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4-inch Double Fudge Crunch Brownie Cake
Good things come in small packages! Our moist & fudgy brownie cake is topped with mouth-watering chocolate chip-cinnamon-oat streusel and ribbons of dark chocolate glaze, in a size just right for the individual. AS SEEN ON RACHAEL RAY! Includes a chocolate occasion plaque, matching Greeting Card and comes packaged in an elegant gift box.
IMPORTANT: Gourmet Gifts are perishable and are processed for on-time delivery to ensure your gift arrives fresh and delicious. Orders placed after 4:50PM ET Monday through Friday will be processed the following business day. Saturday deliveries available for $5.00 additional on Advanced Orders, $15.00 Additional on Saturday Orders requiring Priority Overnight Service. Deliveries to Alaska & Hawaii are an additional $25.00. Bake Me A Wish! cannot be held responsible for incorrect or omitted information. Any exception received, due to missing or bad information, immediately nullifies guaranteed delivery. Apartment numbers and suites for residential and business deliveries must be included for on-time delivery. Your gift will not be delivered on time without this information!
*Allergy Information: Unless otherwise noted, products contain milk, wheat, soy and egg ingredients, and were produced on equipment that processes peanuts, almonds, hazelnuts, pecans, walnuts. Our facility is not Gluten Free.
5% of your order will be used to assist our effort in sending gourmet occasion cakes to soldier's overseas. If you have a soldier's birthday approaching, click here to send a cake to an APO/FPO address.


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|Home | The Company | What's On | News and Features | Support Us | Learning | Shopping | In the Business | CBRB
Click the theatre logo below for performance details and on-line booking
The Firebird
Read the fairy-tale story of the Firebird
Children's activity sheet
Click here for a printable colouring and puzzle sheet featuring the Firebird herself
Press quotes
See what the critics thought The Firebird.
The history of The Firebird
Read more about the creation of the ballet
Introductory notes
Your first destination for information on one of Stravinsky's most popular ballets
Le Baiser de la fée
Find out about this ballet, and the other versions that have preceded it.
Michael Corder
Read the biography of the choreographer
The Fairy's Kiss
Michael Corder discusses his new piece
Introduction to Petrushka
Find out about the creation of the ballet, and one of the few narrative scores in Stravinsky's career
Behind-the-scenes: the shoe supervisor
A behind-the-scenes interview with Michael Clifford, Birmingham Royal Ballet's shoemaster, where he explains why Petrushka demands more work than Sleeping Beauty.
The Acrobat and the Ringmaster
Read about the prolific partnership of Stravinsky and Diaghilev
Behind-the-scenes: the shoe supervisor
At the start of the 2007-08 season, we asked various members of the Wardrobe department about which shows they were particularly looking forward to. Some made their choices based on which productions they enjoyed working on, others on which they enjoyed watching. Scanning through the list of ballets being performed, Michael Clifford, Birmingham Royal Ballet's Shoe Supervisor, went directly for Petrushka.
With its opening and closing scenes of a vibrantly colourful carnival, the ballet sees masses of performers jostling on the stage, with Birmingham Royal Ballet's dancers joined by local students and even actors to fill out the crowd. For Michael, this brings with it the challenge of fitting and changing vast numbers of people - all in the space of a one-act ballet.
'It's like doing Sleeping Beauty but in about 45 minutes', he explains. For audiences less familiar with the Company's mixed bills, which typically see three one-act pieces staged in a single evening or matinee show, there can often be the preconception that these shorter works feature lower production standards. But in reality, nothing could be further from the truth. While just one of three pieces being performed, Petrushka has all of the scale and spectacle of a two- or three-hour narrative ballet like The Sleeping Beauty or La Fille mal gardée, - simply condensed into half the time. This can make things a little frantic for the Shoe Supervisor. 'There are these huge crowd scenes, with a lot of things happening within the crowds with particular characters. You've got peasants, stable-boys, coachmen, nursemen, aristocrats, vendors selling hot meats, flowers...' As the list continues, Michael shows us a reference book he has full of copies of the original designs for all of the characters, that he used to ensure that any new footwear he has to buy is true to the original look of the ballet.
'It's been so long since we've done Petrushka that we don't still have any of the original footwear. I have to source it all from the designers sketches, so it's just like doing a new production for me. I've got copies of the designs by Alexandre Benois - the originals I think are in the Vienna Theatre Museum.' The book is an invaluable resource, also containing letters documenting the creative process, and duplicate tracings made before illustrations could easily be copied by machine.
'I look through these drawings and find footwear that matches the illustrations,' explains Michael, 'and ensure that if required, it is something that a performer can dance in. So these stable boys look shoddy, but they have to dance, so you have to make sure the footwear is sufficient for them to dance in while looking authentic. Some of the others are in felt boots, so I have to find somewhere that will make those for us.' We come across a picture of a girl wearing crisp white boots lined with fur. 'We'll use fake fur for those,' the Shoe Supervisor reveals, 'but the look must maintain the integrity of the design.'
Michael continues to turn through the pages of the book, revealing drawing after drawing, with samples of different fabrics attached to each one. Each one is labelled with a number, and these numbers keep on rising: 38, 44, 51, 66... - each one a new and unique character.
'We used to have two versions of the production, one with additional actors, so we could bolster the crowd scenes when we performed on larger stages,' Michael reveals. This is often also done with scenery, where panels can be removed to subtly reduce the width of a set without changing the overall look of the presentation in smaller theatres. 'With these additional actors this meant we had skips labelled "extras"', smiles Michael, 'and then others labelled "extra extras"!'
The actor roles that do stay in from one venue to another can cause other problems. 'There'll be different local actors in each city, so things have to fit more than one person,' explains Michael. 'You tend to get larger sizes to play it safe, because you can always pad them out, or the actor can wear extra socks. Some of the boots in this stand up by themselves, and trousers get tucked in which can help too, so you don't worry about them too much!'
Once all the preparatory work has been done, sourcing shoes and going through initial fittings, the second biggest challenge is getting through the performances themselves. 'There are a lot of quick changes in scene four,' says Michael (correcting himself after originally describing it as Act IV, such is the scale of the work for him). 'There's a crowd scene at the beginning, then two quieter scenes in the middle, then again at the end when all hell breaks loose. It's all done near the stage. The performers all come off and get fitted into their new costumes and footwear then move straight through and back on again. There's a quite a lot of people hanging around at times too, so you have to make sure that everybody's got the right items.'
Michael seems happy that he only has to worry about the shoes. 'In the final five minutes the scene gets more and more manic,' he explains, 'and a large group of lads all run off then run back on again dressed as animals! There's a crane, a pig a goat, and a bear! There's actually a costume and someone has to get dressed up and walk from one side of the stage to the other.'
The performer in the bulky bear's costume is not alone however. 'It's set in winter so it snows and everybody has to look like they're cold,' Michael explains. 'However like this year we always invariably end up doing it in the summer so nobody feels cold at all, but everybody still has to wear all this large, Russian-influenced winter clothing!'
And remember, this is only one third of the programme!
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Bobbie Weiner Tri-Color Camouflage Face Paint Kit is the original. Find out why US troops were buying this Cammy in PXs before it was made available by the Defense Department. Safe, Non-toxic, FDA approved, waterproof and washes off with soap and water. Ideal for hunters and outdoorsmen with an unbreakable mirror.
COLOR: Jungle Colors - Black, Dark Mustard and Olive Green


