walmart and GameStop.
Black Friday App by Dealnews.com
Platform: iOS 4.3 or later, Android 1.6 or later
Like FatWallet's Black Friday, this app allows you to search for deals by store or category. Its interface isn't quite as slick as FatWallet's, but what's nice is that it offers price comparisons when possible. Some might find this useful, others might think it's annoying.
I found that the app also pulls prices for similar items. For example, when trying to compare prices for the Samsung Galaxy Tab 10.1 tablet, it also pulled in prices for the seven-inch Samsung Galaxy Tab and Samsung Galaxy Note 10.1.
All deal hunting doesn't have to be done on the small screen. You can visit the Dealnews Web site and save items to "My List," which you can then later access on your smartphone or tablet. But it does require creating an account. New sales are constantly added under the Deals tab in both the iOS and Android versions.
Platform: iOS 4.3 or later, Android 2.2 or later
Zoomingo aims to make the shopping experience a little more personal by only presenting local deals. When you first start up the app, it will ask you to enter your ZIP code. From there, you can search for products by general categories, such as men, women, home and electronics, and the app will then show stores in your area that carry the item.
Zoomingo also provides information about store hours, and displays a map. It's a nicely done app with a visually appealing user interface.
Amazon Mobile
Platform: iOS 4.3 or later, Android (varies with device), Windows Phone 7 or later
I wanted to get an app in for the Windows Phone users. Truth be told, it's slim pickings out there for Black Friday-specific titles, but Amazon Mobile is a good one for any time of the year.
There is a Black Friday Deals Week section, where you can see the Deal of the Day, Lightning Deals and Best Deals. In addition to finding products by category or name, you can also use your smartphone's camera to scan a bar code or take a photo of a book, DVD, CD or videogame to conduct searches.
Like the Web site, the mobile app offers price comparisons, customer reviews and similar items, as well as the option to buy.


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Who is Black in America?
Aired December 9, 2012 - 20:00 ET
JEANNIE MOOS, CNN CORRESPONDENT: Definitely not Napoleon. Driving is his waterloo. Jeannie Moos, CNN. (On camera): I said hit the brake, not eat the cake. (Voice-over): New York. (END VIDEOTAPE) DON LEMON, CNN ANCHOR: New meaning there for a rough ride. Corny, I know. I'm sorry. Stop yelling in my ear. I'm Don Lemon. "WHO'S BLACK IN AMERICA" begins right now. UNIDENTIFIED FEMALE: Why is your hair so good? Why is your skin so light? I'll get questions like, are you Hispanic? Are you mixed? JAY SMOOTH, SELF-IDENTIFIED AS BLACK: Why wouldn't I think I was black? EDWIN REYES, DOMINICAN: A lot of people off the back think I'm black. I am Dominican. UNIDENTIFIED FEMALE: Just because you're black doesn't mean your African-American. I used to identify as Caribbean-American. UNIDENTIFIED FEMALE: I am African. Am I? UNIDENTIFIED FEMALE: I'm part Native American. It's always been weird trying to figure out who I am. UNIDENTIFIED FEMALE: Eritrean. Irish. Italian. Arab. UNIDENTIFIED MALE: Black and white for a lot of my life. Black was something that I rejected. UNIDENTIFIED FEMALE: Black. UNIDENTIFIED FEMALE: Black. UNIDENTIFIED FEMALE: Black. SOLEDAD O'BRIEN, HOST, "WHO'S BLACK IN AMERICA": You must have been told well, you're not really black. UNIDENTIFIED FEMALE: Black is big enough to hold every shade. MONIQUE SCHLICHTMAN: I am a black woman and these are my black daughters who happen to have a white father. UNIDENTIFIED FEMALE: I'm black. It's never been a question. It's just simple as a beating inside me. UNIDENTIFIED MALE: I am -- UNIDENTIFIED FEMALE: I am -- UNIDENTIFIED MALE: I am -- O'BRIEN: I'm Soledad O'Brien. Over the last five years in this series we've explored what it means to be black in America. My mother's black and Cuban. My father is white and from a Australia. And when I was born in the mid 1960s, the census didn't even track the number of mixed race children. Because my mother's black, I always considered myself black. And when I was a kid, my mother used to tell me, don't let anyone tell you you're not black. But more often the question I was getting was, what are you? With the 2010 census setting a record 7 percent of new births are mixed race, more young people are grappling with that question. And grappling with their racial identity. This installation of BLACK IN AMERICA follows two young women who struggle with their racial identities and who are sick of answering the question, what are you? NAYO JONES, PHILADELPHIA YOUTH POETRY MOVEMENT: If I had like a word to describe me, most likely be quirky. I'm in a band. We do like progressive alternative rock kind of. At first when people meet me, they don't really know what I am. People will ask me like what are you? O'BRIEN: Seventeen-year-old Nayo Jones is a singer, a talented poet, a high school senior. But that's not what people want to know. JONES: Recently after I had one of those experiences, I just started, like, writing things. I