text:
Popular Hot Rodding Photo Contest Winners - What's In Your Garage?Written by Johnny Hunkins on February 1, 2013 Contributors: Robert McGaffin, Christopher Campbell And the winner is...
One of the coolest things about PHR's annual readers' rides issue (otherwise known as the photo contest issue) is that anybody can get in. In fact, when we announced the photo contest in the Aug. '12 issue, we promised we'd do our best to print all of them—and that's exactly what we're doing. If you sent in photos of your car by our August 1 deadline and provided all the technical stuff we asked for, your car is right here. The only exception is that we're going to run our PHR ladies in a later issue. (If your car isn't in here and you sent us an entry, send a short email to firstname.lastname@example.com with the subject line "Photo Contest," and we will answer your questions.)
Every time we do the annual readers' rides issue, it's a reality check—and not only for the readers, but also for the PHR staff. Magazines are often guilty of making it look like the streets are crawling with six-figure Pro Touring machines, 8-second street/strip cars, rat rods, rare barn finds, and gassers. The reality, however, is closer to what you'll find in the pages of this story. These are the real-world cars that you sweat over, dream about, drive to the mall in, blow your 401(k) on, experiment with, and spend your free time on. And if your car isn't in here, one similar to it probably is.
The guys and gals who own these 44 cars have had to make difficult choices and big sacrifices to get where they are. (Think building a Mustang is hard? Try building a Rambler.) Each owner has gone through his or her version of mechanical and financial boot camp, which is alternately frustrating and rewarding. As you read through the various vehicle descriptions, it's interesting to see where the attention and the dollars have been spent, and where the unexplored opportunities lie. All 44 of them, however, are finished, running muscle cars—not imaginary bogeys. Love 'em or despise 'em, they're running unfettered on the street, and their owners took the time to take some great photos and send them to us. Moreover, their many stories resonate with us all. They reveal the regret of long lost cars, the exhilarating memories of misspent youth, the sacrifice and frustration of restoration, the priceless moments spent with family and friends, and the final triumph of success. Each of our 44 cars has captured that lightning in a bottle. And so have you. It's sitting right there in your garage.
And The Winner Is...
1965 Chevy Malibu
Bryan Goff, Petaluma, CA
We can make a darned good argument that Bryan Goff is perhaps the quintessential DIY hot rodder. His story is one of hard work and perseverance; not only is this the first car he ever owned (he bought it in 1994), he also built it almost entirely himself. A 15-year veteran of the U.S. Coast Guard, Bryan traveled extensively with his Malibu, moving cross-country twice with his classic Chevy, not to mention the length of both the East and West Coasts. "The car was my daily driver until I put over a hundred thousand miles on it," Bryan writes. When he had the opportunity to be stationed in San Diego, Bryan was able to move the A-body to the nearby safe haven of his parent's garage in Petaluma, California, which gave him the chance to perform the complete restoration he always wanted. "I started the teardown in July of 2005," writes Bryan. "I thought it was going to be easy to restore. It wasn't! I just began by taking it all apart. Once I had it all apart, I started to build the engine." Bryan continues: "I just dug my brain into the magazines and the web researching parts and prices. Once the engine was done, I started to buy all the parts for the car. I'd save my money up, and buy a part, or two, or three per month."
With a garage full of killer parts, Bryan would hang out and stare at them, reading all the directions. Once the car was painted (the only part Bryan didn't do), it was time to dive into the wrenching. "I started to realize what I was building," Bryan writes. "This was the part where all of my reading and watching the videos would come into play. Little did I know that putting a car back together was a lot tougher than taking it apart. It was one of the most difficult, challenging, and rewarding things I have done in my life." In March of 2012, it was finally finished. All that was left was for Bryan to cherish the moment. "When I fired up the car and drove it 20 feet onto my driveway, it was surreal. Even though no one was around to see it, the sense of pride and accomplishment that I had was unbelievable."
Building the car was hard enough, but entering the Popular Hot Rodding photo contest brings with it another level of difficulty. Perhaps it was reading all those magazines, but the imperative of taking good pictures had also soaked into Bryan's brain somewhere in between reading all those tech articles and instructions. Bryan shot his pride and joy with just a $400 Canon S100 point-and-shoot digital camera—not some high-end pro setup. The key to winning was paying attention to our photo tips on lighting, composition, and location. And, of course, having a bitchin car worth all the trouble!
By The Numbers
Engine: 8:1 compression 383ci small-block Chevy with Edelbrock Performer RPM heads, Edelbrock Victor Jr. intake, Edelbrock hydraulic roller cam, and Demon carb
Trans: Turbo 350 three-speed automatic
Rearend: original 10-bolt rearend
Suspension: stock rebuilt suspension with heavy-duty springs and Lakewood "slapper" bars
Brakes: manual front disc brakes, rear drums
Wheels & Tires: ARE Torq-Thrust with BFG radials
Cool Factoid: The first letter of all the fourth-gen X-bodies (Nova, Omega, Ventura, Apollo) spell out the word "Nova," the least expensive of the quartet.
Johnny's Pick
1975 Olds Omega
Mark Weber Sturgeon Bay, WI
I am a big fan of forgotten cars, and Mark Weber's '75 Olds Omega is the poster child for cars well off the beaten path. It's attractive and familiar looking, yet it's curiously different on closer inspection. The thing that sealed it for me is the fact that Mark has collected all four fourth-gen X-bodies; he's also got a '77 Nova, a '75 Pontiac Ventura, and a Buick Apollo. This one has the original 110hp 260ci Olds V-8, which makes it rare indeed. These cars were seldom hot rodded by the little old ladies who owned them, and can often be found in great shape for a great price; they truly make wonderful low-buck hot rods. Even after new paint and interior work, Mark says he's got less than $9K in his mint Omega. While it's not the fastest thing on the road, Mark has been able to afford collecting the entire stable of fourth-gen ('75-79) X-bodies for about the same price as a belly button '69 Camaro. And this Olds, Mark says, also sounds great and knocks down good fuel economy with its stock Rochester DualJet carburetor.
By The Numbers
Engine: stock 260ci Olds V-8 with stock manifold, heads, and Rochester DualJet carburetor
Trans: Turbo 350 three-speed automatic
Rearend: original 10-bolt rearend
Suspension: stock rebuilt suspension with heavy-duty springs and Lakewood "slapper" bars
Brakes: manual front disc brakes, rear drums
Wheels & Tires: ARE Torq-Thrust with BFG radials
Cool Factoid: The first letter of all the fourth-gen X-bodies (Nova, Omega, Ventura, Apollo) spell out the word "Nova," the least expensive of the quartet.
Christopher's Pick
1969 AMC Rambler
Todd Sears, Geneseo, IL
I'm irrevocably attracted to the oddball projects, so my interest was instantly piqued when I came across Todd Sears' '69 Rambler. While good-looking little boxes, they were never meant to be sexy or muscular, just practical and reliable. That's what makes it so much fun to outrun muscle cars in one—especially with an even more oddball powerplant like a turbo Jeep 4.0 six-cylinder. So Todd flies under the radar, stands out at shows (in a good way), manages good mileage, comes off like a gearhead mad scientist when people look under the hood, and he did it all on an everyman's budget. That's the hot rodding equivalent of the royal flush, and why I chose it as my personal favorite for this year's readers' rides contest.
Of all the muscle cars Todd Sears has had, the Rambler is his favorite to hop in and go for a drive. In his search for a family friendly project on eBay, the Rambler popped up. The 199ci, one-barrel under the hood wasn't his first choice for power, but the low miles and fresh blue paint was the clincher. With fuel costs on the rise, a post on an AMC board about a Jeep 4.0 swap got his attention. Now the Rambler knocks down 24 mpg. Recently the Rambler got an even bigger power upgrade; Todd plumbed in a T60 turbo, which should keep most muscle cars in the Rambler's rearview.
By The Numbers
Engine: '97 4.0L Jeep inline-six with COMP Cams RV cam, '99 Jeep intake, and T60 Masterpower turbo
Trans: 904 TorqueFlite with 2,200-stall converter
Rearend: narrowed AMC Twin-Grip rear with 3.08 gears
Suspension: stock with 3-inch lowering springs up front, de-arched leaf springs and Addco sway bar in the rear
Brakes: Ford Granada discs up front, '97 Ford Crown Vic discs in the rear
Wheels & Tires: 16x7 and 16x8 American Racing Hopster wheels with 215/55R16 and 225/55R16 Nitto 450 tires


text:
NBA Slideshow
Cricket live: England v Pakistan
Ball-by-ball commentary as England set Pakistan 565 to win the Second Test More »uk.sports.yahoo.com
Hot Football Transfer Gossip: Stoke and Palace 'battle for Berahino', Chelsea to 'replace Costa with Morata'
Boss of Goss Kevin Darling mulls over a £20m-plus war for a striker who has done almost nothing for the past year except sulk - and it's all go as usual at Stamford Bridge More »Kevin Darling - 9 hours ago
La Liga Leaks: Gameiro 'sparks transfer battle between Barca and Atletico'
Senor Rumor Andrew Gaffney on the latest potential comings and goings in the Spanish top flight More »Andrew Gaffney - 4 hours ago
Premier League: I will accept criticism from Manchester United legends, insists Mourinho
Manchester United boss Jose Mourinho says he is prepared to take criticism from club legends on the chin, as he prepares to convince sceptics in his first season at the club. More »90Min - 3 hours ago
Premier League: Arsenal star slams Wenger's lack of summer signings
Arsenal defender Per Mertesacker has admitted that it was a 'miracle' that the Gunners finished second in the Premier League last season, while also delivering a very public hint for manager Arsene Wenger to move along with his summer's transfer business. More »90Min - 4 hours ago