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Deanna M. Neff, MPH
Inherited metabolic diseases are a group of disorders that cause missing or defective enzymes. The enzyme problems can lead to:
There are thousands of inherited metabolic diseases.
These diseases are caused by a problem with the genes that determine how specific enzymes are made. The genes are passed on from parent(s) to child.
Copyright © Nucleus Medical Media, Inc.
Inherited metabolic disease is more common in families with Ashkenazi Jewish, Finnish, or Dutch heritage. A family history increases the chance of these diseases as well.
Symptoms can be severe and appear shortly after birth. Symptoms can also be mild and detected later in life. Tell your doctor if your child has any of these:
These symptoms may be caused by other conditions. If your child has any of these, talk to the doctor.
The doctor will ask about your child's symptoms and medical history. A physical exam will be done. Skin and blood testing may be done to look for the specific enzyme that is causing the problem.
Other tests may be done to look for any problems that may have developed. Tests may include:
Prenatal testing and newborn screening may help with early detection.
Talk with the doctor about the best treatment plan for your child. Treatment will depend on the type of condition your child has. Options may include:
Dietary changes that may be required include avoiding certain foods, avoiding long periods of not eating, or taking vitamins.
To manage symptoms and other conditions, your child may need:
For some conditions, regular annual screening tests will be needed, such as:
There are no current guidelines to prevent these disorders.
Children Living with Inherited Metabolic Disorders
Society for Inherited Metabolic Disorders
The Canadian Society for Mucopolysaccharide & Related Diseases
Health Canada
Information for Professionals. National Information Center for Metabolic Diseases (CLIMB) website. Available at:
http://www.climb.org.uk/imd.html?s=information+for+professionals. Accessed August 12, 2014.
Lipid Storage Disease. National Institute of Neurological Disorders an Stroke website. Available at:
http://www.ninds.nih.gov/disorders/lipid_storage_diseases/detail_lipid_storage_diseases.htm. Updated April 16, 2014. Accessed August 12, 2014.
Last reviewed August 2014 by Michael Woods, MD
Please be aware that this information is provided to supplement the care provided by your physician. It is neither intended nor implied to be a substitute for professional medical advice. CALL YOUR HEALTHCARE PROVIDER IMMEDIATELY IF YOU THINK YOU MAY HAVE A MEDICAL EMERGENCY. Always seek the advice of your physician or other qualified health provider prior to starting any new treatment or with any questions you may have regarding a medical condition.
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This report offers findings from a study of students' activities, priorities, perceptions, and needs related to various efforts to address campus sexual violence, with a specific focus on campus policies. Students also reported on their school's efforts to address rape and sexual assault.
Download the full report [1].
Links:[1] http://safercampus.org/userfiles/file/NASummaryReport.pdf
[2] http://nsvrc.org/publications/taxonomy/term/25
[3] http://nsvrc.org/publications/taxonomy/term/59
[4] http://nsvrc.org/publications/reports


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Anthracite 40 - matte dark grey
I bought this color at Sephora for $18 and it was worth every penny. Yes, it is a bit pricey for one eyeshadow but it is extremely pigmented. This color specifically will last you a very long time and a little goes a long way. Another thing I loved about this color is that you can wear it many different ways. Just a little dab on the apple of your cheeks or a full pigmented eyeshadow. It's a very versatile color and compact to go anywhere.
I swear if I could use this more I would. I love putting it in the crease to add a pop of color or using it to add to a orange sunset look. The color payoff is phenomenal and it stays on all day. They are also a great price if you compare how much you pay for MAC and how much you get compared to this product, it isn't that much pricier but the pan is so much bigger than MAC, I am willing to invest in a lot more of these soon!!!
These are definitely high quality shadows. They are more expensive than other brands but the amount of product will last you quite a long time.
I also really like the magnetized case. It's super easy to open and close. Unlike some other cosmetic lines, these can easily be propped out of their individual cases and placed into a larger palette so you don't have to worry about the eyeshadows shattering.
I really liked MAC eyeshadows (I still do, don't get me wrong) because of the huge range of colors. Same goes for Make Up Forever, there is a wide variety of shades and I feel like the quality is superior.
Make Up For Ever's 'Purple 92' eye shadow is seriously the best purple eye shadow. It's a richly pigmented matte and intense bright purple, this shadow seriously GLOWS.
Its pigmentation is so rich that it would show up on any skin tone, including the darkest of darks! My eyes are brown with a hint of green, and it makes them glow greener (purple is a wonderful complement with green)
Every individual pan costs $19 for .08 oz of product, but this will last you forever, even with heavy use. I love the individual magnetized compacts, the black acrylic case is sturdy enough to stay in my makeup bag. The tops of the case also have a clear strip so you can see the particular color, making it easier to differentiate the vast array of colors you probably have in your bag...
I love experimenting with this color and trying out new combinations. In the pic uploaded, I paired it with a taupey-gray in the center lid and a shimmering ice blue in the corner of the eyes. I've also used this with Chrome Yellows, bright acid green, black, white, tan. If you experiment long enough, you WILL get it to work with a color you love. If you had to choose one color in the Make Up For Ever shadow collection, this is it.
I won two of the colours in deferent finishes, (satin and diamond) The pegmentation is even better than urban decays eyeshadows, and the formular is super buttery, and hve never feeled such an amazing eyeshadow before, and their are supper blendeble. <3
Yellow is my favorite color so I have tried several brands and make up forever is the standout shade. Works best over a very light eyeshadow base not only for longevity but also to bring out the brightness of the hue. Must have for spring and yellow is unexpected so it make things interesting.
I own about 24 shadows, but my favorite is 162 and 5. The colors are so pimented and smooth. Even someone's who's not extremely experienced working with blending shadows can still make this look good. This is long lasting shadow that offers a "come hither" to any eye of every color. I use b!th$lap cosmetics corrector in lite and the color does not crease.
This purple eyeshadow should be in EVERYONE's collection! It is amazingly pigmented and vibrant. You hardly have to tap your brush on the product to get tons of color pay off. It wears forever with a primer, and a little goes a very long way! It also blends beautifully!
It does stain my eyelids, but I'm very, very fair. And I really don't mind, since I wear heavy eyeshadow every day!
Great color quality. Probably some of the best. Very soft. You hardly have to tap your brush into the colors. You get so much color with just a little product. I love how these blend. So far I don't have anything bad to say about any of the colors.


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Day 1 Koh Phi Phi Leh & Maya Bay (D)
Meet your skipper and group at 3pm in Koh Phi Phi, at "The Beach Bar & Restaurant", located at the base of the main pier. After the meeting, we board our catamaran and sail towards Phi Phi Le, where we visit Maya Bay, Leonardo's Paradise, where 'The Beach' was filmed! Depending on weather conditions, we may spend the evening anchored off of this beautiful (but very popular!) beach or head to Koh Phi Phi Don if the group would like a touch of nightlife.
Day 2 Southern Phuket Islands (B,L)
It's a long sailing day today as we make our way through the Southern Phuket Islands. We take our time, enjoy snorkeling with the stunning sea life and a lunch break amongst remote islands and sandy beaches. In the afternoon, we'll drop anchor and make our way to shore, ready to enjoy dinner at a local restaurant.
Day 3 Ko Yao Yai, Koh Khai Nai & Phang Nga Bay (B,L,D)
A longer sail brings us to the tiny island of Koh Khai Nai for excellent swimming and snorkeling off a clear sandy beach. In the afternoon, we will sail into Phang Nga Bay before enjoying dinner in a secluded anchorage.
Day 4 Phuket (B)
We depart early in the morning, and after a break for a swim, arrive into Phuket just before lunch. Our tour ends on arrival into Yacht Haven Marina. If you are departing Phuket today, we recommend you do not book any onward flights until after 3pm. We look forward to receiving your evaluation regarding this tour itinerary and your CEO's performance. We value your input into what we could improve to make this trip even better and of course love hearing about what we are already doing well! You will be sent a post tour email on your return with details on how to go on line and fill in this simple form. Thank you so much in advance.


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Comments: Absolutely delighted with this gift. It was so appropriate and sincere to my father. Everyone who saw the gift I ordered was so jealous! It arrived so fast and in time and will always be a gift for him to treasure. The quality is fabulous - there is some real weight in it. Thanks Memorablegifts.com for the perfect gift.
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By Jason Humphreys
Comments: I had called interested in adding a company logo to the clock, and the customer rep was very helpful and friendly and I was convinced! I ordered it over the phone, the delivery time was just as expected. The clock looks great. No scratches or defects of any sort. The logo was engraved really well! I am 100% satisfied with this product and with memorablegifts.com ! definitely will be a returning customer!


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The Bremont U-2 was designed exclusively for, and tested extensively by, the elite Spy Plane Squadron based at Beale, California. These incredible pilots regularly take their iconic aircraft up to 80,000 feet on reconnaissance missions that often last over 12 hours. Two retail models are available, one in a DLC case and the other in hardened stainless steel. Both have been put through their paces at 100,000 feet and -40oC in the laboratory and out on missions.
Modified calibre 13 1/4" BE-36AE automatic chronometer, 25 jewels, glucydur balance. Anachron balance spring, Nivaflex 1 mainspring, 28,800 bph, 38 hour power reserve, Bremont moulded and skeletised decorated rotor.
Hour/minute/second, date and day at 3H.
Hardened stainless steel Trip-Tick® case construction with sapphire bi-directional rotating bezel. Case diameter 43mm, lug width 22mm. Inner soft iron anti-magnetic Faraday cage to protect movement. Protective patented anti-shock movement mount.
Stainless steel decorated case back, 6 stainless steel screws with polished heads.
Patented inner bi-directional Roto-Click® bezel. Operated by crown at 4H.
Metal dial, SuperLumiNova coated numerals and hands.
Domed anti-reflective, scratch resistant sapphire crystal.
Water resistant to 10 ATM, 100 metres.
C.O.S.C chronometer tested.
Calf-skin leather strap and NATO military nylon strap.
Individually serial numbered with accompanying C.O.S.C certification.