was, like, well, now Becca deals with the same thing. Let's just make this a group piece. BECCA KHALIL, PHILADELPHIA YOUTH POETRY MOVEMENT: What is it that you want to do? JONES: I don't know. Just pick a book and pick a poem. O'BRIEN: Becca Khalil is Nayo's best friend. They do spoken word poetry together. JONES: It starts off and it's, like, girl, you are so pretty. What are you? The quintessential question for an intense skin girl with soft kinky curls and a frizz that doesn't seem to quit because answering human simply isn't enough for them. They can't handle my racially ambiguous figure. KHALIL: They itch to know just what I am. It helps them sleep at night if they can just pin down the reason for my green, blond, (INAUDIBLE), burned potato red skin. O'BRIEN: The young women are being asked to categorize themselves racially. KHALIL: I am beautiful. O'BRIEN: In a country that has historically put most people into one of two of boxes. Black or white. Can you decide if you're black or white? KHALIL: I don't think anybody else gets to pick for me. JONES: When it comes down to it it's what I say about myself that's the most important. PERRY "VISION" DIVIRIGILIO, PHILADELPHIA YOUTH POETRY MOVEMENT: I knew he was. All right. I see that shot. O'BRIEN: Perry DiVirigilio coaches and mentors Nayo, Becca and other young poets in the Philadelphia Youth Poetry Movement or PYPM. Many are struggling to define themselves. DIVIRIGILIO: Like, literally -- O'BRIEN: He is also a spoken word poet. With some fame in the city where he's known as Vision. DIVIRIGILIO: I am the artistic and director here at PYPM. O'BRIEN: Today and for the next month, he's teaching a poetry workshop focusing on racial identity, skin color, and discrimination. DIVIRIGILIO: How many folks here have been asked what are you? We're going to talk about, you know, how you identify yourself versus how others identify you, and whether you're OK with that. O'BRIEN: It's a challenge he's experienced himself. DIVIRIGILIO: White boy, half breed, mulatto. What is he? Things I'm reading right now, I don't have them memorized. Look at them running from me. I'm going to lie. I'm running from that poem. I think I'm going to do the (INAUDIBLE) piece, though. O'BRIEN: He's running from his past. Divorced parents, his father Perry is white, his mother is black. He says she hates her skin color. DIVIRIGILIO: She doesn't like being dark skinned. I haven't talked to her in years. I think subconsciously it made it OK in my mind to, like, not be OK with who you are. You know, to kind of not be comfortable in your own skin. I didn't want the curly hair, I didn't want the light skin. I wanted to blend in, to be just like everybody else. I used to live here with my mom. My father is white. He lived in a black neighborhood. My mother was black, she moved us to a really white community. I got like jumped, like, literally right here on this pavement because I was black. They would make comments about my mom. You know, monkey noises and, you know, nigger this, nigger that. O'BRIEN: Beat up and taunted because to the white boys, he wasn't white enough. DIVIRIGILIO: My father's house. This is home. O'BRIEN: To his father's black neighbors, he wasn't black enough. DIVIRIGILIO: It's always jokes here and there and side marks and light skinned boys think they're this and high yellow this and things of that nature. O'BRIEN: High yellow meaning light skinned. It's one of many taunts he heard over the years that made him feel rejected by the black community. Those taunts, the result of colorism. YABA BLAY, ONE DROP PROJECT: Colorism is a system that says that light skinned is more valued than dark skin. The ones that I end up selecting -- O'BRIEN: Professor Yaba Blay wants to get people of all shades working together to end colorism. Instead of pointing fingers at one another. It's why this dark skinned woman began (1)ne Drop. A project that looks at the experiences of light skinned people and what it means to be black. She plans to turn it into a book of photos and essays. BLAY: (1)ne job really started as my own personal exploration into what I call the other side of blackness. It helped me to kind of think differently, if you will, help me to reflect on the assumptions that I was making about people of lighter skin. O'BRIEN: She believes colorism divides the black community, creating identity issues for light skinned blacks and self-esteem issues for those would are darker skinned. She's felt it herself. BLAY: I had a friend, someone I considered a friend, very light skinned, blue eyes. She got engaged. And so I said to her jokingly one day, like, hello? Where is my invitation? And she said to me very matter of fact, girl, my momma would pass out if you came to my wedding. O'BRIEN: Because you're dark skinned? BLAY: Basically, I was too dark. O'BRIEN: Why do you think discussions of colorism in the black community are often quiet? BLAY: There is always anxiety about what white people think about us. We don't want to give white folks more fuel for the fire. And so let's not air our dirty laundry. We'll just deal with that on our own. But any time that we try to talk to each other, it turns into war. You know? We're quick to point