subset: commoncrawl


text:
October 11, 2012
Kayli Vee's FNB Whisky Live experience
Kayli Vee Levitan
I am Kayli Vee Levitan.
A Durbanite living in Cape Town, and absolutely loving it.
I still say things like "Spraaite" and "fyish".
Copywriter by day and Foodblogger by night – I write reviews to make you foodgasm, and ads to make you weep.
Or at least, I try.
Words are my friends, they make me happy. And so do the people who read my articles, whether they love them, or not. It's all about learning.
Have a look at www.food-blog.co.za for the food thing.
The ads, well, you'll see those on TV.
Over and Out.
Trying out new things is my cup of tea, or in this case, my glass of whisky. I attended the FNB Whisky Live Festival at the Cape Town International Convention Centre (CTICC) on Thursday October 4, 2012, where I eye-balled, sniffed, sipped, sloshed and gargled countless varieties of the golden liquid.
The FNB Whisky Live Festival has become one of the largest commercial whisky shows in the world, and features more than 150 varieties of tipple. Although the prices vary, a standard ticket set one back around R180, which gave us a tasting glass, 12 tasting tickets and a R10 food voucher amongst other purchase-based discounts. Each whisky cost a certain amount of tickets to taste but you were able to purchase more if you needed to.
One of my highlights was the Johnnie Walker tasting zone, where for four tasting tickets, small groups were led through a maze-like set of rooms, tasting whisky as we went. Of the three we tasted, the smooth Johnnie Walker Blue was my favourite, followed by Platinum Label and finally, Gold Label Reserve.
But the evening did not only cater for whisky lovers, it also took the drivers into consideration. For R90 you could get a designated driver's ticket, which allowed you access into the venue, a few non-alcoholic drinks and a R30 food voucher – a nice way for everyone, drinking alcohol or not, to enjoy the event.
Another highlight was Pierre from Bunnahabhain (Bu-na-Ha-veen) who took the time to explain the effort and love involved in whisky making, as well as the entire drinking experience. Although I was unable to meet all the exhibitors, Pierre's attention to detail impressed me.
My friend and I enjoyed the music, food stalls, promotions, tasting workshops, Pick n Pay's canapé and beverage pairings, and the Schwepps Royal Mixing Zone where we learnt how to make delicious cocktails. For dinner I had a chicken prego roll, while my friend had a beef espatada with mash, but the menu was extensive and affordable, with curries, wraps, chicken kebabs and sandwiches.
It was a very interesting and educational experience, and different to the food and drink events I have attended, which I enjoyed. I thought that I wasn't partial to whisky, but apparently I am, however, the good ones are simply out of my price range.
These are few images of the FNB Whisky Festival:
Kayli Vee Levitan is a writer for FoodBlogCT. Follow her on Twitter at @KayliVee for more of her foodie escapades.


text:
To honor survivors of sexual violence and to help bring comfort to their families, friends, and our community, we will be gathering in the garden behind the Nomahegan building on the Cranford campus to show our support and help raise awareness of this issue. Glowsticks will be provided to all participants, thanks to the Student Volunteer Organization. Open flames are not permitted on campus. We thank you for refraining from using candles or lighters.
Links:[1] http://besafenorthjersey.tumblr.com
[2] http://www.nsvrc.org/states-territories/new-jersey
[3] http://www.nsvrc.org/event-type/saam


text:
- 1 cup instant oatmeal
- 2/3 cup vital wheat gluten
- 2 tsp ground fennel seed
- 1 tsp marjoram
- 3 tbsp soy sauce
- 2 tbsp HP sauce
- 1/2 tsp browning sauce (optional)
- 1/4 cup (or more) water
Ooo this sounds/looks incredibly good! Thanks for posting the recipe.
Love your blog! :]
I have followed your blog for a few months now. I always enjoy looking at what you make and I'm kicking myself for not trying anything yet. I just wanted to say thank you for updating regularly with such interesting recipes and fantastic pictures!
Yum, that meatloaf looks tasty! Tempeh also makes an awesome sausage roll filling... good stuff.
Hi and thanks so much for your blog! I hit it every day---and learn a lot!!
Yesterday I made your meatballs. They came the best out of any attempt I've made so far to make authentically Italian meatballs in many ways---preparation, cooking procedure, texture, look. We're Italian New Yorkers here, and I've always made a mean "carni" meatball. It kills me that I haven't mastered a veganised version yet. All I had to do was tweak your flavors for our tastes. Other than that, they were "real"!
I had a question. As you mentioned today, I also noticed a bit of a bitter taste in them. You said that the tempeh will taste less bitter if it's boiled first. Do you boil it while it's still in one piece or after it's been grated?
And I imagine it would have to cool off before I start mixing it with the gluten. It might start stringing up too much. Yes?
I am very interested in your spice blend for the meatballs, if you don't mind sharing.
Yes, boil the tempeh while it is whole, or cut into large squares to fit the pan. The let it cool before grating and before adding the wheat gluten.
My old recipe was awesome and included ground beef and pork and eggs (binder). Omitting that, the important flavoring ingredients were lots of grated cheese, lots FRESH parsley, and minced onion (salt/pepper too). Meatballs should never taste like balls of plain meat (or bitter tempeh)!
So last night as far as seasonings go, I omitted all the other stuff you had listed except for doubling the onion powder, keeping the garlic powder (even though my original meatballs NEVER had garlic in them), soy sauce and kitchen bouquet, using more parsley (only dried because I was out of fresh), 1/4 cup grated "cheese". I probably used about 1/2 cup of gluten as well, instead of 1/3, and needed a bit more water. I changed the volume of the recipe with my modifications, so it needed more help to get held together.
Overall, my husband and I thought the look and chewing consistency were very good. It tasted good too, but definitely need more flavor. I'll put more "cheese", onion, and parsley next time, preferably fresh onion and parsley, and maybe some salt or more soy sauce. The next time I make them, I'll blog you with my results.
I took some pictures, and they look great. I really appreciate your help!
Thanks, Teresa!
The grated cheese sounds like a great idea, as well as the fresh parsley. I find grating in onion and garlic works well--better taste than the powder but no chunks that keep the meatball from forming. I also find that if the balls can simmer for a few hours in a real good sauce they taste even better since they soak up some of the sauce's tomato-y goodness.
Once again, something to add to my "must try" list.....my blog's just going to become a carbon copy of "Vegan Dad"!!
My oldest daughter loved meatloaf when we were eating meat, and I haven't been able to find a suitable replacement for her yet.
I'm followng your blog for awhile now and almost everyday I save your post for trying out later. I have already so many saved posts that I have to print that it's almost a book. So here is my question: when are you going to publish your own cookbook?
Glad you are enjoying the blog. It's not like I haven't thought about a cookbook, but in many ways this blog is my cookbook. A free cookbook accessible to millions. Plus, I am up to my neck right now in research for my book on Pennsylvania (the book that will get me tenure is priority one right now) so there is little time for other projects. I also think there is a real freedom in the blog; here are my recipes, take them or leave them, commment if you want to. No secret recipes, hidden techniques, no expectations. I am no culinary expert, just a dad making food for his kids.
Thanks for sharing so many wonderful vegan recipes!
That's what I REALLY appreciate about your blog. You're so willing to share all of your recipes.
I can't tell you how many times I hit a blog, see a beautiful AND delicious looking photo, scroll down hoping so badly to find the recipe and...nothing. It's very disappointing (and annoying). That's why I love Vegan Dad and Fatfree Vegan Kitchen.
They have their cake but won't give me a chance to eat it too :(
Sounds like a catchy slogan for the blog:
Vegan Dad: where you can have the recipe for my cake so you can eat it, too!
Oh my. All my past attempts at "meat"loaf have fallen apart, and now that I am in love with tempeh this looks like the perfect recipe to try. Thank you!
That sounds perfect, Vegan Dad!
And so true!
This "meat"loaf recipe looks great! I have been looking for the perfect one, and your combo of tempeh and gluten sounds like a winner!
I just wanted to comment that I made these tonight (halved the recipe since it was just for 3 of us) and they were AWESOME! I haven't made perfect tempeh burgers yet, but this recipe has inspired me to do so. Soon. The glaze on these was so yummy and the texture was perfect. Thanks for another awesome recipe!
Yesterday was dreary and rainy, and I needed some comfort food, so I decided to make these mini-loaves. They were amazing! Perfect texture, excellent flavor. Plus, they smelled so good while they were baking. And that glaze--mmm!! My husband and I were completely blown away with how well they turned out. Well done, Vegan Dad!
I've been enjoying your blog. All these kid-friendly recipes are great--I can't wait to make some of them for my daughter (though she is only 3 months old now, so it will be a while). Thanks for all the great ideas!
(From one Vegan Dad to another): "Nice work man these were quite tasty!" I look forward to trying more of your tempting creations!
Sincerely, Brett
(aka vegandietitian's husband)
Vegan Dad...I read your blog every day. I am making these mini meat loaves tonight...very excited!! Thanks for putting up so many great recipes. I will let you know how it goes. I'm serving it with mac & cheese (vegan of course) and mixed veggies (just like the ones in your pic). :)
They were absolutely delicious! My husband loved them. I halved the recipe to make 5. We only could eat two...so I'm looking forward to leftovers over the weekend. Thanks so much Vegan Dad!!
I am so glad they worked out! Anything labelled "best ever" better live up to the hype, right?
I made this for dinner last night and it was delicious! And I'm one of those folks who has been afraid of tempeh since the first time I tried it I thought it was vile. Boiling it definitely cuts the funky flavor tempeh has.
I did change things slightly. I added some worcestershire sauce and ketchup to the "meat"loaf mixture and didn't use HP or browning sauces, and cut back on the brown sugar in the glaze. I also baked the whole thing in an 8'x8' pan. I love the firmness of it.
Thanks for getting me to try tempeh again, and actually like it!
I made this recipe tonight and it was brilliant.
The moment I began mixing the grated tempeh with the gluten I thought, "This man's a wizard." Coating the tempeh with the flour before adding your sauces and liquids gives it a beautiful even texture in the baking process. Pure genius.
I can't wait to experiment with the flavours in it too. As you said, the spices as an ingredient are very flexible.
hey VeganDad, thank you so much for this recipe! I needed a vegan meatloaf to serve my family at Thanksgiving, so I knew I should check your blog for a recipe that wouldn't let me down. I followed the directions, except I couldn't find HP or browning sauce, so I used A1. the texture was dense and chewy like meat, which was a nice contrast to the stuffing. (sometimes vegan meatloaf has so much bread and grain in it that it tastes like stuffing, you know?) my omnivorous parents each ate one and said they liked it and would eat it again. my vegan boyfriend loved it. the glaze is great. thanks so much for making my first attempt at cooking Thanksgiving dinner a success!
Minneapolis, MN
i'm not sure whether or not you ever check comments left on old recipes, but i just wanted to post that i made these tonight (halving the recipe; minus the HP and browning sauce, adding some ketchup in place) and thought they were wonderful!! my omni father gobbled two of them up before i had finished my first. :P well done, as always! thank you for all of the fantastic recipes!
I tried your recipe last weekend (from The Vegan Dad Cookbook) and I thought it was very tasty.
It was my first time crumbling tempeh like this. I didn't know it could be so versatile!
I also like how the recipe makes mini loaves, because I had plenty to bring in my lunches this week.
I just thought the glaze was a bit too sweet, but maybe the brand of ketchup I used was too sweet.
Made these last night, did two large loaves. Substituted steak sauce for HP and I didn't use the extra water cause there was enough in the tempeh. I was also out of bbq sauce.
And... they still came out fantastic. I can't wait to add: green chile (I'm in Colorado) and maybe some extra vegetables like mushroom or grated carrot.
Nice work!
I've been quite impressed by your blog (also added it to the blogroll of my new food blog http://www.vegventures.com). This recipe sounds very nice, even though I don't usually like tempeh all that much. Especially the amount of herbs sounds appealing! Wonder what I could substitute for the HP and BBQ sauces?
P.S. Some of the links, like "Post a comment" are showing in a very light blue/cyan on my monitor, which is very hard to see on the white background. Any chance they could be a little darker?
Just discovered your blog and this is the first recipe I have tried.
This meatless loaf was SO awesome! Since going vegan a year ago I've tried several loaf recipes (tofu based, grain based, nut/veggie based) and although they have, for the most part, been tasty they were missing the essence of meatloaf. Your recipe hit all the right notes. In particular, we loved the texture and the flavor was great. It even smelled like meatloaf while it was baking. Since there are only two of us I made half the recipe. I made some minor modifications: I simmered the tempeh for 10 minutes then drained and mashed with a potato masher. I quickly sauted the onions and garlic before adding them to the tempeh. I didn't know what HP sauce was so I used ketchup in its place and I omitted the browning sauce since I didn't have any. I used less sugar in the glaze since I don't like very sweet sauce. Instead of loaves, I pressed it all into a 6x8" baking dish and baked it for 45 minutes. This was so very good. Can't wait to have the leftovers for lunch later this week.
Thanks so much for this recipe. I will be trying more of them in the future and I will be sharing your blog with my sister who is also a vegan.
I made these for my son (almost 2) and I last week. I loved them! He wasn't convinced, but mostly just because of the shape, he wasn't sure how to get ahold of it. Next time I'll make his into burger form, he'll eat anything you can call a "cake" (as in, pancake). I totally screwed up the recipe and it still came out great. I halved the dry ingredients because it was just 2 of us, and then when I got to the wet, completely forgot to halve it. So it was way too wet, but I figured you knew what you were doing and went with it. I will probably cut back on the wet next time around, but will definitely be making these again!
In case anyone else is out of vital wheat gluten and impatient like me, made this tonight with 4 flax eggs instead of vital wheat gluten and it turned out great! Also used old fashioned rolled oats since I did not have instant.
Thank goodness!! ~ I scrolled the entire 'comment section' looking for someone posting about the Wheat Gluten, which I don't have and am not real sure what it is anyway - thank you for posting your substitute!!
For the instant oatmeal... is that cooked or dry?