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Guy fights to be the guy that gets to go on quest. Guy gets disqualified. 2nd place guy goes on quest. Disqualified guy follows along until first guy gets bumped off. Disqualified guy takes over. It was a fantasy martial arts movie. Strictly a drive-in "B movie" quality film. Can anybody tell me the title of the movie?
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Identify 1970s Martial Arts movie: 2nd place Hero goes on quest. Disqualified Hero follows, takes over quest.
That would be Circle of Iron
The movie was originally written by and for Bruce Lee and James Coburn as a vehicle to explain Lee's beliefs and martial arts philosophy. Jeff Cooper plays Cord, the seeker. David Carradine played multiple parts. Roddy McDowell, Eli Wallach, and Christopher Lee also starred in it. It's available on dvd and blu-ray.


text: The CBI investigates a geologist's murder, which Lisbon is convinced is the key to bringing down Tommy Volker, while Jane looks into the disappearance of a young boy. Pictured L-R: Robin Tunney as Teresa Lisbon, Tim Kang as Kimball Cho, and Henry Ian Cusick as Tommy Volker Photo: Colleen Hayes/Warner Bros. ©2012 Warner Bros. Television. All Rights Reserved.


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21 August 2013
Posted in Member News
Weather was the topic of attention at August's Member Monday! Members enjoyed the Science Center one hour before it opened to the public while participating in activities such as creating weather books and making clouds. Parents also received DIY weather projects to do at home.
Every second Monday of the month, the Science Center is open strictly for members from 9 a.m. to 10 a.m. Join the fun at our next Member Monday on September 9. Parents will learn tips on how to take the best photos with their cell phones and point-&-shoot cameras, and the children will make their own photo frame!


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Biggie Smalls Killed With Rare Ammunition; FBI Releases New Info
FBI decided that NOW they want to release some critical information on Biggie Smalls murder. Apparently he was killed with rare ammunition. Police then raided a local gang house with a tip from a anonymous call finding the same caliber gun and rare ammunition