fingers and blame and say, I had this experience because of someone that looked like you. KIARA LEE, COLORISM ACTIVIST: What are the darker people doing in the yellow circumstance circle? O'BRIEN: Kiara Lee is 22 years old. Like Professor Yaba Blay, she believes colorism divides the black community. It's why she teaches concepts of colorism to grade school kids in Richmond, Virginia. LEE: My goal for the kids is to have them understand what colorism is. Hopefully them knowing where it comes from. They will be less likely to perpetuate these behaviors. All right. I heard somebody over here saying, I don't want to be dark, dark, dark. Who said that? UNIDENTIFIED MALE: Me. LEE: Why do you like being dark, dark, dark? UNIDENTIFIED MALE: Because it's ugly. LEE: Why is dark ugly? UNIDENTIFIED MALE: I don't know. LEE: So if you were darker you wouldn't like yourself? UNIDENTIFIED MALE: Uh-uh. DIVIRIGILIO: I say that to say this is a safe space. O'BRIEN: Vision hears the same thing from the teenagers he mentors. On Twitter under #teamlightskin or #teamdarskin, and see comments like "light skin is the right skin," or "there are few pretty dark skinned girls." DIVIRIGILIO: Why are we still doing Jim Crow stuff? Why are we still on slavery terms? Why are we putting ourselves through this? O'BRIEN: So Vision is focusing on a conversation about skin color and identity, with Nayo, Becca and about 50 other young poets. Among the questions they'll be tackling, who is black? MICHAELA ANGELA DAVIS, IMAGE ACTIVIST: Race is a social construct. You are who you say that you are. O'BRIEN: What makes you black? DIVIRIGILIO: Is black just skin? Is black culture? Is black our experiences? Is black struggle? O'BRIEN: Who determines who is black? TIM WISE, AUTHOR, DEAR WHITE AMERICA: The irony is that who's black is determined not by black people. Who's black is determined functionally by white people. O'BRIEN: And how does skin color divide black America? BLAY: We're all very aware from our lived experiences that skin color matters. DIVIRIGILIO: Once you identify you're there -- O'BRIEN: These are uncomfortable, often painful questions. DIVIRIGILIO: You've got to stop trying to push people in box that's we're comfortable in. It's not about me. It's about Nayo's path. It's about Becca's path. O'BRIEN: The journeys down these paths are just beginning. Why then are you so reluctant to say I'm black, deal with it? DIVIRIGILIO: I am -- KHALIL: I am -- JONES: I am -- (COMMERCIAL BREAK) REYES: I am Dominican. I'm a dark skinned Dominican, but when somebody asks me if I'm black, I want then to actually think that they're asking me, African-American, which I'm not. I think it's two totally different cultures. They come from the same ancestry as, you know, Africa, obviously but they're 400 years removed. To what point are we just going to say American and Dominican? How I look on the outside doesn't necessarily mean I'm the same culture as somebody else who's the same complexion as me. DIVIRIGILIO: Three, two, one. Around this room there are a bunch of signs on the wall. A bunch of, quote-unquote, "identities" on the walls. On the pillars, on some chairs. Walk around the room. You can only choose one. Walk around the room. Find out the classification you -- you think you fit, that you identify with most. Stand there. Go. Let's go. Let's go. Let's go. Let's go. Let's go. Let's go. Let's go. O'BRIEN: Vision is asking each student to choose an identity. KHALIL: Over here. Female. Perfect. Nayo, so easy. (CROSSTALK) DIVIRIGILIO: Everybody -- has everybody identified? Is everybody comfortable? When somebody walks up to you and says, hey, what are you? This is how you identify? Correct? This is the way you act, correct? Everybody have a seat. JONES: I went for female because, like, other makes me feel like I'm not, like, a person. Honestly I copped out. I will, like, readily admit, like, I felt going into it I was, like, OK, I'm just going to walk over to other, you know, maybe that's not how I feel. I don't feel like an other. O'BRIEN: Your mother is -- JONES: Black. And then my dad is white. O'BRIEN: Tell me about your mom. JONES: There really isn't much I could tell you, honestly, because there's not much that I know. I think her and my dad, they got divorced when I was really, really young. And after that, I just never saw her. O'BRIEN: So do you say you're black? JONES: I will say that I'm black and white but I've never just said black. I don't necessarily feel black. I was raised up with white people, white music, white food. So that's not something that, like, you know, I know. O'BRIEN: Why are you so reluctant to say, I'm black? Deal with it? JONES: Because -- O'BRIEN: I have spiky little black hair. I have brown skin. (LAUGHTER) JONES: Personally, I feel like I don't really feel black. You know? I feel like it's a part of me. But it's not everything. O'BRIEN: So is Nayo black? DIVIRIGILIO: She can identify how she chooses. I'm just saying if we don't know each other, I would assume that she was a black woman. WISE: Ancestrally she is biracial. However, the rest of the society will in all likelihood as it does with million of other people every day remind her of her blackness in a million