text:
I've had this nagging feeling for quite some time that much web development time is wasted in designing and developing search boxes that are never used beyond the developers and testers.
With browsers implementing search bars themselves, I rarely use web-page level search boxes, with the exceptions of search engines and online stores. For blogs and informational websites, I often don't trust the built-in search to return better results than I'd get from Google.
Is there any research to suggest that it's important to implement a search feature internally within a website?
What are the usability trade-offs if it's left out?


text:
Empanadas filling from Julia and Julieta on Vimeo.
Beef Empanadas Filling
Beef empanadas are the most traditional variation. Depending on the area, you can find some recipes with raisins, potatoes, tomatoes, with ground beef or with hand cut beef.
A few tips:
- Make sure you don't overcook the beef. It can get dry.
- Always let the filling chill in the fridge before assembling. Otherwise it'll melt your dough and have too much juice (that you'll end up eliminating, making very dry empanadas as a result).
- Cumin and oregano are essential! You won't get the traditional delicious taste if you don't use them.
1 pound ground beef or sirloin or skirt steak (or any tender cut - it needs to be good)
3 medium onions
4 green onions
½ red pepper
2 to 4 cloves of garlic
2 hard boiled eggs
Fresh oregano
Salt and pepper
Red pepper flakes
We recommend start prepping first, getting a nice mice-en-place before starting to cook. It makes things easier and cleaner.
Chop the onions, garlic, pepper, and beef if you're doing it by hand.
Boil the 2 eggs in the meantime.
Start with the onions, pepper and garlic, then add the beef and the spices.
Try to use a very large pan, so as to make sure that you cook the beef quickly and thoroughly.
Once it's ¾ cooked, turn off the heat and add the chopped eggs and olives. Make sure you seasoned accordingly, and take it to the fridge for at least an hour before assembling.
Learn here how to make gluten free empanadas dough and how to shape them!


text:
LeBron Carbon All Over Men's Basketball Shorts
Buy Online & Pick Up In-Store
The LeBron Carbon All Over Men's Basketball Shorts were designed for bold court performances! Made to take the heat, these men's shorts feature Dri-FIT fabric to help wick sweat away so you stay dry and comfortable. An elastic waist with interior drawcord provides a personalized fit, and side slit pockets give you extra storage space. 12" inseam (size medium). 100% polyester.


text:
Boat Parts & Accessories
Most Popular Categories
Boat Covers
Boat Propellers
Bimini Tops
Boat Motors & Parts
Boat Motors
Boat Seats & Pontoon Furniture
All Categories
Boats for Sale
Boating Forums
Mark Twain
Mark Twain Outboard
Mark Twain 1975
Boat Manufacturers
- Listed Alphabetically
Boat Manufacturers
- Listed by Boat Type
Outboard Engine Manufacturers
Boat Part Manufacturers
1975 Mark Twain Outboard Models by Year and Type
1975 Mark Twain Outboard Boats 152T
1975 Mark Twain Outboard Boats 160T
1975 Mark Twain Outboard Boats 162T BR
1975 Mark Twain Outboard Boats 170T BR
1975 Mark Twain Outboard Boats 170V
1975 Mark Twain Outboard Boats 170V BR
Related Links
Insure my Mark Twain Boat
Sell my Mark Twain Boat
Boat loan quotes
Parts & Accessories
Anchoring & Docking
Bimini Tops
Boat Covers
Cabin & Galley
Boat Hardware
Boat Seats & Furniture
Boat Windshields
Controls & Steering
Covers & Tops
Fishing Equipment
Fuel Tanks & Systems
Inflatable Boats
Life Jackets
Maintenance & Boat Repair
Manuals & Books
Marine Electrical
Marine Electronics
Marine Engine Parts
Nautical Gifts
Plumbing & Pumps
Trailers & Parts
Trolling Motors
Videos, CDs & Software
Need Help? Have Questions?
(International Calls)
Sign Up for Email Offers
Privacy & Terms
About Us
Advertise with Us
Contact Us
© 1999
2016 iboats, Inc.