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If you can dream it, you can do it. -Walt Disney
Quality is a great business plan. -John Lasseter
Let's make some funny pictures. -Tex Avery
I never considered a difference of opinion in politics, in religion, in philosophy, as cause for withdrawing from a friend. -Howard Zinn
When critics sit in judgment it is hard to tell where justice leaves off and vengeance begins. -Chuck Jones
And what do you benefit if you gain the whole world but lose your own soul? -Jesus
A man should never neglect his family for business. -Walt Disney
What's most important in animation is the emotions and the ideas being portrayed. -Ralph Bakshi
Once you have heard a strange audience burst into laughter at a film you directed, you realize what the word joy is all about. -Chuck Jones
Before enlightenment: chop wood, carry water. After enlightenment: chop wood, carry water. -Buddhist Proverb
Sign In
Why is the animation community so weak?
Share your views on the state of the Animation Industry.
Why is the animation community so weak?
And is there hope that this long standing trend will reverse itself?
It's an acknowledged fact voiced by many including the union itself that the animation community has no leverage. You see it everywhere when it comes to industry developments.
The effort to organize in a sector of entertainment as troubled as the VFX community, continues to languish in spite of ongoing efforts to do something about the condition of things. You see it in the everyday affairs in animation where the subject of the weakness of animation artists is almost completely ignored. From past and present experiences I've seen how our community will engage in a bitch fest when it comes to news and developments that underscore the problems artists face within the animation industry proper but virtually nothing is done about it. There's little to no action taken except in situations such as the recent picketing by VFX artists at the 2013 Academy Awards.
There's little to no solution oriented dialogue. Very few artists bother to get involved on the most basic levels in the biz when it comes to pro-activity even if it directly affects what they do.
Are the challenges that the animation community faces not as big a deal as they seem to be?
Is the lack of effort to realistically improve things within the studio side of things an indication that it's really not as bad as all that?
Even if that's the case, it's a widely accepted fact that collectively the animation community is the weakest aspect of all professionals in entertainment.
What if anything can be done to reverse this and position the collective animation community in a stronger situation altogether?
Daily Z
Re: Why is the animation community so weak?
We need more reactionaries.
All kidding aside, I feel thats a big part of it. And thats why I engaged marius with that discussion.
I feel too many people get trapped in this idea that being proactive is joining failed systems that were designed to do exactly what they are doing. While anyone that has every joined the union is basically perpetuating its corruption. All to get the benefits. Sounds sad.
Its disgusting to me that an organization like the Union can take your money by monopoly and say you're the problem. You pay them for a service and they say you're the reason it isn't working.
And let me tell you, as a non union dues guy I have engaged the union more then paying members. SO I see that the union artists are not participating in their own system, but from the resistance and corruption I have experienced I see why they are not.
But I see the abuse from the basic mentality of what an artist is and has to grow up with, to how they are treated in the studio to how they are treated by the union they pay dues to...but I see how they treat each other too. The abused become the abusers...and reactionaries are looked at as a bad thing. But my reactions moved me in a direction of self determination. I made mistakes along the way, but I learned because of those mistakes.
People who try to act Zen and enlightened even before they learn anything just get bulldozed by the powers that be. I remember early on with AN I would hear about all these guys who were in the system supposedly making a difference...why? Because they thought being in the system was participating in helping it turn around...but all they became was part of the system. Their self hate was apparent by how they communicated and acted. They lived in fear and would turn on anyone that would shake their paradigm up.
I know I'm sounding like a broken record, but being reactionary or reactive to these toxic situations helped me understand the nature of true evolution.
No one wants to rock the boat. They think thats part of success. But you got to take chances. Hardly anyone speaks up and everyone wants to just get a long when their are so many people who are determined to be corrupt.
Well, it doesn't work that way. Conflict is needed. Reactions are needed. If it moves you to evolve that is. If all it turns into is a bitch fest then its no good. But if that passion moves one to find solutions then right on.
Picketing is bullshit. Protest by building your own systems.
We are all programed. We are taught certain words mean the opposite of what they mean. We're taught "thats the way its always been".
We all draw heros who react to situations but none of us see that as noble in real life. I find it ironic that the subject matter that fuels our content is not the content of our souls.
Re: Why is the animation community so weak?
Don't put all your eggs in one basket. Act like major conglomerates, vertical and horizontal integration. Don't be a one trick pony. Relying exclusively on the union or the industry means they will have your **** in a vice. You are at the mercy of them. You can try to change it but you will need the support(or lack thereof) of many others. You can work in the industry, you can work outside of the industry you can make your own industry.
One sad reality I have learned in life is that you can depend on no one but yourself. Friends come and go. Even family isn't around forever. You can only depend on yourself and what you can do within your means to get things done. Sometimes groups come together and do great things but in this new era where the individual can really flourish why not take advantage of it.
If you check up on forbes articles, the richest people in america and you see where they made their wealth, while some of them are your basic nepotistic oil barons a lot were entrepreneurs. There is no reason why we can't create our own properties and push them out there.
A lot of people have forgotten what the point of animation and drawing is all about. Or at least one of the major points: entertaining. The biggest advantage that artists have over executives when working on their solo projects is that there are no executives. There is no one telling you to put in this or take out that. There is complete and total FREEDOM and no one seems to realize that. They think like studio systems instead of making new innovative things. A big studio cannot compete with the freedom an artist has to instantly tap into an audience. They have to worry about their stupid demographics and advertising money. Who ever is smart enough to realize this is going to be successful and a lot of people already are.
just because the community is weak doesn't mean you have to be. Exploit it like it exploits you. because they can, because you can.
Re: Why is the animation community so weak?
Hey snakebite, I actually agree with you on the power of being reactive. I myself am reactive by nature. I have lived through experiences where my reactiveness dictated my actions... but as I get older, I find my actions need to be dictated by me. Upon a LOT of reflection I found my reactions were based around my expectations on things. I've chosen to not expect anything from any one human, because that would make me reactive. Instead I focus on setting up a structure, where human weakness can be minimized. I really do believe being in a ractive state is needed to find inside, what you feel. It helps one take a stance. My only point was I prefer not to PLAN in a reactive state.
I really do respect you and value all your insights, and I really meant nothing personal about what kind of state to be in. I try to simply follow feel what i feel, but do what I plan... and use my feelings, to help define my planning.
Sorry for the aside there, back to topic...
"Are the challenges that the animation community faces not as big a deal as they seem to be? "
I think this point actually was answered by snakebite's micro is the macro thing... I think the challenges in the animation community are in every industry presently. The world is going through a growth surge. It's maturing in behaviour. Our systems creak and grown to catch up, as does the human populace. To me... that seems like a big deal...
"Is the lack of effort to realistically improve things within the studio side of things an indication that it's really not as bad as all that?"
I wouldn't say the lack of effort to realistically improve things within the studio side of things is an indication that it's really not as bad as all that... more an indication that a lot of our leaders are lacking effort...
In an industry where there exist a LOT of humans in "leader" roles taking a lot of cash monies for the position... I find the lack of initiative... kinda surprising.
"What if anything can be done to reverse this and position the collective animation community in a stronger situation altogether?"
Right now, I see the humans in the animation industry as falling into two categories 1. People who want to make money 2. People who want to make animation.
Group 1 has WAY more representation in the industry, Group 2 has WAY more representation online... I would say focus on organizing group 2.
Re: Why is the animation community so weak?
"Sometimes groups come together and do great things but in this new era where the individual can really flourish why not take advantage of it."
I agree. It's important to stand on your own legs before you can do anything else. After that... do you think maybe a few people standing on their own legs united might be a stronger position for the industry than a few people standing on their own legs seperated?
"If you check up on forbes articles, the richest people in america and you see where they made their wealth, while some of them are your basic nepotistic oil barons a lot were entrepreneurs. There is no reason why we can't create our own properties and push them out there."
If the goal is for an individual to be in forbes then that strategy sounds solid. Is that strategy best for the industry?... my gut says no.
"A lot of people have forgotten what the point of animation and drawing is all about. Or at least one of the major points: entertaining.
The biggest advantage that artists have over executives when working on their solo projects is that there are no executives. There is no one telling you to put in this or take out that. There is complete and total FREEDOM and no one seems to realize that."
Oh, I'm pretty sure that point is realized. I think you are taking for granted that ALL artists are entertaining. I'd have to say they ALL aren't. You're also neglecting to acknowledge the added value of working with people who KNOW how to do their jobs.
"They think like studio systems instead of making new innovative things."
Some of us like to organize like the big studio systems... but i think organization, belongs to the individual. Saying that's thinking like a big studio system, is mis-representative of what it actually is...and what it is... is prudent.
"A big studio cannot compete with the freedom an artist has to instantly tap into an audience."
Not sure if this statement is true. I think pretty much all big studios use multi-media outlets to tap their followers... am I misunderstanding?
"They have to worry about their stupid demographics and advertising money."
That just sounds like bad development execs, or CEO's... not sure one can blame that on the studios. It's just a faulty business-plan, fixable by an easy decision. I know a few smaller studios using crowd sourcing to generate revenue, to avoid worrying about those things. I'm sure bigger ones will catch up.
"Who ever is smart enough to realize this is going to be successful and a lot of people already are."
I'm not sure it's about being smart. I do wish all the power to anyone proactive in making things and sharing them to the masses, but being realistic... KIDS do what adults are doing on the web. I expect more from pro's than I do from amateurs.
"just because the community is weak doesn't mean you have to be."
In complete agreement.
"Exploit it like it exploits you. because they can, because you can."
Sounds reactive and dark. I'd have to pass on that advice.
Re: Why is the animation community so weak?
I never took it like a personal attack or judgment. You have a good way of touching upon familiar topics. I respect your position and general agree with you. And I didn't mean for what I posted to be focused on a response to you. But still appreciate your views.
All respect.
Re: Why is the animation community so weak?
If you focus on your intent you can find a market. We're weak when we huddle together to find strength. If we haven't found strength in ourselves first then being in a group will only make us meat for the meat machine.
I like the crew I roll with. We hang out because we don't need each other. We collaborate because we are already inspired by each other.
I'm sure many HERE can relate. But unfortunately I see mostly passive aggressive behavior running the industry as a whole. Its a general statement because generally thats the statement.
Re: Why is the animation community so weak?
Would there be a way to extropolate what works for you and your crew, to a bigger model? Maybe having built a platform of self-sufficiency would be one of the pre-requisites. Right now, all it takes to be in the union is a job... and you just have to know someone to have a job. Maybe earning the right to sit at the table is not such a bad idea... maybe an accomplishment, has more value than a job. It's also harder to fake. I'm just thinking out loud now, so please take this all with a grain of sand.
Re: Why is the animation community so weak?
marius - by dissecting my response line by line i think you have misunderstood a lot of what i was saying
re: forbes that was an example after making the statement that the "individual" can be successful. More specifically artists can be just as successful if they are business minded as opposed to be strictly dependent on studios. It was backing my argument that there are alternatives to the broken studio system. I was not in any way suggesting that that model would work for the already immovable granfathered-in studio system way of doing things.