subtle ways. And the fact that her father is white, the fact that she was embedded in white culture will not prevent her from having a black experience in a racialized system. O'BRIEN: Tim Wise began fighting racism right out of college. He's written books on racism in America. WISE: Color and who qualifies as black, who qualifies as white has historically been policed not by those who were the targets of oppression but by those who set up the system of oppression as a way to dole out the goodies or to withhold the goodies from a society where color has really been the dividing line for opportunity. DIVIRIGILIO: Hey, Queen. How are you? BLAY: Good. How are you? DIVIRIGILIO: I'm good. O'BRIEN: Today Professor Yaba Blay is speaking to Vision's workshop about (1)ne Drop. Historically, it's the concept used to define who is white and who is black? By 1925, nearly every state had a forum of the One Drop rule on their books. It began during slavery. BLAY: What's one drop mean? UNIDENTIFIED FEMALE: You got any black ancestry in you at all, and you're black. BLAY: Black over here, you are enslaved, white over here, you're free. But you're all coming in the middle. You don't look like Yaba, and you don't like white man, so what are you? O'BRIEN: They were, for the most part, children of rape. White master, black slave. BLAY: And historically, whiteness has been defined as pure. The government then came to define blackness as anybody with any trace of African ancestry. Any trace. So this definition of blackness has come to be defined as the one drop rule. So we've got this pure bottle of white clear, pure water. Now what would happen if we were to take some black paint, just one drop. Let's see. Let's shake it up and see. Here we go. Here we go. That once pure water to quench your thirst has now been contaminated. What does one drop has come to mean in history is one 32nd of negro/black/African blood. All you need is one person five generations back who is black and that is enough to make you black. Take a guess when it was ruled unconstitutional. What year? UNIDENTIFIED FEMALE: 1967. BLAY: 1967. The one drop rule was an attempt to save the so-called purity of the white race. O'BRIEN: So then why do so many black people hold on to the one drop rule? Me included. Right? I think I'm black because my mother is black. BLAY: The one drop rule, racist as it is, actually gave us parameters for our community. We know who is black. We know who wasn't. We knew what our issues were and even who's the our was. DIVIRIGILIO: And I hate the one drop rule because the historical significance of it. O'BRIEN: So what do you check when you have to fill out a form like the census? DIVIRIGILIO: I say black now. But as long as I check other, I've never checked white. I'm not white. America lets you know real fast that you're not white. I've never been jumped and called cracker or honky. I've been jumped and called monkey and nigger. O'BRIEN: You're black? DIVIRIGILIO: I'm black. I'm biracial but I'm black. I'm no different than Frederick Douglas or Barack Obama or, you know, many, you know, historical figures who are biracial, you know, and are black and are part of black history. O'BRIEN: For Becca, it's not that simple. KHALIL: I think I'm from Africa. I mean I know I'm from Africa. But the black kids don't seem to really want me and the white kids don't seem to really want me. (COMMERCIAL BREAK) DIVIRIGILIO: The prompt is this. O'BRIEN: All of Vision's workshop end with an assignment. DIVIRIGILIO: You are writing a poetry and memoir of who you are. What you are. O'BRIEN: For Nayo Jones and Becca Khalil, it's difficult. DIVIRIGILIO: So what you feel inside, what you feel you are, how you identify yourself is what you're writing right now. I want you to spit from your heart. One more minute. Wrap it up. We're going to make our way upstairs to the third floor into the drama studio. JONES: I don't have a race. I'm now and forever my own race. I'm tired of rabbit holing. Why hide in the ground with everyone else when I can be myself and fly? (CHEERS AND APPLAUSE) O'BRIEN: Nayo, black mother, white father, refuses to put herself in anyone else's box. KHALIL: When there was white kids say, I'm one of them, I can't say I feel welcome. Black has always been the color of my bones. Bones black, black like sand and sky, black like heart and mind. Black like me. (APPLAUSE) I'm black. And I'm African-American and I'm accepting of that. I'm proud of it. O'BRIEN: Becca's roots are in Africa. North Africa. Her parents were born in Egypt. And you feel you're African-American? KHALIL: Yes. That's been a struggle for me. O'BRIEN: Why is it a struggle? I mean, Egypt is in Africa, right? KHALIL: Yes, but it's not sub-Saharan Africa. So it's not in real Africa. It's in fake Africa. So -- and most Egyptians don't identify themselves as African-American. O'BRIEN: Unlike Nayo, Becca proudly calls herself black. But not everyone in the poetry workshop is buying it. Sophia, do you think she's black? Sophia Washington is Becca's good friend. SOPHIA WASHINGTON, PHILADELPHIA YOUTH POETRY MOVEMENT: No. O'BRIEN: Why is she not black? WASHINGTON: Like I acknowledge, you know, Egypt is in Africa. But I feel