text:
See images from Himawari-8 in the new satellite viewer
This demonstration product is most suitable for people
with fast internet connection and high data allowance.
Low-definition satellite images
Satellite View Selection
10:00 ACST on Sunday 31 July 2016 | Cloud/surface composite, Australia
Images from Japan Meteorological Agency satellite Himawari 8 via Bureau of Meteorology.
IDY28000 Australian Government Bureau of Meteorology Bureau National Operations Centre Satellite Notes for the 0000UTC Chart on 31 July 2016 Issued at 11:28 am EST Sunday on 31 July 2016 A high pressure system located over New South Wales extends a ridge across central Australia. Clear skies are evident across central and northern areas of the country. Southeasterly winds are bringing localised patches of low cloud onto the Queensland coast. Further south, a cold front with its associated cloud band has moved over the Tasman Sea. Patches of low level cloud are visible over Victoria and the west coast of Tasmania in the westerly airstream. In the west, a strong cold front is affecting southwest Western Australia. A particularly cold air mass behind the front can be seen by the cellular cloud over the ocean. Some patchy middle level cloud extends over southern districts of WA and South Australia, and also southwestern NSW, due to a low pressure trough.


text:
WINTERSVILLE - Annie Mayle is a recent graduate of Edison High School. While her last months of high school should have been filled with the excitement of graduation and going off to college, she instead was focused on her family after learning her grandfather has cancer.
Since that time, Mayle has become a blood donor and volunteer with the American Red Cross Jefferson County Chapter and is helping to promote the Media Blood Donor Day planned for Tuesday at St. Florian Hall.
Mayle's grandfather, Richard "Dick" Burch, has multiple myeloma, a cancer of the plasma cells, which are white blood cells normally responsible for producing antibodies.
Article Photos
HELPING — Annie Mayle is joined by her grandparents, Edwinna and Richard "Dick" Burch. Mayle a 2013 graduate of Edison High School, is among the area volunteers helping to promote Tuesday's Media Blood Donor Day at St. Florian Hall in Wintersville. — Contributed
In patients with multiple myeloma, collections of abnormal plasma cells accumulate in the bone marrow, where they interfere with the production of normal blood cells. The disease develops in one to four people per 100,000 people per year and is more common in men than woman, according to officials.
Since diagnosed, Burch has received 15 units of blood.
Mayle noted that even though she has only donated blood a few times to date, she realizes how important it is to donate on a regular basis.
It was during one her recent donations at the Wintersville chapter that Kathy Musso, executive director of the local chapter, approached Mayle about helping to promote blood donations for the upcoming annual Media Blood Donor Day.
"The chapter was looking for a young adult who could relate to other high school and college students to encourage them to donate during the summer months," Musso said. However, she didn't realize that Mayle had her own Red Cross story until they were filming a public service announcement.
High school and college blood drives collect 25 percent of the blood needed daily to support patients like Richard Burch and others.
Regular blood collections are held in Jefferson County at Indian Creek High School, Steubenville High School, the Jefferson County Joint Vocational School, Edison High School, Toronto High School, Buckeye Local High School, Eastern Gateway Community College and Franciscan University of Steubenville.
"Blood donations tend to drop off during the summer months since none of the schools hold drives, plus you have many regular blood donors who vacation and do not take the time to donate," Musso said. "The chapter partnered with local media outlets more than 25 years ago to bolster those summer shortages and encourage individuals to donate."
Participating media outlets this year include the Herald-Star, WTOV-TV, WOGH-FM, WCDK-FM and Clear Channel.
The annual Media Blood Donor Day is set to run from 9 a.m. to 7 p.m. Tuesday.
To donate blood, individuals must be at least 17 years of age, or have parental or guardian consent at 16 in Ohio, weigh 110 pounds and be in generally good health.
To learn more about donating blood or to schedule an appointment for other bloodmobiles throughout the region, visit www.redcross.org.
The chapter is recruiting volunteers to work at bloodmobiles serving refreshments, observing donors, greeting donors and other Red Cross services, such as disaster response and assistance, office support and fundraising. All volunteers must complete an online registration, background check and basic orientation.
For information about volunteering, call Musso at (740) 264-7244.


text:
It was a helluva lot more invigorating than a 'Weekend at Bernie's,' when I rather spontaneously ended up spending Friday and Saturday nights at concerts delivered by Austin, Texas rocker Alejandro Escovedo and the Sensitive Boys, at Brighton Music Hall on Friday, and at The Narrows Center for the Arts in Fall River the next night.
I hadn't planned on making it a whole weekend, but circumstances from the Friday night show left me wondering. Basically, distracted a bit by the Bruins playoff game, I got to the Brighton Music Hall about a half-hour after the band started, and even though I still heard probably 70 minutes of Escovedo's set, it left me a bit curious about the rest. Also, incredibly, the Boston show drew barely 100 fans, and while the mostly over-40 crowd did its best to generate enthusiasm, and heard a galvanizing show, the energy level was just a little static. I just wanted another chance to hear Escovedo's whole set, with an audience he might be able to ignite a little more effectively.
Saturday's show was certainly that, as the Narrows Center was packed with an almost sold out throng of about 260.� Better yet, it was a much wider age range. If there was anyone at the Brighton show under 40 I didn't see them, which was depressing for the state of rock 'n' roll. But at the Narrows, I was standing next to a quartet--two couples--of kids who looked barely 21, and appeared to be having the time of the lives.
Escovedo is a roots rockin' songwriter adored by savvy music fans with good reason, with a style that straddles mainstream rock, punk rock, Americana and Mexican elements with seamless ease--in other words, the kind of cross-polleination we used to just expect from rock.
Escovedo the songwriter is a terrific storyteller, able to craft vignettes that are both detailed and personal enough to be genuinely unique, and yet suffused with the kind of emotional truths that make them universally appealing. Escovedo, 63, spent more time with his song introductions Saturday night, more directly conveying the notion that his successive albums are all "just telling my story, our story.." as he said at one point.� There was a moving anecdote about putting together the "Real Animal" album, amid record company disinterest and self-doubt, until he spent a week with Ian Hunter to try out the new music with him, and the former Mott the Hoople leader essentially just told him to be himself and tell his story, and let the chips fall where they might.
Comparing the two nights, though, the setlists were almost the same--Escovedo did not perform "Big Station," title cut from his 2012 album at Fall River, but that seemed the only change. Both concerts lasted about 1:45, and I'd wager the longer intros made up the time that they gained by cutting that one song, which was fine. But both shows followed a narrative progression, a concise peek into who Alejandro Escovedo is and where he came from, and how he sees his mission in music. Both nights built steadily to a triumphant blast of guitar pyrotechnics, a marvelously wild and stirring climax. But the added factor of a near-capacity crowd going bonkers Saturday night gave that show an extra power.
Escovedo's setlists were a cool blend of old and new, with some unexpected covers thrown in at the end. The Narrows show opened with "(Just Can't) Put You Down" a thumping rocker from 1996 that deals with obsession (alcohol, women, whatever?). The bass guitar was a bit too loud in this opener, and generally could've been lower Saturday night, so the Brighton sound mix was superior, but Escovedo's own soundman was working both soundboards. In any case those concerns dissipated as the night went on, and "Tender Heart" from 2010's "Street Songs of Love" album came across as a raging, punk-inflected rock charge.
Escovedo's "Can't Make Me Run" is a fascinating, haunting kind of rock ballad anyway, but the surreal guitar tones he crafted with lead guitarist Johnny Sanchez made Saturday's version hypnotic. Reaching back again, Escovedo's weirdly evocative "Dear Head on the Wall," which he has said deals with both Buddhism and taxidermy, was delivered as a roaring punk-rock march.
But then Escovedo and his quartet changed gears, as he donnede acoustic guitar for the folk-rock-like "The Bottom of the World," which decries modern day changes in Austin. Still with the acoustic guitar Escovedo's vocal on "San Antonio Rain" might have been his best and most moving of the night, on a tune about his heritage.
"Sensitive Boys," which is about life in a band, as Escovedo noted, comes from that "Real Animal" album, which he co-wrote with Chuck Prophet. Friday's rendition seemed a bit dreamier than Saturday's, which carried more grit. From that point the setlists changed a bit, with some songs done in slightly different order, but the main thrust still the same.
"Wave" was written about his family history, his father's trek to Texas from Mexico, and then on to California, and Escovedo's lengthy intro Saturday night was both heartbreaking and affirming. The song itself was a subtle potboiler at both shows, although again the Brighton show's version seemed a bit more ethereal, while Fall River's leaned more towards gritty realism. "Castanets" brought both nights back to rockin' fervor, with its refrain of "I like her better when she walks away" pushing both audiences to singing-and-dancing along.
At that point the Brighton show got the rowdy thunder of "Big Station," but the Narrows show went right into the sardonic "Everybody Loves Me."� Friday that song had been a pounding blues-rocker, but Saturday the band turned it into a more psychedelic guitar jam, where Sanchez and Escovedo traded some otherworldly lines.
That led into the night's homestretch, which was as transporting as any sequence in a rock concert I've ever heard. Escovedo introduced "Arizona" by talking about his 2003 health crisis (hepatitis-C) and the resultant help of the music community and fans that aided his recovery, but also necessitated his abandoning his previous partying profile. At Brighton, that song came across as a moody, somewhat dark ballad of redemption. But at the Narrows, it seemed to take a different tack, a more defiant tone as Escovedo seemed to be celebrating his revival more. And the Fall River rendition sparked more intense guitar play, with Sanchez especially uncorking sonic stilettos that evoked the turmoil in the song.
At the Boston show, "Arizona" ended in a sustained wave of guitar distortion that erupted into the next song, while the Fall River show had bit more conventional transition. But the incendiary version of Neil Young's "Like a Hurricane" that followed was unforgettable on both nights. On that guitar showcase, Sanchez did a wonderful job of echoing Young's own style of simple riffs, repeated notes, and raw emotion, while Escovedo's solo was more melodic, yet also thrillingly reckless in its own way. It seemed to me Escovedo used his whammy-bar much more extensively Saturday, exploring the potential of wah-wah and slide sounds without ever losing the essence of the tune. Both nights found the crowd singing the chorus as the night wound down.
For his encores both nights, Escovedo unearthed The Clash's song "Go Straight to Hell, Boys,"� and since these were the first two times he'd ever done it, he needed a lyric sheet both times. I felt like the second night found the Sensitive Boys better delivering the tune's subtle ska rhythms, but both times were wild and wooly treats.
Both shows also ended with a roadhouse take on Tom Waits' "Going Out West." But Saturday, Escovedo introduced it by inviting people to get up and dance, saying he'd been disappointed the night before to see people "just staring at us.." The Narrows Center doesn't have much room to dance amid all the seats and tables, but almost everyone present was on their feet and shaking or boogying in as much room as they could find while Escovedo and the band belted out that last fire-breathing bit of rock 'n' roll.
At the end of 2014, it's a cinch any of us who were at either show are going to rank Escovedo's weekend in Massachusetts among the best concerts of the year.
Note: First and last names are required for commenting. If you do not provide your first and last name when signing up, you will be banned.