And to elaborate on the Freedom aspect. Big studios have to please THE LCD audience. Their goal is to make the most amount of money possible by pleasing all audiences or massive audiences in a specific demographic. With the internet an artist can be successful by tapping into a niche audience. Success of course being comparative, but one artist can sustain a model from a niche audience. Studios rarely invest in cult or niche audiences because they have tons of overhead and middle management and other things to worry about/pay for. Their giant infrastructure and system is severely limiting when it comes to creative output. Plus they play it safe all the time and "can't afford" to take risks because they have so many investors to please. Why do you think they are now implementing internet fringe trends into their mainstream products. It's been the same story for a long time. Find out what is "cool" and "hip" then water it down for the masses. Xerox copy what works. And even worse, just buy old established properties and rehash them until they are dead. Kind of the same way monsanto farms the same fake mutant sick corn over and over and over again until the soil is dead. They aren't planting anything new or different.
" I expect more from pro's than I do from amateurs."
You might, because you are an artist and might have higher standards, but the average person doesn't. Why is south park on tv? How did cheap cutout animation make it. Because for that show the writing is what is important and most people don't care about milt kahl drawings. Content is what is important, the "quality" of that content is subjective per the viewer and the audience. It's the same way major studios can pump millions of dollars into a flop and a no-budget 5 second video of a cat farting can get billions of views on youtube. The paradigm for entertainment has changed. Now internet memes are in mainstream entertainment. It's all changing and like Snakebite mentioned change can be either good or bad for you, but if you "evolve" or "adapt" you can sustain.
Re: Why is the animation community so weak?
I suppose I'm not sure what what definition of successful we are using... if it's "fiscal" success, I would have to agree.
If success is based off accomplishment though, I'd have to disagree.
To better understand, how do you define success? And secondly, do you see a differentiation between the individual's success, and the success of the community around that individual? Are those the same thing, or can they sometimes be at odds?
As for the topic of studios, I simply think big studios are being sailed with error, not that they are wrong in existing. It seems to me the crew working on big studio ships all want money, so the ship keeps it's focus in similar directions.
"You might, because you are an artist and might have higher standards, but the average person doesn't."
The average person shouldn't be burdened with that responsibility. That's ours, the artists. If we know better, we have to do better. Cutting corners cause one can is not a strong pattern to perpetuate. It leaves the industry weaker, in my humble opinion.
Re: Why is the animation community so weak?
"Big studios have to please THE LCD audience. Their goal is to make the most amount of money possible by pleasing all audiences or massive audiences in a specific demographic."
This is just one of many possible working models. Big studios HAVE to make a profit. That's a fair thing for a big studio to want. Their goal should be to balance creation with making a profit. They TRIED their best to go the easy way, and it failed... Yes, some big studios are guilty of STILL executing this style of creation production, but only because artists are making it all possible. Right now the studio is just a ship, and it's the hands on deck that are steering it. Blaming the ship, for a crew's mistakes seems like misplaced focus.
My point is, I 100% agree that everyone should use the market and present situations to empower themselves... I merely point out that once those that are empowered get empowered, what then is the plan... party as usual? or does that generation get down to the business of straightening things out... Whatever floats anyone's boat, I'm on board with. I like fun just like anyone else, but that doesn't detract from the importance of looking past short term success to focus on the bigger picture. After individual success.. what then is the paradigm?
Do the big studios die out? So no more disney, dreamworks, cartoon network, nickelodeon?... does that seem likely...?
Re: Why is the animation community so weak?
I feel like putting your time and space into things you believe in and achieving milestones in those systems is what I consider earning your spot at the table. As you put it.
If that means you believe in the union and want to sit at that table then thats up to the individual. When they become monopolies then to me it's poopoo. By unionizing an industry you make something exclusive that should be inclusive.
But I see the cliques the industry has so I get why people want that. And most importantly I see why the business side of things want that. They pretend that the union is working on the behalf of the artists who have signed on, but they only work for the interest of someone else. By their actions, not words.
Charles believes the Union can be evolved, like you, Marius. I don't. I think the people can evolve and build new systems and working dynamics that has nothing to do with how this Union is designed. You could call it Unity or whatever variation of a word. But if it's fundamentally different then whats going on that means the people were able to overcome a larger animal. Themselves. And then the larger corporate animal that owns the current Union and the industry in which it monopolizes.
Entertainment money has more influence then government in these regards.
And this is where most would say I'm digressing and getting too far ahead of myself. And to that I would say, POO.
People need to consider the big picture. I don't eat at tables with vampires. I eat with warriors and the builders because thats who I am too. I don't keep my enemies closer, they are close enough.
This is my personal philosophy so when asked if it can be applied to a bigger picture I would say most def YES. If people are actually open to having real conversations about what they speak. If not we will reposition ourselves to be weak again.
But hey, I'm not gonna poopoo on anyone that wants to prove me wrong. I crave the day but until then I will sit strong in my position. More so then ever. I wasted enough time thinking otherwise and embrace examples like you have set with crowdfunding success. Thats where I'm going next. Doing it modestly. Creating robustly!
In 15 years in animation, 20 years total doing art professionally now. HALF of my life has gone into this game. I get it. Thats why I'm excited about embracing my brand more then ever before.
There's a reason why you have to put your mask on first when a plane is going down. Can't help anyone when you're gasping for life.
Re: Why is the animation community so weak?
I'm trying to wrap my head around mindset, so I'm gonna try write out my understanding of what the artist next evolution level is. Basically:
1. Create/Produce Art (self-financed)
2. Exhibit art (self-financed)
3. Generate interest in art (self-financed)
4. Build up a following to art. (self-financed)
5. Build up relationship to fanbase of art by constantly creating. (self-financed)
6. Have fan-base pick up fiscal responsibility for the creation of art (crowd financed)
7. Remove yourself from circulation of the masses and live off of direct energy exchanges with the fanbase
Is this right?... I'm really asking to try to better understand in a goals and objectives kind of way. I don't think it's right or wrong at this point, just trying to see what the road map is. Any insights?
Re: Why is the animation community so weak?
Step 1-7 feel like the artist's journey to mastery.
If that list seems accurate, could I propose a possible continuation strategy that would, in my opinion, be win/win to EVERY single party related to the animation field. If 1-7 was the journey to master, let's say 8-? is the journey of the master.
8. Expand your overview of art creation. Now create art that is too much work for one artist to realistically create. Or that would take too much time. Or that is beyond the abilities of the creator for execution, but not for inception. Create a piece of art that requires a small crew. Use crowd funding to pay for it's creation. Keep account of the creation pipeline, as well as the production pipeline. Pay close attention to the details, and honor the crowd that funded you by executing this to the BEST of your abilities, cause you set the price. (fanbase funded)
9. Upon successful completion, design an art creation that requires a LARGE crew. Create detailed production schedules. Create ALL the pre-production assets utilizing the small crew from the previous step. Fund the pre-production utilizing crowd-source revenue (fanbase funded)
This next step is where the studio comes in.
10. Studio's switch from single artist pitches, to master pitches, complete with proven production pipeline standards, as well as locked pre-production assets. They get with the property proposal a built in market audience. Creative stays locked, and studio shoulders fiscal obligations for production and distribution, as well as execution of those categories. Artist master retains complete control of creative decisions. Upon successful completion, the studio and the artist are at crossroads. They can continue on the journey, or part ways. If they part all profits should be split 50/50 from their joint ventures. All things created BY the studio belong to the studio, but intellectual rights remain with the artist. If they continue, any and all profits should be used to FIRST pay for the continuation of the property, and what remains can then be split EVENLY between the studio and the artist. I'd suggest letting the studio handle what they do with their money, but it'd be swell if the artist split their 50% stake evenly with all the creative talent in the credits of their piece. (Studio funded)
I think there's a place in here for the union, but I'll come up with that proposal after I find all the holes in this one
Re: Why is the animation community so weak?
I can dig it. Mastery of self is the main goal with me.
But brother, you can totally find a place for the union. But why? I guess this is where we speak different languages on how we define what the Union stands for...like the Justice system, once you learn that police, courts and prisons are traded municipal bounds on the stock market then you realize there's no real justice...and getting into that system only perpetuates it. Regardless of your ideals.
If your ideals are contrary to how the system is run, don't try to change it, cuz it will only change you...instead, build a new one that makes that one obsolete.
Re: Why is the animation community so weak?
Ok first hole.. why will the studio's do that?
Glad ya asked, here's where the union comes in. All things that achieve level 9 get qualified for acceptance to the union. The union then represents the workforce of the property. The studio's can only hire union labor, and union labor can only work on union represented property.
This is attractive to artist's because it provides jobs to pay for existence in a creator designed environment with the potential for growth, while they incubate and do steps 1-7.
This is attractive to unions because it gives it additional revenue, and strength, as well as gives the members skin in the game, so to speak, so might increase activity.
This is attractive to independent creators who value big project planning cause it gives them a next step that helps advance them, the studios, the union, their friends, and their colleagues.
This is attractive to studios because it takes away all the risk. They can make a calculated profit and plan accordingly, as well as focus on their duties in the process. IT should remove loss, or at the least minimize it.
This is only bad for one thing, that I can see so far... and that's greed...
truth is every artist can and should go off and start their own studio. I'm all for that. This is just a theory of how the ecosystem we live in might be able to be structured to provide stability on that journey.
please help me find the holes in the theory.
Re: Why is the animation community so weak?
"But brother, you can totally find a place for the union. But why?"
I'm hoping my last post answered this, but just in case the answer is because it is stronger for the structure of the industry. Three legs provide greater stability than two...
Re: Why is the animation community so weak?
You got to prove to me that the union doesn't make you one legged first.(well, you don't, but for your point to register to me it does)
I don't look at joining the union as a prize. If the success of my company meant joining a union...well, it wouldn't motivate me one bit. It would actually get me to consider a new career path.
Its like working your whole life to be thrown in an old folks home ran by people who just took your money and treated you like poop...damn, no thank you
Establish models you want to live by and watch the need for unions fade.
Re: Why is the animation community so weak?
also, I guess i plan on the assumption, that the union,like all things, really is just a system. Systems want to work. It's in their nature. I STRONGLY suspect with a bit o' use, the ol' girl will kick back into step in no time. OR it will collapse on the side of the road defeated. And then what do we have in place for a back-up plan?... Seems, ANY back-up plan would be MUCH harder to execute, without our Union. We need to embrace it, to evolve. But it NEEDS to embrace us... to EVOLVE. Here's where faith comes in... and you just do what you think is best... it's in ALL of our best interests, to look out for each other... least in my head.
Re: Why is the animation community so weak?
I really don't think we defined union. To me, this is pretty much it's spirit. But with masters with wisdom. I'm no master. Just a cat trying to plot his way through the journey. What I know from my observation of what i've had to classify as "could-a been" masters is when you get through, you don't run off care free. That leaves a void. You train up your replacement, and THEN you go.
WE need a system, to fill all the voids from the "could'a beens"...
To me a union is a collective, of humans of experience and wisdom, who apply all their resources to progress forward into time. That's it. It's present state, is it's present state. That's the A pose. I know with a clear B pose, the breakdown will be easy to find. With enough humans sharing the work, all the in-betweens and clean-up will be no problem...(animation analogy just slipped out, my apologies)