like there's a difference between being from Africa and being black. O'BRIEN: So you think that you don't get to choose what you are? WASHINGTON: I don't think you get to choose. I think while we would all love to get to choose how we are and how people see us, what people see you as speaks stronger than what you personally identify. Because you don't always get that chance to explain how you identify. O'BRIEN: What makes somebody black in your mind? WASHINGTON: I think how people see them a certain amount of experiences. O'BRIEN: So there is a black experience? WASHINGTON: I think so. O'BRIEN: What's the black experience? WASHINGTON: You know, I would probably have to deal with racial profiling, Becca would not. O'BRIEN: And you think those differences are the differences between what make you black and not black? WASHINGTON: I think so. I mean, black, yes. African, no. YOUSSEF KROMAH, PHILADELPHIA YOUTH POETRY MOVEMENT: My father is from Guinea and my mother is from Liberia. I was born in Philadelphia. Growing up I was ostracized. You're not like us. You can't -- that's our culture. You didn't go through out struggles, our experiences. I'm like, I live right on the same block as you. So people will say, you know, you're not -- you're not black. O'BRIEN: People tell you that? They said you're not really black? KROMAH: Growing up this is they used to tell me, like, for a significant portion of my life. DAVIS: Both of my parents are considered light skinned black. But what makes me black and what makes them black is the culture. O'BRIEN: Michaela Angela Davis is a former editor at "Essence," a magazine for black women. Today she writes and lectures on issues of race and image. DAVIS: The music, the spirit, the food, the laughter, the way that we love, the way that black people have soul. DIVIRIGILIO: I think it's an amalgamation of all of it. I think -- I think it's skin tone. You know, I think it's experience. I think it's culture. I think it's a mindset. I think if you claim black then that's what you are. BLAY: I think there is this understanding, particularly in this racialized society that to be black one has to be seen as black. So that if you and I walk into a room, people recognize me as black. They might question what you are. And so I think it has a lot to do with this idea of, do people see you as black? If people don't see you as black, then you're not black. O'BRIEN: Danielle Ayer says at first glance very few people see her as black. AYER: I have always felt like I'm a black woman. O'BRIEN: Danielle joined Yaba Blay's (1)ne Drop Project in 2011, about a decade after the two women met in grad school. Danielle's mother is white. Her father is black. He died when she was a teenager. BLAY: I made so many assumptions about Danielle. I thought that she was that type of light skinned chick. You know? That she thought she was cute, that she thought she was too good and that she was standoffish because she really didn't fool with us, you know, regular folks. But really what was going on is that she had had an experience growing up in the middle of Pennsylvania in a (INAUDIBLE) community. O'BRIEN: Lititz, Pennsylvania, 92 percent white. Danielle felt like she didn't belong in the only world she knew. AYER: It was this quiet ignoring that I often felt as though people just didn't really want to mess with me. You know? They really don't -- you know, you're good. Stay over there. O'BRIEN: How did you get through? AYER: I left school. I stopped going. O'BRIEN: You dropped out? AYER: I didn't officially drop out. They sent a tutor to my house. And that's how I finished my junior year. O'BRIEN: She got through that year. And the next. Graduated and entered Temple University where she studied for her masters degree in African-American studies. She says she had a deep desire to connect with her blackness. AYER: My family is very important to me. My white family is who I grew up around. But even with them, I feel as though I'm black. I'm not the same as them. And I've always felt that way. I know where I feel most comfortable. And the way that I want to identify. And the beating that's in me is blackness. It's blackness, there's no question about it. O'BRIEN: That's not the case for Nayo, who like Danielle grew up with a white family. She says to me, well, I haven't had a black experience. I don't feel when I'm around black people that I'm black. Is she black? AYER: I would say she's black. And I think that maybe she has an idea of what a black experience is and doesn't identify with that experience and so, therefore, she doesn't think that she's black. Everyone would say I didn't have a black experience. But I had my own kind of black experience. There isn't just one. O'BRIEN: For Nayo, the search for her identity is about to open old wounds. JONES: I don't want do -- this is gross. DIVIRIGILIO: It's not gross. There is nothing gross about healing. (COMMERCIAL BREAK) SMOOTH: I self-identify as black. I grew up as a son of a black father. So although my mother is white, I never saw mixed and black as mutually exclusive. Black culture comes from people being brought to this country systematically cut off from their traditions and culture in Africa and building