text:
Judith A. Savage
St. Paul, Minnesota, USA
Inter-Regional Society of Jungia Analysts
Mark Larson
Minneapolis, Minnesota, USA
Mark Larson: Introduction to the Project
Houses are where we begin and end each day. They shape our patterns of living and contain our relationships. We cook, eat, sleep, procreate, study, raise children, store our belongings, make our plans for the future, and interact with each other within them. They frame our view of the outside world, while providing privacy for our interior lives. Paradoxically, they conceal our deepest secrets while transparently displaying our values, tastes, and social status through their form and style. Yet, despite the extremely personal role our houses play in our lives, few of us actually design or build them ourselves anymore. More often, like the resourceful hermit crab, we move into the best shells that we can find. We rely on the skills of architects, contractors, and interior designers to shape or remodel our homes to fit our personal tastes. The elusive goal of achieving the ideal home seduces us endlessly to fantasize a "dream house" where our lives are imagined as complete, in perfect harmony between a person and a place. Magazines, newspapers and television run stories about them twenty-four hours a day. Home tours of the rich and famous satisfy our voyeuristic interest in seeing how others live. Recently, this hype and longing for gorgeous, seductive architecture has been referred to as "yuppie porn." Yet, it is human nature to be interested in where and how other people live. This is especially true of such deeply personal places as Carl Jung's private retreat at Bollingen.
Houses express our individual character. Whether visiting Bollingen or Graceland, Mt. Vernon or Anne Frank's house, unique places such as these draw us to them through their promise to tell us not only about their owners, but about ourselves. Architecture is a subjective language that expresses the people and culture from which it derives, just as Jung's tower reveals a great deal about both the man and his time. "From the beginning," he wrote "I felt the tower to be a place of maturation – a maternal womb – in which I could become what I was, what I am, and will be. It gave me a feeling as if I were being reborn in stone. I built it in a kind of dream. Only afterwards did I see how all the parts fitted together and that a meaningful form had resulted: a symbol of psychic wholeness." (Jung, 1963, p 213-214).
Other than its splendid setting on the shores of the Obersee, with its panoramic view of the Glarnish Alps on the horizon, it has few luxuries. It is a practical house, evocative of a medieval time, resembling a small castle with its turrets, archways, and a courtyard. Privacy is a central motif of the tower. Built as a retreat, it resembles more a monk's cell than it does any vacation home. Despite being on the shores of a beautiful lake, its views are oddly obscured by its courtyard walls and rooftops. While its whimsical towers give it a spiritual dimension, in contrast, its rusticated doors and stone walls encapsulate it.
Yet, despite belonging to one of the most influential thinkers of the twentieth century, Bollingen is still only a piece of real estate. Jung's personal "house of dreams" might just as well be described by a real estate agent in the following way:
This cozy 2300 square foot, 5-bedroom, 2-turret lakeshore property, provides lovely views of the upper shores of Lake Zurich. Its rustic kitchen facilities, private study, charming outdoor toilet, and wood-heated rooms, await you. A fenced in yard, with sailboat mooring and plenty of wood storage are an added bonus for the lucky buyer. Welcome home to Bollingen!
This project provides a fascinating example of the life of a house. Begun in 1922, Jung added and subtracted from it four more times over a thirty-year period, altering its form like a barometer of his own changing inner evolution. It has remained unaltered since 1956. Although emblematic of its famous owner, it remains shrouded in mystery even forty-three years after his death. In the hands of a family trust, an inventory of its contents, its precise size, and layout has never been made public. From correspondence (March 27, 2002) with Ulrich Hoerni, Jung's grandson, we learned that although the Erbengemeinschaft C.G. Jung has "made extensive photographic, computer aided measurements for conservation purposes, no publication of this data is intended." (personal correspondence 3/27/02) Although it is known that some architectural sketches were made, only two small, drawings of a rejected design were found in the published literature. (Bair, 2003, p. 323, Wehr 1989, p. 68) Without any plans or measure ments to guide us, we were left to puzzle out the size of its footprint and its layout on our own.
Together we have worked to create a visual and narrative journey through the tower that respects the Jung family's privacy while fostering a deeper understanding of its place in Jung's life. Its central importance is clear in his answer to the question whether he wished to be reincarnated? "If I might have Bollingen," he answered "I would be willing to come again." (Hannah, 1997, p. 154) We have spent many hours gathering its images from books, videos, and personal snap shots. We have interviewed people who had visited there, and in the summer of 2003 Judith toured parts of the tower. While scouring the literature we quickly learned that the written descriptions of Bollingen lack detail, and are often vague and confusing. While Judith clarified these facts, I began making architectural drawings and models, puzzling out the undocumented angles of the roof lines or the dimensions of its unmeasured spaces. My finished models, which correspond to the building phases of the tower, were interpolated from many sources and are intended more as an interpretation of Bollingen than as an exhaustively accurate representation. This architectural chronology reveals that the design experienced many changes, missteps, and revelations as it matured. While this is typical of any design process, more often it occurs on paper rather than in built reality!
As an architect, I normally begin a project with a client, a site, a budget, an empty sheet of paper, and with these tools I develop my architectural plans. But, in this project, I started with a building already constructed, a famous homeowner who had died in 1961, and only photos and written descriptions to base my renderings upon. Of course, there was no design fee! In the process, I soon learned that the place could be understood best as a sculpture more than as a final product of a linear, architectural process. In architectural terms, Bollingen resembles the sculptural work of Frank Gehry rather than the graphically organized rigor of Frank Lloyd Wright. Like Gehry's own house, Bollingen evolved throughout the process of its construction, its form emerging from its relationship to its environment and the individuation of its owner, rather than from a fixed architectural plan created prior to construction. As a result, Bollingen has been reluctant to reveal its true configurations. During this presentation, I will present my own architectural interpretation of what I have discovered, and how it has taught, frustrated, and ultimately inspired me to explore further without knowing where I might arrive at the end.
Architecturally, my first task was to determine scale. Using Jung himself, who was known to be about six feet tall, and guessing him to be about two feet wide, I established a scale from a photo of Jung standing in the doorway of the original tower. From there, I went to the heart of the design process, albeit in reverse order. Since most of the available photos are of the completed configuration of the house, I began by drawing the basic geometries of the floor plan at it exists today. I based the size of the site, the floorplans, and elevations of the house upon my estimations of their relative sizes, my understanding of the inherent nature of the construction materials, and photographs showing Jung standing in the door of the central tower. From these drawings, I worked back and forth between each building phase, trying to decipher how each stage had originally existed. Through this process, I imagined that I was struggling with the same design issues as Jung must have faced, that I was encountering the same challenges he must have met as he puzzled out his next building move.
Since he had added and subtracted from his original building four times over the course of thirty years, it seemed to me that this poor house had worked hard, taking a fair amount of abuse. Sometimes, spaces literally became blocked off, or ended up awkwardly relating to one another. Given that Bollingen's evolution was never a linear or logical process I was, like Jung himself, often frustrated by the guesswork. I could not help but react to his haphazard design process by thinking that some of these forms would have worked out better if they had first been drawn on paper rather than done in stone! However, the mystery and complexity of the place continued to fascinate me as much as it frustrated my attempts to pin it down.
Through our interdisciplinary collaboration as an architect and a Jungian analyst, we have deepened our understanding of this project much more than we could have achieved alone. We would like to introduce you to this unique building, describe to you its place in history while illustrating how the story of a person can be told through the structures they build. As Mimi Lobell wrote, "Just as we cannot understand bees without knowing the beehive, we cannot understand human beings without knowing architecture." (Lobell, 1977, p. 5)
Judith Savage: The Context and Origins of Jung's Tower Building
As an analyst, I was curious to discover what had motivated Jung to build such a sequestered sanctuary in the first place? Jung's tower building impulse first originated in the incipient emotional crisis which broke through in him following his split with Freud in 1912. This difficult period in Jung's life is commonly known as his "confrontation with the unconscious," and in his own words, lasted from 1912 until 1917 (Jung 1965, p. 170). Banished from the ranks of the psychoanalytic community, he felt isolated and betrayed. "After my break with Freud," he wrote, "all my friends and acquaintances dropped away. My book was declared rubbish; I was a mystic and that settled the matter. Riklin and Maeder alone had stuck by me." (Jung, 1963, p. 162) The resulting social isolation and rejection by Freud, his fatherly mentor, had reopened childhood wounds, and initiated "a period of inner uncertainty" within him. "It would be no exaggeration to call it a state of disorientation," he wrote. "I felt totally suspended in mid-air, for I had not yet found my own footing." (Smith, 1996, Jung 1963, p. 165)
Struggling against a torrent of emotions and a flood of images emanating from his unconscious, Jung concluded that his emotional survival demanded his reliance upon his own conception of the psyche. No better solution existed in the psychology of the time. "Originally I held to Freud's view that vestiges of old experiences existed in the unconscious," he wrote, "but my actual experiences taught me that such contents are not dead, outmoded forms, but belong to our living being." (Jung, 1963, p. 167) He resolved that, much like a shaman, he must "undergo the original experience himself. This would be my greatest wealth," he wrote. "I loved it and I hated it. [But] delivering myself over to it was the only way I could endure my existence and live as fully as possible." (Jung, 1963, p. 184) Throughout these difficult years, his psychiatric and scholarly training provided him with a internal, mental infrastructure which, along with his immense personal creativity, helped him to survive the internal chaos of this period. Otherwise, he wrote, "the material would have trapped me in its thicket, strangled me like jungle creepers. I took great care to understand every single image, to classify them, and to realize them in actual life." (Jung, 1963, p. 184, italics mine)
Only after the instability had subsided and he no longer was "held captive inside the magic mountain," was he able to take an objective view towards his experience. The first question he reflected upon was "what does one do with the unconscious?" (Jung, 1963, p. 198) Memories of himself at age eleven, building little houses and castles with stones and mud, quickly flooded him. He thought to himself "there is life in these things, this small boy is still around, and possesses a creative life that I lack." (Jung, 1963, p. 168) Like a small child, he then began to assemble ritually tiny villages and stone structures along the lake shore of his home in Kusnacht. Self critically, he thought to himself, "What am I doing? I am building a small house as if it were a ritual." (Jung, 1963, p. 169)