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"Name: Amber Skyline Location: Glasgow, Scotland. Skype or Live Audience: Skype. (I wish I could afford the flight! ;) ) Reason We Should Pick You: You should pick me, as I've been a fan of Brandon's Artwork for a long time (As well as…"
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hi n.n whats up incufriend??? xD
Hello new friend!
Keep the art coming... I'm a big fan!


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I can't even listen to a radio show for more than 5 minutes before someone bitching about Ireland. Annoying. He hasn't structured a team good enough for me to care if he is fired or not.
Unfortunately, I doubt he gets fired because Ross is tight with him and I believe he counts him as part of the new Philbin regime. The proper thing to do would have been to clean the slate completely of the failed Tuna regime LAST YEAR because keeping Ireland on only leads to friction and undercuts the fan trust in the new regime.
No guarantees the next GM would do any better, but at least we wouldn't have the immense fan hatred for the regime until at least 3 years down the road. Wish we could nab some guy from Green Bay and be done with it.


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Will realistic gun control measures (not banning all weapons, let's not be ridiculous) stop EVERY mass shooting? No, of course not, but it will certainly lessen the body counts and prevent many. How is the fact that it won't stop EVERY attack an excuse for inaction? If that's reason enough for not having a law, why do we have any laws at all? Laws against pedophilia certainly didn't stop Sandusky. Let's just drop laws against it then, because it clearly doesn't work.
Ban assault rifles, high capacity clips, and hollowpoints; limit ammo that can be purchased in a given period, ban ownership of guns if you or somebody in your household is a felon or mentally ill, and create a thorough national background check that doesn't rely solely on what information is volunteered. Do any of those stop you from owning a gun? No (unless you have a disqualifier such as felony or mental illness). Will it prevent ALL mass shootings? No. Will it prevent some without infringing on your rights outside of not being able to go to a range with an assault rifle? Yes.
Of course, that's only PART of the problem. We also have to deal with mental health in this country, but good luck with that considering that's that godawful thing that Americans absolutely despise: the health of all citizens. Mental health treatment is extremely costly and most greedy psychiatrists don't take insurance (or are "out of network"). Are we ready, as a nation, to invest in the treatment of those with mental health issues? Hell no, that's er muny!! I really wish that wasn't the case.
Sadly, neither of these things will be addressed. Nothing will change. Our kids will continue to die and it is the fault of all of us, because we as a nation completely fail at protecting them. The blood of 20 kids and 6 adults is on all of our hands' due to our collective inertia, and it most certainly won't be the last. But enjoy your weekend at the range with that really cool assault rifle. Totally worth it!


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Johnsonburg's school year may have ended over a week ago but the Rams' success in the PIAA playoffs this season sure hasn't.
Johnsonburg advanced to the PIAA Class A championship game with an 8-1 win over WPIAL champion California in the PIAA semifinals Tuesday night at First Commonwealth Bank Field in Homer City.
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David Knopfler (born 27 December 1952, Glasgow) is a British singer-songwriter, rhythm guitarist, pianist and cofounder of the critically acclaimed rock band Dire Straits. Knopfler spent three years in Dire Straits. After quitting the band, he embarked upon a solo career as a recording artist, releasing a respectable number of albums over the years. Knopfler initially created smaller record labels, publishing companies, and indie labels. Knopfler has encouraged the advent of online purchasing music in 1995, although he concedes the necessity for other avenues of the distribution and sale of recorded music. Knopfler is a published poet and writer. He wrote the Bluffers Guide to the Rock Music Business.
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iHerb Customer Reviews
Love this!
Posted by Reviewer3100286 on Aug 29, 2012
This is by far the best liquid stevia I have tried. Absolutely no bitter after taste. A little goes a long way. I will definitely continue to repurchase. I highly recommend this product.
ALWAYS in my cupboard
Posted by poshmeetspavement on Sep 01, 2012
This is a staple for me. NuNaturals is my favorite brand of stevia without and bitter or weird aftertaste. These liquid drops are in a flexible plastic container that is great to travel with (put it in your ziplock with your toiletries!) or keep in your purse or desk drawer at the office. These are unflavored drops of stevia that are perfect for coffee, tea, salad dressings, marinades, baking, oatmeal, and anything that needs a hint of sweetness without adding calories. If you are skeptical of stevia, I would give NuNaturals a try because it REALLY IS BETTER. A little goes a long way, so this is a great value.
Excellent, Consistent Product
Posted by Reviewer1237860 on Sep 03, 2012
We've tried several brands of liquid stevia and this has been the best.
Best Stevia on the Market
Posted by 5720571070092917619 on Sep 10, 2012
No bitter aftertaste like other stevia products. Great for coffee, cereal, baking, and just about everything! I even put it on my grapefruit :-) LOVE
Posted by 5017521843205474768 on Oct 20, 2012
Igual que la Stevia en polvo es excelente, para endulzar todo tipo de alimentos, y para hacer postres es ideal, muy práctico. Seguro que los volveré a comprar


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Keep calm and carry on? Stiff upper lip? Not bloody likely. Between the Tesco's self-service queue, sweltering, smothering, overcrowded Tube journeys, and the million and one people cluttering the streets, we Londoners experience more stress than we know what to do with.
But, before you pull a full-on Naomi on the next barista to mess up your coffee order, take a deep breath and a minute or so to read these tips for understanding and coping with city stress — courtesy of our favourite writers, self-development gurus, and anxiety experts. If this blissed-out bunch can't help you CTFO, nobody can.
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Mission Type: Lander, Orbiter
Launch Vehicle: booster plus upper stage and escape stages; 8K82K + Blok D (Proton-K no. 249-01)
Launch Site: Tyuratam (Baikonur Cosmodrome); NIIP-5 / launch site 81L
Spacecraft Mass: about 4650 kg at launch (orbiter/bus: 3440 kg, descent module/lander: 1210 kg)
Spacecraft Instruments: Orbiter: 1) three-component magnetometer; 2) infrared radiometer; 3) radiotelescope; 4) infrared photometer/CO2 absorption strips; 5) ultraviolet photometer; 6) imaging system (two cameras); 7) photometer in visible part of electromagnetic spectrum; 8) cosmic-ray particle detector; 9) energy spectrometer; 10) spectrometer to determine water vapor; and 11) Spectrum 1 instrument to study solar outbursts
Lander: 1) gamma-ray spectrometer; 2) x-ray spectrometer; 3) thermometer; 4) wind velocity recorder; 5) barometer; 6) imaging system (two cameras); 7) penetrometer (on mobile PROP-M); and 8) gamma-ray densitometer (on PROP-M)
Spacecraft Dimensions: Combined orbiter/bus and descent module: 4.1 m high, 5.9 m across the 2 solar-panel wings, and a base diameter of 2 m. Landing capsule: spherical with a diameter of 1.2 m.
Spacecraft Power: Orbiter/bus: 2 solar panels; Lander: Batteries
Antenna Diameter: 2.5 m (high-gain antenna)
Deep Space Chronicle: A Chronology of Deep Space and Planetary Probes 1958-2000, Monographs in Aerospace History No. 24, by Asif A. Siddiqi
National Space Science Data Center, http://nssdc.gsfc.nasa.gov/
Solar System Log by Andrew Wilson, published 1987 by Jane's Publishing Co. Ltd.
Like its predecessor (Mars 2), Mars 3 was successfully sent on a trajectory to the Red Planet. The spacecraft completed three midcourse corrections on 8 June, 14 November, and 2 December 1971.
At 09:14 UT on 2 December 1971, the lander separated from the orbiter and, 4.5 hours later, began entry into the Martian atmosphere. Finally, at 13:47 UT, the probe successfully set down intact on the Martian surface, becoming the first humanmade object to perform a survivable landing on the planet. Landing coordinates were 45° south latitude and 158° west longitude. The bus, meanwhile, entered orbit around Mars with parameters of 1,500 x 190,700 kilometers at 48.9° inclination, significantly different from the originally planned orbit.
At 13:50:35 UT, immediately after landing, the lander probe began transmitting a TV image of the Martian surface, although transmissions abruptly ceased after 20 seconds. Because of a violent dust storm that raged across the planet, controllers surmised that coronal discharge may have shorted all electric instrumentation on the lander. The received image showed only a gray background with no detail, probably because the two imaging "heads" had still not deployed in 20 seconds to their full height to see the surface. After the initial contact, the ground lost all contact with the lander probe.
The Mars 3 orbiter, like the Mars 2 orbiter, had problems with its imaging mission. Because the orbiters had to perform their imaging mission soon after entering orbit, they could not wait until the dust storms subsided on the surface. As a result, the orbiter photographs showed few details of the surface. Additionally, controllers had set the cameras at the wrong exposure setting, making the photos far too light to show much detail. Despite the failure of the imaging mission, both orbiters carried out a full cycle of scientific experiments returning valuable data on the planet until contact with both was lost almost simultaneously in July 1972.
The Mars 2 and 3 orbiters sent back a large volume of data covering the period from December 1971 to March 1972, although transmissions continued through August. It was announced that Mars 2 and 3 had completed their missions by 22 August 1972, after 362 orbits completed by Mars 2 and 20 orbits by Mars 3.
The Mars 2 and 3 probes sent back a total of 60 pictures. The images and data revealed mountains as high as 22 km, atomic hydrogen and oxygen in the upper atmosphere, surface temperatures ranging from -110°C to +13°C, surface pressures of 5.5 to 6 mb, water vapor concentrations 5000 times less than in Earth's atmosphere, the base of the ionosphere starting at 80 to 110 km altitude, and grains from dust storms as high as 7 km in the atmosphere. The data enabled creation of surface relief maps, and gave information on the Martian gravity and magnetic fields.
Mars 3 orbiter also carried a French-built experiment which was not carried on Mars 2. Called Spectrum 1, the instrument measured solar radiation at metric wavelengths in conjunction with Earth-based receivers to study the cause of solar outbursts.