their own cultural traditions here in America. I feel connected to my Russian heritage and my Jewish ancestry but a connection to white culture is an alien concept to me. DIVIRIGILIO: All right, Nayo. Spit that. O'BRIEN: It's a poem about her life but Nayo Jones is struggling to recite it. JONES: They always call me white girl. I was never ashamed of myself until they taught me to be ashamed. O'BRIEN: She calls her poem "Others" or the biracial poem. It's about being bullied by black kids for being light skinned. JONES: I always remember their taunts well into the night. Their brands of weirdo and vanilla took years to fade so I became ashamed. O'BRIEN: Now the tough part. She has to perform it at the first Spoken Word Poetry competition of the season. But it's painful and she can hardly get through it. JONES: I pretended I didn't know they were all wondering if I was adopted. No black mother to explain how this tall angular white man ended up with a short chestnut girl. They doubted he was ever my father. O'BRIEN: Only seven hours until show time and Nayo can't remember her poem. DIVIRIGILIO: Find it. You got it. I can tell you right now why you're not remembering the line. You're not connecting with this piece yet. When it's pieces that are personal, we don't want to connect to it. Like, I wrote it, I'm done. That's the beginning. JONES: They always call me a white girl. I was never ashamed of myself until they taught me to be ashamed. I won't be white girl anymore. DIVIRIGILIO: Good. JONES: But I won't be mixed girl either. I've come far enough that I'm not ashamed of who I am. But I refuse to be defined by it either. DIVIRIGILIO: Don't. Don't. JONES: I don't want to -- this is gross. DIVIRIGILIO: It's not gross. It's not gross. There is nothing gross about healing. JONES: I'm just so frustrated. I don't know. DIVIRIGILIO: It's OK. And it gets easier. I promise you it gets easier. Come here. Come here. Let go. It's OK. It's all right. You got this. Claim who you are tonight. This is your speech. That stage tonight is for you. It's all right, sweetie. Let go. O'BRIEN: These are the wounds of colorism. Wounds often first inflicted on the playground to both light skinned and dark skinned kids. LEE: They live in the same neighborhood. They were even in the same grade. O'BRIEN: Kiara Lee recently graduated from the University of Richmond. Her passion is educating children about colorism. LEE: Lashawnte, tell me about that. Why didn't the teacher call on her? LASHAWNTE BROWN, SECOND GRADER: Because she is ugly and black. O'BRIEN: Lashawnte Brown is 7 years old and her mother is worried her little girl is already getting the message dark skin is bad. BROWN: I think my skin is ugly. UNIDENTIFIED FEMALE: Why do you think it's ugly? BROWN: Because. I don't want to be dark. UNIDENTIFIED FEMALE: You don't want to be dark? BROWN: No, I want to be light skinned. UNIDENTIFIED FEMALE: Why? BROWN: Because light skin is pretty. UNIDENTIFIED FEMALE: You think so? BROWN: Yes. UNIDENTIFIED FEMALE: Is there anything else? BROWN: Yes. UNIDENTIFIED FEMALE: What? BROWN: That I like to be like you. UNIDENTIFIED FEMALE: And you know what? I want to be pretty like you. BROWN: So we both have stuff that we wish for. LEE: Can somebody tell me what that means. My stance is teach the children what it is. Show them the history. Make them aware of this issue so that when they go to school, when they go out in the world they're armed with this information. Because he wants to buy her because her skin is lighter. WISE: Colorism was something that plantation owners used as an instrument to divide and conquer their own enslaved persons. By extending to lighter skinned enslaved persons more privileges. And it was a way to get those lighter skinned black folks to be more likely to side with the owner if there was a slave rebellion plan. LEE: You guys sit in the back. O'BRIEN: Even among 6-year-olds Kiara is not afraid to shock. Today the brown paper bag test. Kiara stopped each child entering the classroom and compares their skin tone to a paper bag. LEE: Let me see your arm. Can you put your arm out for me? OK, you're going -- got to sit in the back, OK? O'BRIEN: Lighter than the bag, you can sit in the front. It's a real test from the early 1900s used by social organizations, churches and fraternities and neighborhood groups to decide who was light skinned enough to join. Was it too extreme to do to little kids? LEE: The more shocking the activity is, the better because it's going to stick with them. Why are you all feeling bad? UNIDENTIFIED FEMALE: She showed us that dark skinned had to sit in the back and light skinned had to sit in the front. I didn't think it was fair. O'BRIEN: Do you think you are less privileged because the color of your skin? Eighteen-year-old Sophia Washington, one of Vision's Philadelphia poets, has learned the same harsh lessons. WASHINGTON: I think that I have less opportunities and less access to certain privilege that other people don't because of the color of my skin. O'BRIEN: When she claims that her life is harder than either of these other two young women because of her skin color -- WILLIAM DARITY, PROFESSOR, DUKE UNIVERSITY AFRICAN-AMERICAN STUDIES