However, an inner certainty that he would discover his own myth through this playful activity prevailed. This playing with stones was a rite of passage into his own creative imagination, and it unleashed within him a stream of fantasies and thoughts which he conscientiously recorded. According to Hannah, "whenever he succeeded in translating emotions into images, he was inwardly calmed and reassured." (1997, p. 108) Drawing and dialoguing with his inner figures, he filled over 1, 330 pages of his Red and Black notebooks (Smith, 1996, p. 76) searching for an answer to his unrelenting inner question, "what is my myth, what is it I believe in?" (Jung, 1965, p. 171) Much later, he regarded this as the most important time of his life. In spite of his emotional suffering, it had provided him with a lifetime of work, and many of his most creative ideas were formed during this seminal period.
This drive to transmute psychic images into form and substance was the force behind Jung's tower building impulse. Through it he participated in an ancient and archetypal urge to secure the ineffable in the permanence of stone. History is filled with the archaeology of such longing, from the Paleolithic Venus of Willendorf, the stone circles of Northern Ireland, Stonehenge, and the monumental heads of Easter Island. At the center of Islam is the black stone, set in the wall of the Ka'ba at Mecca. All holy places and shrines share this human urge to meld meaning into rock so that it may endure for generations. With each structural decision at Bollingen, Jung sculpted psyche into stone. As each stone was set, his resolve to define his own views was strengthened. Much as a castle's tower claims its territory, Bollingen marked Jung's emancipation from the Freudian dogma, laying stake to the ground of his own ideas:
Words and paper did not seem real enough to me. To put my fantasies on solid footing, something more was needed. I had to achieve a kind of representation in stone of my innermost thoughts and of the knowledge I had acquired. Put another way, I had to make a confession of faith in stone. That was the beginning of the tower, the house I built for myself at Bollingen. (Jung, 1963, p. 212)
At Bollingen, psychic reality eventually emerges as "place", and through examining the place, the restorative process within the man is revealed. Throughout his life, whenever he got stuck, Jung "painted a picture or hewed stone." (Jung, 1963, p. 169) Stonemasonry was his therapy. After his wife's death in 1955 he wrote, "the close of her life, the end, wrenched me violently out of myself. It cost me a great deal to regain my footing, and contact with stone helped me." (Jung, 1965, p. 175 italics mine) In her memory, he carved a classical but tender monument to her and placed it just below the loggia inside the tower "where the sun would fall upon it much of the day, and when the weather was just right, light was reflected upon it from the lake." (van der Post, 1977, p. 254)
Although he built and occupied Bollingen only after his recovery, Jung always conceived of the tower as a monument to the knowledge he had reaped during his creative illness. Throughout its building, all of the architectural decisions emerged from his deep inner connection with the archetypal unconscious. At times, these decisions seemed influenced by an unseen hand. Only years later did he realize he had built each section of the tower in four year increments, thereby forming a natural quaternity of wholeness.
Mark Larson: The Architecture of Bollingen
This house tells its own story through the language of architecture. The first phase of the project began in 1923 as a sort of Primitive Hut. This portion of the project has also been referred to as the 'maternal tower' since Jung himself associated its construction with his mother's death (Hannah, p 156). As Jung described, "it was to be a round structure with a hearth in the center and bunks along the walls. I more or less had in mind an African hut where the fire, ringed by a few stones, burns in the middle, and the whole life of the family revolves around this center." (Jung, 1963, p. 212) Its small round tower is inwardly focused, protective, self-referential, and without any orientation. Access is gained through a single, fortress-like door, which today would certainly result in a housing code violation. The singular tower, almost completely made of stones mined from the quarry on the opposite side of the lake, has timber framed floors and a hexagon, cone-shaped roof. A rustic outpost away from civilization, its crude living accommodations were heated only by firewood and it was without running water or electricity. At this stage, the house is in its infancy, no more than a small step up from camping.
The second phase, built in 1927, begins to resemble more a Family House when a two-story wing was added to the lone tower. The house now opened itself more to the lake, aligning roughly with the shoreline, thereby creating an outdoor space between the building and the lake. This addition added larger windows on the main level, a second larger entrance, and more living space. Jung "divided this addition into several areas, the foyer, the lower study, and the guestroom." Overall, these developments suggest that Jung was now able stay at Bollingen for longer periods of time and his family could visit "without having to sleep outside in threadbare tents." (Bair, p. 323)
The third phase, which could be characterized more as a Mansion, was built in 1931. A second, more slender turret was added to the end of the 1927 wing, which "added a new long room with an open fireplace, where Jung later did a great deal of cooking." In addition, "it provided a flat roof outside his study and the tower-like annex was extended and the 'retiring room' came into being." Jung painted all the walls of his private study with images that had, in his own words, "carried me out of time into seclusion, out of the present into timelessness. This place became a place of spiritual concentration." (Hannah, p. 200-201) He was known to have carried the key to this room around his neck, and only select guests were ever invited into it. To accomplish this renovation architecturally, some of the previous addition had to be dismantled and rebuilt, and the once rectilinear form at the end of the wing was modified into a round tower. This addition further defined a half enclosed courtyard near the lake, more clearly defining a front for the house on the lakeside and a back towards the woods. At this stage of the house, the structure feels to me as if it were in its adolescent stage, it is formally awkward, has a blank middle section, and its two towers seem not to be on speaking terms with each other.
The fourth building phase transforms the project into more of a Fortress. Built in 1935, Jung added a courtyard wall and loggia along the lake side. It is my guess that the entire courtyard area was built on fill created by remnants from the many stages of renovation which literally added to the size of the property. Today this would be in direct violation of most Department of Natural Resources laws, or at least would require some sort of variance! The courtyard has two large doors on massive hinges. It was now necessary to enter the courtyard before entering the house, creating an architecture of walls, privacy and control. Jung's use of "mood flags," signaling his openness for visitors, seems fitting to this more withdrawn stage of the house. This fourth addition radically changed the relationship of the house to the shoreline, strangely, and perhaps deliberately, blocking eye level views of the spectacular lake and mountain views from within the house and courtyard. The result created a space open to the sky but closed to its surrounding landscape – a place of openness yet privacy.
The loggia, built as part of this addition, created a small but formal small room with a massive oversized fireplace and small windows to the lake. A raised walk provided the height needed to see over the wall and was reached from the stairs adjacent to the loggia. To me, this stage in the life of the house feels as if it was experiencing a midlife crisis. It's wonderful site is blocked by its own walls, its many elements are without a compositional center, and the towers seem not to be on speaking terms with each other.
The fifth and final addition to the house transforms the project into nothing less than an Enchanted Castle. Built in 1956, with the help of his architect son Franz, a dramatic upper room was added along with three large windows that could be fully opened to the view. He labeled this section "his ego personality" explaining:
After my wife's death I felt an inner obligation to become what I myself am. To put it in the language of the Bollingen house, I suddenly realized that the central section which crouched so low, so hidden, was myself! I could no longer hide myself behind the 'maternal' and 'spiritual' towers, so I added an upper story which represented myself. Earlier, I would not have been able to do this. I would have regarded it as presumptuous self-emphasis. Now it signifies an extension of consciousness achieved in old age. With that the building was complete. (Jung, 1963, p. 213)
At the age of eighty-one, after the building's completion, Jung did his writing in this light-filled and more comfortable room with its longs view of the lake and the mountains beyond. This room "could be well heated and was much more spacious and airy than the small study below where he had worked since 1927." Another advantage to this renovation was the "two small bedrooms that were useful for visiting children and grandchildren." (Hannah, p. 330-331)
Bollingen was now complete with its turrets, rusticated doors, barred and shuttered windows, fortress walls, inner and outer courtyards, and even a moat! In the end, the house is beautifully, almost organically composed of forms now seeming to relate to each other. In my opinion, it now has an optimistic face and the whole composition resembles a closely related group of individuals – much like a family, and more integrated, like a well rounded individual. This final stage is an architectural relief since the house seems at last to have found its final composition, reaching its full maturity. While it is impossible to separate this house from the life of its creator, the monument he has left behind is inspiring to me personally and professionally. In architecture, as in life, one cannot know where the design might lead us but, for a creative outcome to be achieved, we must believe in the process along the way.
Judith Savage: Images in Stone
Since childhood, Jung felt a deep, inner split between his outer world adaptation and his inner world self which he labeled his number two personality. This number two personality became symbolized by Philemon, an image he first experienced in a dream in 1913 which had "brought home to me the crucial insight that there are things in the psyche which I do not produce. Psychologically, Philemon represents superior insight." (Jung, 1963, p. 175-176) One of the first paintings Jung made on a second floor bedroom wall in the original tower was of Philemon. Another was of a mandala he painted above his own bed. Jung wrote that the mandala helped him "understand the goal of psychic development" which gave him " psychic stability" and allowed "inner piece to return." (Hannah, p. 127)
The simple lifestyle of Bollingen allowed Jung to live in harmony with nature. He wrote, "I have done without electricity and tend the fireplace and stove myself. Evenings, I light the old lamps. There is no running water, I pump the water from the well. I chop the wood and cook the food. These simple acts make man simple; and how difficult it is to be simple! Here, at Bollingen, the torrent of creation is lessened; creativity and play are close together." (Jung, 1963, p. 214) Giegerich described Bollingen as the place where Jung "could return to a state of unborness." In contrast to Kusnacht, where Jung "worked at his desk" and was "the scientist who dug up facts," at Bollingen he became "the fish swimming in the waters" of the primordial unconscious." (Giegerich, 2004, p. 47-48)
Although he regarded Bollingen as a private retreat, he had many visitors there. Hans Kuhn was his long time caretaker, and the nearby Fierz estate was often used by Aniela Jaffé, Maria Louise von Franz, and Barbara Hannah as well as Hans and Linda Fierz themselves. To prevent unwanted guests, he was known to have raised colored "mood" flags to signal his desire for visitors or privacy. His wife and children were often there, as was Antonia Wolff. According to Brome, "Bollingen helped divide off his extramarital from his marital life. His wife and family remained in Kusnacht while he spent weekends with Antonia Wolff. There was a sense in which the house symbolized the split in his marriage." (Brome, 1978, p. 195) Similarly, Bair concluded that "Emma was represented by the original tower while the second tower represented Toni and was a self-contained spiritual place." (p. 324) This characterization of the towers, each representing either his wife/mother or lover/anima, suggests that Jung's underlying motivation for building the middle section in 1956 was his need to resolve his place between these two women. Seen from this perspective, Bollingen in its final form resembles a family portrait, with Jung himself rising in the middle and extending his arms to embrace each tower.