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Test ID: MMAAF
Methylmalonic Acid (MMA), Amniotic Fluid
Useful For Suggests clinical disorders or settings where the test may be helpful
Specific diagnostic marker for methylmalonic acidemia
Genetics Test Information Provides information that may help with selection of the correct test or proper submission of the test request
A Biochemical Genetics Laboratory genetic counselor or consultant approval is required prior to specimen collection. The prenatal diagnosis is made on a dual, complementary approach involving direct chemical determination of methylmalonic acid (MMA) (at Mayo Medical Laboratories) in cell-free supernatant of amniotic fluid and molecular analysis for previously identified familial mutations or complementation studies (not currently offered at Mayo Medical Laboratories) in cultured amniocytes. Both tests are required for a definitive diagnosis. The amniocentesis must be performed between 16 and 19 weeks of gestational age. Previous knowledge of the complementation group (typically labeled as mut0, mut-, CblA, CblB, CblC, etc), associated homocystinuria, responsiveness to vitamin B12 of the affected child, and B12 intake of the mother during the pregnancy (if receiving treatment) are critical to secure an accurate prenatal diagnosis.
Clinical Information Discusses physiology, pathophysiology, and general clinical aspects, as they relate to a laboratory test
Methylmalonic acid (MMA) is a specific diagnostic marker for the group of disorders collectively called methylmalonic acidemia, which includes at least 7 different complementation groups. Two of them (mut0 and mut-) reflect deficiencies of the apoenzyme portion of the enzyme methylmalonyl-CoA mutase. Two other disorders (CblA and CblB) are associated with abnormalities in the adenosylcobalamin synthesis pathway. CblC, CblD, and CblF deficiencies lead to impaired synthesis of both adenosyl- and methyl-cobalamin.
Since the first reports of this disorder in 1967, many hundreds of cases have been diagnosed worldwide. Newborn screening identifies approximately 1 in 30,000 live births with a methylmalonic acidemia. The most frequent clinical manifestations are neonatal or infantile metabolic ketoacidosis, failure to thrive, and developmental delay. Excessive protein intake may cause life-threatening episodes of metabolic decompensation and remains a life-long risk unless treatment is closely monitored, including serum and urine MMA levels.
Because the morbidity and mortality of methylmalonic acidemia are high, genetic counseling and prenatal diagnosis are frequently sought by families with 1 or more affected children. The prenatal diagnosis is made on a dual, complementary approach: enzymatic assays in cultured amniocytes or molecular analysis for previously identified familial mutations and direct chemical determination of MMA in cell-free supernatant of amniotic fluid from amniocentesis between 16 and 19 weeks of gestational age.
Reference Values Describes reference intervals and additional information for interpretation of test results. May include intervals based on age and sex when appropriate. Intervals are Mayo-derived, unless otherwise designated. If an interpretive report is provided, the reference value field will state this.
<1.50 nmol/mL
Interpretation Provides information to assist in interpretation of the test results
A significantly increased amniotic fluid methylmalonic acid concentration supports a diagnosis of methylmalonic acidemia.
Cautions Discusses conditions that may cause diagnostic confusion, including improper specimen collection and handling, inappropriate test selection, and interfering substances
If termination is under consideration, validation of an abnormal result should be done by molecular analysis for previously identified familial mutations or assay of (14)C-propionate fixation and cobalamin uptake in cultured amniocytes, and no medical action should be undertaken before the completion of all in vitro studies.
A prenatal diagnosis of methylmalonic acidemia is made only if there is a commitment to perform molecular analysis for previously identified familial mutations or have the amniocytes analyzed at an independent laboratory (not currently offered at Mayo Medical Laboratories with the exception of MHCZ / Methylmalonic Aciduria and Homocystinuria, cblC Type, Full Gene Analysis).
Previous knowledge of the complementation group (typically labeled as mut0, mut-, CblA, CblB, CblC, etc), associated homocystinuria, responsiveness to vitamin B12 of the affected child, and B12 intake of the mother during the pregnancy are critical to secure an accurate prenatal diagnosis.
Supportive Data
We have performed more than 60 prenatal diagnoses of methylmalonic acidemia and identified 13 affected fetuses. Currently, a finding of elevated methylmalonic acid is verified by measuring the concentrations of propionylcarnitine and homocysteine using mass spectrometry-tandem mass spectrometry methods.
Clinical Reference Provides recommendations for further in-depth reading of a clinical nature
1. Fenton WA, Gravel RA, Rosenblatt DS: Disorders of propionate and methylmalonate metabolism. In Scriver's The Online Metabolic and Molecular Basis of Inherited Disease (OMMBID). Edited by D Valle, AL Beaudet, B Vogelstein, et al. McGraw-Hill Companies, 2008, Chapter 94 pp 1-47
2. Sweetman L, Rinaldo P: Prenatal diagnosis of organic acidemias with amniotic fluid. Organic Acidemia Association Newsletter 2000;10:8-9
3. Lacey J, Magera M, Matern D: Methylmalonic acid quantitation in serum, urine and amniotic fluid: A method modification with benefits. J Am Soc Mass Spec 2010;21(5):Supplement 1. S44
4. Evans MI, Duquette DA, Rinaldo P, et al: Modulation of B12 dosage and response in fetal treatment of methylmalonic aciduria (MMA): titration of treatment dose to serum and urine MMA. Fetal Diagn Ther 1997;12:21-23


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It's time to get Redan back in shape. The main goals for Sunday November 6th are to replace as many pin positions as possible (hopefully 5 or 6) and to round up and remove all of the garbage. The more people who show up, the quicker we can get to lunch and play some dubs.
Please bring shovels, post hole diggers, and other implements of destruction. I will provide dogs and burgers and trash bags. I also have 5 or 6 collars to get started with and more on order.
We will also need at least one 80lb. bag of Quikrete for each pin position we put in.
I would also like to get all of the trash bagged and transported up to the parking lot so a small trcuk would be nice.
And if somebody wants to bring a big honkin' chain saw; perhaps they can work on the down pine tree and uncover the buried long pin for holes 6 & 12.
Please bring your friends and post on this thread if you can make it and let me know what you can bring or how you can help.
Thanks for your help in advance.


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I have a Samsung Galaxy Ace S5830 running 2.3.3 and I took a lot of notes in the default Notes 2.0 application. I want to reset the system and I need to back them up somehow before I perform the reset.
Take the 2-minute tour ×
Android Enthusiasts Stack Exchange is a question and answer site for enthusiasts and power users of the Android operating system. It's 100% free, no registration required.
How can I save notes taken in the Galaxy Ace's Notes 2.0 application to restore after a system reset?
Install Titanium backup - (this requires root access) from Play store and you can backup thinks like sms/call logs/apps and app data. In your case, you might want to backup the app and the app data for that particular app, save your backups. Once you restore the phone, you can use Titanium to restore that app and data.


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The Community of Disc Golfers and About All Things Disc Golf
I'm a frustrated left-handed forehand thrower who started playing Spring 2010 and I need some advice on getting better distance and more consistent throws.
I don't have the arm strength or athleticism to get decent distance on a backhand throw (LH or RH), so I've gravitated to driving LHFH for anything but really short hyzer holes of less than 200 feet. My results have been less than spectacular, with my best drives going about 275 feet (and there are few of those).
I've seen all the videos online and read numerous articles, but I have some questions that I would like to know the finals answers to.
Question 1, The Grip. I've tried stacking my fingers and tucking the index behind the middle, but I can't get any control unless I use the fan/spread grip with middle finger against the inside rim and the index against the underside pointing to the center. My question has to do with the positioning of the thumb in my grip. I've heard that it should run towards my middle finger and pinch there, and I've heard that it should run parallel with my index finger and pinch on the joint where the index finger meets the hand. Is there a consensus on this?
Question 2, The Snap. I understand what snap is on a backhand throw but what exactly is the snap on a forehand throw? How do I know if I'm getting it/enough of it? What am I looking for from the disc? What am I looking for physically from my arm/hand?
Question 3, The Follow-Through. I've found conflicting advice regarding what the follow-through should look like (or if there should be any follow-through at all). Some places tell you to let the disc pull itself from your grip as your arm makes a full move around your body, but others say to stop your arm abruptly, which causes the disc to eject. Which is correct? In either technique, where should the release point be?
I'm sure I'll have more questions if this gets discussed, but getting some answers to these would help me.
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© 2015 Created by Terry "the Pirate" Calhoun.