AND ECONOMICS: She has a basis for making that claim. O'BRIEN: William Darity is a professor of African-American Studies and Economics at Duke University. DARITY: There is a lot of evidence that would be consistent with her saying that. O'BRIEN: Dozens of studies show differences in skin color having huge consequences including a 2008 study that says light skinned black women have a better chance of marrying than darker women. And a 2006 study that shows that dark skin color can affect earning potential. DARITY: We found that darker skinned and medium skinned tone black men suffered approximately a 10 to 12 percent penalty in wages relative to white males. But lighter skinned black males suffered no significant penalty relative to white males. UNIDENTIFIED FEMALE: Let's be on team light skin or team dark skin. O'BRIEN: No surprise the emotional toll of colorism comes up again and again as the slam competition gets under way. UNIDENTIFIED FEMALE: Too dark written on our skin and too black on our chest. O'BRIEN: The competition is tough. And Nayo is nervous. (COMMERCIAL BREAK) O'BRIEN: Slam night at the Franklin Institute in Center City, Philadelphia. Twenty young poets competing for the win. Nayo Jones is about to face them and her fears. UNIDENTIFIED MALE: Everybody show love and give it up for Nayo. O'BRIEN: She not only has to be better than the competition, she has to expose old emotions and confront painful questions of her identity. UNIDENTIFIED FEMALE: I love you. JONES: They always called me a white girl. I was never ashamed of myself until they taught me to be ashamed. I was never keen on splitting hairs or splitting veins. My blood is not segregated into black and white. In my mind, I'm gray. A mixture of all beautiful things. You cannot paint me the color -- O'BRIEN: She rushes to finish. JONES: I've come far enough to know not to be ashamed of what I am, but I won't let them define me by it either. It was so fantastic to just get that off my chest. I didn't stutter. And I didn't stumble. I didn't forget the words which was really great because I was so scared I would forget the words. DIVIRIGILIO: I know she can dive so much deeper into that poem. I know that she can tap into that and really get free. JONES: He forces me to do the things that I really would rather not do. But sometimes what's the best for you is kind of hard to do. O'BRIEN: For Nayo, getting through this first slam of the season is a relief. For Becca -- KHALIL: Biting the hands of every guy -- O'BRIEN: It's phenomenal. KHALIL: We bark, growl, and tear apart those portraits you painted. We create our own with the corrupted bit of paint you had no use for. We will repaint ourselves as women holy once more. UNIDENTIFIED MALE: Our winner for the evening, give it up y'all for Becca. (CHEERS AND APPLAUSE) O'BRIEN: What was that like? KHALIL: Awesome. I've never won anything before. It was a really wonderful feeling. O'BRIEN: Becca Khalil feels black. She desperately wants the world to see her that way, too. KHALIL: I never thought being black was synonymous to your color because I thought that was racist. Who wants to be racist in our society? Everyone does apparently. Because I'm not dark I'm not black. O'BRIEN: So who determines who is black? WISE: The important thing to do is to, of course, define yourself however you wish. That's your own right and your own freedom. And you should exercise it. But it's also important for people to always keep in mind how the larger society is likely to see one. O'BRIEN: The U.S. government has a say when it comes to identity. U.S. Census Bureau, white. Person having origins in any of the original peoples of Europe, the Middle East or North Africa. You're defined as white according to the census. KHALIL: Yes. BLAY: She's not white. So the question really goes to the U.S. government. Why are people from North Africa white? What purpose does that serve? How did you come to make that decision? They are on the continent of Africa. They are of African descent. Why not be black? WISE: The question in this society to some extent is will she be viewed as white by anyone other than the census taker? The census taker may write it down that way. But unless the police officer, the loan officer, the teacher, the employer for whom she's trying to get a job views her that way and it's very unlikely that they will, she is going to be at the very least a woman of color. O'BRIEN: What role does family play in all of this? For Nayo, that's unclear. JONES: I mean I already have a poetry book. Look at how nice this is, dad. Look at how pretty that is. DAVIS: I think a lot of it really -- again how you are cultured. What was the dominant culture in your household? O'BRIEN: For her it's white. Her dad is white. She lived with her dad. DAVIS: So there you go. Who loved you? Who took care of you? O'BRIEN: While Nayo is reluctant to embrace her black roots, it's a different story for her 14-year-old sister Ky. KY JONES, NAYO'S SISTER: I feel more comfortable when I'm around people that are black. I think I fit in more with black people. She likes different music than I do. Dress differently, hang out with different people. I like more hip hop. She doesn't really like