The last woman to care for Jung at Bollingen was Ruth Bailey, a long time family friend who he first met in his travels to Africa. She assumed his care shortly after Emma's death and remained with him until his death. "Since Jung always had said he would like to die at Bollingen, Ruth was determined to make that possible." She accompanied him there for extended periods, his last visit occurring in the spring of 1961, shortly before his death in June. (Hannah, p. 331)
Jung etched and painted Bollingen with images and words that were meaningful to him. Above its entryway, he carved the Latin phrase "Philemonis sacrum – Fausti Poenitentia" (Shrine of Philemon – Repentance of Faust). Mythically, Zeus and Hermes, disguised as humble beggars, arrived at Philemon and Baucis's door. Already refused by many, the old couple offered these disguised gods their hospitality. According to von Franz (1975), Philemon became the totem figure of Bollingen because he symbolized the attitude of humble respect needed when encountering the divine energies within the human psyche. Like neglected gods from an earlier time, such divine energies are undervalued in an egoistic world. Robert Brooke speculated that Jung's vision of Philemon presaged a psychological shift that was occurring within him. "As Jung grew more psychically hospitable towards the material emerging from his own unconscious, his uncertainty and neurotic European anxiety lessened, and his ego began a deeper relationship with the Self." (1991, p. 186) Philemon became the patron image of Bollingen the place and Jung's personal experience of the Self, the curative energies that enabled him to transcend the torment of his own fractured self.
He honored his ancestry by painting the ceiling of the loggia with emblems from the family crests of his, his wife's, and their sons-inlaw's family's. According to von Franz, at the lake's edge, Jung carved a small monument with an ivy wreath dedicated "to the most beautiful Attis who embodied the spring-like glory of life." (von Franz, 1975, p. 23) On another occasion, he carved an image of a serpent and placed it near the tower's entrance. In 1950, while working on the subject of synchronicity, he described seeing the shape of a face emanating from the outer wall of the original tower. As he carved out its outline, a mercurial trickster emerged.
Jung never ceased his stone masonry. As late as 1958, at the age of eighty-three, he carved a kneeling woman, drinking the spiritual milk from the mythic horse Pegasus (Hannah, 1997, p. 341). According to Jaffé, Jung regarded this woman as an image of the archetypal anima who "ushered in the coming age of Aquarius." Further to the left, he carved an image of a Russian bear pushing a ball, and inscribed the words, "Ursa movet molem," or the force that starts things rolling. (Jaffé, 1979, p. 194) Aldo Caruotenuto (1980) has suggested this Russian bear is a veiled reference to Sabina Spielrein, an early patient of Jung's, with whom he had an erotic entanglement. Similarly, the anima figure milking Pegasus is thought to represent Antonia Wolff. It is noteworthy that both of these carvings are found on the outer walls, away from the house and its inner courtyard, much as these two women have only been acknowledged at the perimeter of Jung's history.
Lastly, only the story of the orphan stone remains. Jung carved it in 1950 in recognition of his seventy-fifth birthday as a monument to express what the tower meant to him. A large square stone had mistakenly been delivered in a shipment for a garden wall. Rather than return it, he stopped the quarrymaster from sending it back since, in the spirit of Philemon, he felt he must never reject any form of a mysterious visitor at his door. (Jung, 1965 p 226) Upon it he carved a simple poem from the thirteenth-century alchemist Arnaldus de Villanova:
Here stands the mean, uncomely stone,
Tis very cheap in price!
The more it is despised by fools,
The more loved by the wise." (Jung, 1963, p. 215)
A similar idea is expressed in Psalms 118:22, "The Stone which the builders have rejected has become the head of the corner. This is the Lord's doing; it is marvelous in our eyes", and also in the Buddhist koan, "The Tao is eternal, but has no fame. The uncarved block, though seemingly of small account, is greater than anything under heaven." (Oakes, 1987, p. 88)
Jung said that before carving, he "allowed the stone to speak for itself." Seeing first the shape of an eye in the center he etched out the figure of Telesphoros. Telesphoros is known as the child companion to Asklepios, the Greek god of healing and was also associated with the Cabiri, dwarf-like Roman talismans that protect travelers and navigators on their journeys (Oakes, p. xiv). In keeping with its mythic roots, like the Cabiri who lit the way for the traveler, Jung carved the figure holding out a lantern. In Greek he inscribed:
Time is a child. This is Telesphoros, who roams through the dark regions of the cosmos and glows like a star out of the depths. He points the way to the gates of the sun and to the land of dreams. (Jung, 1965, p. 227)
Jung had been drawn to this Cabiri image having used it much earlier in 1917 in his painting in the Red Book entitled "Knight with Sword." There, several of these small, hooded figures are gathered at the base of a phallus-like shape. (Wehr, 1989, p. 141) On the side of the stone facing the lake, Jung carved in Latin,
I am an orphan, alone; nevertheless I am found everywhere. I am one, but opposed to myself. I am youth and old man at one and the same time. I have known neither father nor mother, because I have had to be fetched out of the deep like a fish, or fell like a white stone from heaven. In woods and mountains I roam, but I am hidden in the innermost soul of man, I am mortal for everyone, yet I am not touched by the circle of aeons. (Jung 1963, p. 227)
One side of the stone remained blank, covered over by the growth of the nearby bushes. In his autobiography, Jung wrote that he often thought of inscribing it with the French phrase, "Le Cri de Merlin." (Jung, 1965, p. 216) According to von Franz, Jung sometimes felt like a modern day Merlin who, "after the old pagan ways were no longer valued, vanished from the world, deep into the forest. But his cries could still be heard, although no one could understand or interpret them any longer." (von Franz, 1975, p. 279-80) After completing the Orphan Stone, Jung told Maud Oakes, "I need not have written any books; it is all on the stone." (Oaks, 1987, p. 88) He placed it outside the tower, as a monument to the place.
Although built on the shores of a lake, Jung's tower was much more than his weekend cabin. It was a healing temenos in which he embraced the very mysticism that had caused his banishment from the psychoanalytic community. Although built of stone, it was surprisingly flexible. It evolved organically, much as a coral reef builds upon itself. Theodore Ziolkoski described Jung as a lapidary mystic and his tower building as proof of Jung's powerful connection with stone. In addition, "the central position stones occupy in his thought: the Philosopher's Stone or the lapis philosophorum, the stone as an image of Christ, as in Alchemical Studies and Aion, or the stone as a symbol of the unified self … constitute a veritable quarry of references " in the Collected Works. (1998, p. 133)
Bollingen was Jung's sanctuary in which he could develop his own theory of psychology, not one grounded on the clash between the ego and id, but upon the mystery of the human psyche's longing to restore itself to its original wholeness. Like Martin Luther before him in 1593, who "underwent within the Wittenberg Tower what theologians refer to as his Turmerlebnis (tower experience), the years Jung spent pursuing his inner images inside his tower were the most formative of his life and theory." (Ziolkowski, 1998, p. 19) It was there, he wrote, that "everything essential was decided." (Jung 1963, p. 191) Bollingen was a place where he could be himself, "as I am, was, and will be. It gave me a feeling as if I were being reborn in stone." (Jung, 1963, p. 214)
Even Jung's last dream was about stone. Just days before his death in 1961, at the age of eighty-six, he dreamt of a great white stone. On it was the inscription "This shall be a sign unto you of wholeness and oneness." (Hannah, 1997, p. 347) Laid to rest in the family cemetery in Kusnacht, his gravestone is graced by the same Latin phrase he had first carved and placed just inside the original tower's entryway and above the door to his home in Kusnacht, VOCATUS ATQUE NON VOCATUS DEUS ADERIT (Whether called or not, the God will be present).
- Bachelard, Gaston (1958) The Poetics of Space. Boston, Beacon Press.
- Bennet, E.A. (1985). Meetings With Jung. Daimon, Zurich.
- Breger, Louis (2000) Freud: Darkness in the Midst of Vision. New York, John Wiley & Sons.
- Brome, Vincent (1978) Jung. New York, Atheneum.
- Brooke, R. (1991) Jung and Phenomenology. London, Routledge.
- Carotenuto, Aldo (1980) A Secret Symmetry: Sabina Spielrein Between Jung and Freud. London, Routledge & Kegan Paul.
- Casement, Ann (2001) Carl Gustav Jung. London, Sage Publications.
- Cooper Marcus, Clare (1995) House as a Mirror of Self. Berkeley, CA, Conari Press.
- Crowhurst-Lennard, Suzanne H. (1979) Explorations in the Meaning of Architecture. Wood- stock, NY, Gondolier Press.
- Dunne, Claire (2000) Carl Jung: Wounded Healer of the Soul. New York, Parabola Books.
- Hall, Nor (1999) "Architecture of Intimacy," Spring: A Journal of Archetype and Culture, #60, p. 13-26.
- Giegerich, Wolfgang (2004) "The End of Meaning and the Birth of Man: An Essay about the State Reached in the History of Consciousness and an Analysis of C.G. Jung's Psychology Project," Journal of Jungian Theory and Practice, Vol. 6, #1, 2004, p. 1-65).
- Hannah, Barbara (1997) Jung: His Life and Work. Wilmette, Illinois, Chiron Publications.
- Hauke, Christopher (2003) "Jung and the Postmodern." Proceedings from the 15th International Congress for Analytical Psychology: Cambridge. Einsiedeln, Daimon Verlag, p. 690-700.
- Hayman, Ronald (1999) A Life of Jung. New York, W.W. Norton & Company.
- Hildebrand, Grant (1999) The Origins of Architectural Pleasure. Berkely, University of California Press.
- Jaffé, Aniela: (1979) C.G. Jung: Word and Image. Bollingen Series XCVII, Princeton, New Jersey, Princeton University Press.
- ______(1971) From the Life and Work of C.G. Jung. New York, Harper Colophon Books
- Jung, C.G: (1963), later edition: (1989) Einsiedeln: Daimon. Memories, Dreams, Reflections. Recorded and edited by Aniela Jaffé. London, Collins, Routledge & Kegan Paul.
- ______ (1965) Memories, Dreams, Reflections. Recorded and edited by Aniela Jaffé. New York: Vintage Books.
- ______(1964) Man and His Symbols. New York, Doubleday & Company.
- Kerr, John (1993) A Most Dangerous Method: The Story of Jung, Freud, and Sabina Spielrein. New York, Alfred A. Knopf.
- Lobell, Mimi (1977) 'Spatial Archetypes'. Quadrant, Volume 10, 2, p. 5-44.
- Lyndon, Donlyn & Moore, Charles W. (1994) Chambers for a Memory Place. Cambridge, Massachusetts. The MIT Press
- McGuire, William: (1982) Bollingen: An Adventure in Collecting the Past. Princeton, New Jersey, Princeton University Press.
- ______(1988) The Freud/Jung Letters, Cambridge, Massachusetts, Harvard University Press.
- McLynn, Frank (1996) Carl Gustav Jung. New York, St Martin's Griffin.
- Mogenson, Greg (1999) "Psyche's Archetype." Journal of Analytical Psychology, 44, p. 125-33.
- Oakes, Maud (1987) The Stone Speaks. Wilmette, Illinois, Chiron Publications.
- Rosen, David (1996) The Tao of Jung. NewYork, Penguin Books.
- Reid, Jane Cabot (2001) Jung, My Mother and I. Einsiedeln, Daimon Verlag.
- Sabini, Meredith (2000) "Bones in the Cave: Phylogenetic Foundations of Analytical Psychology," Journal of Jungian Theory and Practice, Fall, Volume 2, p. 17-33.
- Smith, Robert C. (1996) The Wounded Jung. Evanston, Illinois, Northwestern University Press.
- Sielgelman, Ellen Y. (1987). 'The Tower as Artifact and Symbol in Jung and Yeats," Psychological Perspectives, 18, 1, p. 52-69.
- Stein, Murray: (1985) Jung's Treatment of Christianity. Wilmette, Illinois, Chiron
- ______(1998) Jung's Map of the Soul. Chicago, Open Court.
- Stern, Paul, J. (1976) C G Jung: The Haunted Prophet. NY, NY, Dell Publishing.
- van der Post, Laurens (1977) Jung and the Story of Our Time. NY, Random House.
- von Franz, Marie-Louise (1975) C.G. Jung: His Myth In Our Time. Boston, Toronto, Little Brown & Company.
- Wehr, Gerhard: (1971) Portrait of Jung: An Illustrated Biography. New York, Herder & Herder.
- ______(1985) Jung: A Biography. Boston, MA, Shambhala.
- ______(1989) An Illustrated Biography of CG Jung. Boston, MA, Shambhala.
- Ziolkowski, Theodore (1998) The View From the Tower: Origins on an Antimodernist Image. Princeton, NJ. Princeton University Press.
- Stevens, Anthony (1990) On Jung. Princeton, Princeton University Press.