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SAVE Isabella 12 x 10 Gazebo
Lightweight portable gazebo brings all-weather comfort to any gathering.
Portable gazebo assembles in minutes for 120 sq. ft. of shade.
Offer your picnic or summer party guests a cool, elegant haven against sun and rain! Weighing just 34 lbs., this spacious 12 ft. x 10 ft. gazebo fits in a handy carrying bag yet offers ample room for guests, tables and chairs. The sturdy aluminum frame assembles easily without tools, featuring a simple leg hook system that keeps the gazebo taut and in place.
Blocks 90% of UV rays and lowers temps up to 20 degrees.
The cover's unique all-weather fabric blocks up to 90% of all UV rays while venting warm air--lowering temperatures underneath by up to 20 degrees. It even resists fading, cracking, mold and mildew, while being a breeze to clean for many summers to come.
Take it to any picnic, tailgate party, barbecue or campsite.
• 120" x 144" x 130"--weighs 34 lbs.
• Weather-resistant fabric blocks up to 90% of UV rays
• Powder-coated aluminum frame is lightweight and easy to install
You'll have it made in the shade, with an Isabella Gazebo from Brookstone.
Isabella 12 x 10 Gazebo
Isabella 12 x 10 Gazebo
Our innovative products will provide you and your family with years of enjoyment. And with the Brookstone Protection Plus service and replacement plans, you'll have the added peace of mind knowing that if the unexpected does happen, we will simply repair or replace your covered product. Our enhanced coverage goes above and beyond the manufacturer's warranty, saving you time and money.
- 2-Year Extended Replacement Plan $19.99
- 3-Year Extended Replacement Plan $29.99
Isabella 12 x 10 Gazebo
Isabella 12 x 10 Gazebo
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Lewis Stokes
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Doug Rockwell
Gator Harley Davidson
with Big Red.
Hurricane Dockside Grill was on hand with food and refreshments
Photo 5 of 14
Big Red, daydreaming about taking this bike home!
The three bikini contest winners
People signed up to win a weekend golf outing!
Big Red with a very young gator
Hurricane Dockside Grill was on hand with food and refreshments
Big Red with the ladies from Hurricane Dockside Grill.
Lots of vendors were on hand
Folks checking out the great selection inside
This display caught a lot of attention inside the showroom
The Hayfire Band performed all afternoon
A lot of people were watching the Hayfire Band perform.
Checking out some of the great new Harley's
A great selections of Harley Davidson motorcycles
Another view inside the showroom
Doug Rockwell


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$4.99 flat rate shipping. See other shipping options.
You're a fighter – no matter what's getting you down, you stand strong and push on. The Michigan Wolverines take the same approach – fighting every game day for another victory! Support your Wolverines and the fight against breast cancer with this BCA All Fight College tee from adidas. It features "all fight" lettering screen printed with a Breast Cancer Awareness ribbon and the Michigan wordmark across the front. A portion of the proceeds will go towards funding breast cancer research, making you an essential part in the fight against breast cancer.
- 100% Cotton fabric
- Imported
- Officially licensed collegiate product
- Screen print graphics
- Tagless collar
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Manufacturer direct items are shipped directly from the manufacturer. These items are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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Full Potential, running, triathlon, coaching
Our aim is to empower runners, whatever their experience or starting point, to understand and believe in their training. Through our running coaching, training plans and training days, we want to inspire and motivate you to achieve your goals and keep running as a constant enjoyable part of your life.
Steve Prefontaine Animated StoryWin this wonderful animated book in our Autumn competition, click 'read more' to enter.
Our roll call of success!Richard reflects on the most successful start to the year ever for our runners.
A day in the life of a running coachAn interesting insight into one of our coach's days
The benefits of a warm weather training campGet the most out of your time away focusing on your running
Garmin Forerunner 225 - Garmin Goes WirelessAll heart, all on your wrist.
Running TechniqueIs there a right way to run? If so, what is that way? A simple question with perhaps a less than simple answer!
The North Face Rolling Thunder Bag ReviewBen takes a look at this awesome bag from The North Face
Book Review - Believe Training JournalLauren Fleshman, Roisin McGettigan-Dumas
Book Review - Quick Strength Training for RunnersJeff Horowitz
Book Review - Complete CalisthenicsAshley Kalym
Book Review - High Performance Training for SportDavid Joyce and Daniel Lewidon


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Main Content
Getting out of the pool to grab another frosty beverage is always such a pain during hot summer days — until you score yourself this Inflatable Floating Cooler! This portable, refreshment station inflates and deflates with ease so it's easy to tote along to any water-bound Illinois fan gathering. With individually numbered cup holders and vibrant team-spirited graphics along its surface, this cooler will ensure you sip, swim and stay cool in the utmost of Illini pride!
- Built-in handles for easy carrying or tying
- Clean with warm, soapy water
- Deflates for easy storage
- Four numbered cup holders
- Holds up to 32 quarts
- Imported
- Made of thick, durable polyvinyl
- Not for children under 13 years
- Officially licensed collegiate product
- Team logo and colors
- Warning: this is product is not a toy or life-saving device
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Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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Nb: infants must be under the age of 2 and
children must be under the age of 12 at the time of
Small apartment house "Lannaz-Résidence". On the outskirts, 3 km from the centre of Crans, in a sunny position, on a main road. In the house: lift, washing machine (for shared use, extra). Parking (limited number of spaces). Restaurant 600 m. Skisport facilities 3 km. The bulding is on sloppy grounds. Floor are considerated as levels calculated from the bottom. Bus stop Lannaz: shuttle bus operates in Winter and from the end of June up to mid-September. Parking only for one car. 3-room apartment 82 m2 on 1st floor: living/dining room with open-hearth fireplace and cable TV (flat screen). 2 rooms, each room with 2 beds. Kitchen (oven, electric coffee machine), fondue Set (cheese). Bath/bidet/WC, shower/WC. Balcony, south facing position and west facing position. Very beautiful view of the mountains and the valley. Maximum 1 pet/ dog allowed.
Iglu acts as a travel agent for disclosed principals/tour operators, further details
of which will be made available at the time of booking. Your holiday contract will
be bound by the tour operators terms and conditions.
Prices are shown for a basic room or unit, can be subject to change and are indicative
until time of booking. Please call on 020 8544 7114 for prices for other travel
and room options for this property.
The price shown includes 7 nights accommodation,
on an accommodation only basis.
Prices shown are per person per week based on maximum occupancy. Descriptions and
quality ratings are provided by the Tour Operator (or one of the Tour Operators
where similar holidays are offered by more than one supplier). We reserve the right
to make minor adjustments to the description or rating based on staff and customer
feedback. For payments by credit card, a 2.5% credit card charge (4% for AMEX) will
be added to your invoice. If you pay by a UK issued debit card, there is no charge.
All bookings are subject to a £5 per person Passenger Admin Fee charged by Iglu.com.


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The Santa Clara Bicycle Advisory Committee is looking for new members. Interested applicants need to either live or work within the City of Santa Clara.
Contact Marshall Johnson at 615-3023 or email@example.com for applications. Applications must be received by Friday October 19, 2012.
Click here for information on the Bicycle Advisory Committee.
City of Santa Clara
The City of Santa Clara is not responsible for the content of external sites.
Thank you for visiting the City of Santa Clara website.


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Designed to appeal to students, Canson XL papers are developed in consultation with art professors who use Canson's professional artist papers as a benchmark. As a result, Canson XL Mix Media Pads and Sheets incorporate many professional performance characteristics — at a value price!
Mix Media Pads — Canson XL Mix Media Pads contain more sheets at a comparable or better price than other value pads in the marketplace. The 98 lb (160 gsm) paper features heavy sizing, making it excellent for watercolor and acrylics, as well as dry media. The fine tooth paper erases well and blends easily. The true size sheets are
Sheets, Pkg of 5 — Canson's 140 lb (300 gsm) Mix Media sheets are a heavyweight paper with heavy sizing for both wet and dry media, including acrylics, watercolors, pen, and pencil. The paper's
® Canson is a registered trademark. ® XL is a registered trademark.


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A classic comfort side dish that is full of flavor even after removing half the calories and fat.
Buy this ingredient
1. Stir together milk, broth, flour, mustard and onion powder in microwavable dish.2. Microwave cream sauce on HIGH for 4-6 minutes, stirring well every 2 minutes. Cook until thick and stir in cheddar cheese.
3. Spread broccoli into lightly sprayed 11 x 9-inch baking dish. Pour cheese sauce evenly over the top.4. Sprinkle with mixture of cornflakes and Parmesan cheese topping.
5. Broil until golden brown.
Nutrition Information: cal 120, fat 4g, sodium, 330, carbs 11g, fiber 2g, protein 7g
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