that. She hangs out with more white people or black people that act white. I hang out with black people that act black. O'BRIEN: Same mother, same father. Sisters living on opposite sides of the same wall divided by views on culture and identity. But for Nayo, that might be about to change. JONES: There are certain things that kept coming up, like female, poet, black. Female, poet, black. And so I'm wondering, how come I have to be the odd one out in this situation? (COMMERCIAL BREAK) M. SCHLICHTMAN: I am a black woman and these are my black daughters who happen to have a white father. JOHN SCHLICHTMAN: I see my daughters as gifts from God who come from a heritage of German ancestry, Irish ancestry, Guineas ancestry. We're raising them as black women because I think that's how the world sees them. I think the United States, I think we still abide by a one-drop rule. We're not overemphasizing anything. We're just being who we are. JONES: So online application center, OK. Create new account. O'BRIEN: It's senior year which means it's stressful. And it's extra stressful for Nayo. UNIDENTIFIED MALE: Hold on. JONES: But Dad -- KY: What are you doing? JONES: College stuff. They're making me select my primary ethnicity. Really? They just have American Indian, Asian, black, Native Hawaiian, other Pacific Islander or white. UNIDENTIFIED MALE: She picked African-American, but you should have the option of identifying as strictly biracial. O'BRIEN: Becca Khalil is also filling out college applications. KHALIL: When I'm applying to college, I don't want to have to sit and have this long discussion with myself about what bubble I should fill in for my ethnicity. I want to put African-American. I think I'm African-American. O'BRIEN: What box do you check? KHALIL: I check white. O'BRIEN: You check white? KHALIL: Yes. So that I can avoid any troubles with getting into college. I'm applying for theater. O'BRIEN: She fears checking black could mess up her chances of acceptance. KHALIL: You look at black or African-American, you have this image in your head. And then when you meet me, especially because I have to audition for these schools, you meet me and now they don't have any black girls. You know? O'BRIEN: Twenty years from now, what will you be? KHALIL: I want to say 20 years from now I'll be like I'm black and people will say, that's what's up. BLAY: I'm a firm believer in the ability to self-identify. If Becca says she's black, I would agree that she is black. DIVIRIGILIO: Give me a positive one about biracial. DAVIS: Maybe these girls get to help dissolve these boxes. They have to say for themselves, they have to define what is beautiful and who is black and who is not. By sharing images, by sharing stories, by sharing culture. O'BRIEN: The final work shop is all about sharing. DIVIRIGILIO: Going to write down 10 things that identify you. Write a group poem about the things that you guys have in common. UNIDENTIFIED FEMALE: Paul, creative, black, ambitious. UNIDENTIFIED FEMALE: Nick, tall, educated. JONES: I have biracial, female, student, poet, short, musician, Afroed. Because you're going around the circle, there are certain things that kept coming up. There was, like, female, poet, black. Female, poet, black. And so I'm wondering how come I have to be the odd one out in this situation. I don't necessarily have to be the odd one out. You know, like it's very plausible for me to just be like, yes, OK. I'm black, too. Ready? UNIDENTIFIED FEMALE: Yes. JONES: We are the mango queens. We are the blossoms of the mango tree. The fruit of the tree, the black woman, the tree, the beauty, the tree, the beautiful black tree. The beautiful black woman. UNIDENTIFIED FEMALE: We are a mango tree. DIVIRIGILIO: Today she said I'm a black woman. And she came off stage, I said, you know what you just called yourself a black woman? JONES: I think I just identified as black. DIVIRIGILIO: And there was this almost a weight off her shoulders and this huge smile. She said, I did. She hugged me. And she shook me a little bit. It was pretty cool. JONES: It wasn't life altering like I am from now on black. And it helped to open my mind a lot. But I don't think it's going to, like, completely, like, change everything. But like, it's a milestone for me. O'BRIEN: After poetry workshop, Nayo makes some mad dash to choir performance. Nayo is a soprano, a featured soloist. She sees herself as ambitious, talented. Will there ever be a time when the world sees her only as that? JONES: So connect the dots with the freckles. But I laugh. KHALIL: Subtract the possibility of an accent. JONES: Calculate the sum of my eyes, nose, lips and tongue. KHALIL: Multiply by every curl on this nappy, nappy head and what do you get? Ambiguous. JONES: I apologize that my race is invisible to your eyes. But last time I checked, it wasn't any of your damn business. KHALIL: Mind your damn business. JONES: So do me a favor and stop assuming. KHALIL: And stop assuming. Because I'm more than my race. JONES: I am more than my color. KHALIL: And the next time you feel tempted to ask? Don't. JONES: Don't. Or at least have the courtesy not to stare at me like I'm some beast and ask, what are you? KHALIL: What are you?