text:
Learn how to protect yourself from Internet scams. Read our online fraud prevention tips
Free Stuff-Freebies-Bargains ClassifiedsFor Sale Local LA Classified Ads
19 listings match, 1-10 shown
Can't find what you're looking for? Try our
Advanced Search
LOVELY MINI POMERANIAN Puppies for rehoming. Male and female.Text (704-659-5965) 12 weeks and are now ready to meet their new homes.They are current on all shots, potty trained,AKC registered and have excellent pedigree.Text (704-659-5965) for detailed info.
Web Id: NOO15467830
Published on NOLA.com 7/22. Updated 7/22.
19 listings match, 1-10 shown
Find A Local Business


text:
Just when the nation began doubting Cardinal basketball, Louisville seemed destined to become the UCONN of last year.
Overcoming a shaky end to the regular season, the Cards caught fire, achieving an incredible win streak that led to both a Big East tournament title and a trip to the Final Four – a la the Huskies of 2011.
However, on Saturday, March 31, the Cards fell short of UCONN's feat in last year's National Semifinal. In 2011, the Huskies defeated the University of Kentucky for a chance to play Butler in the title game, which Connecticut won 53-41.
Yet, this time the top-seeded Wildcats were hungry for revenge on the Big East. Facing arch-rival Louisville in the match-up of the century, Kentucky brought a halt to the Cards' championship run with a 69-61 victory inside the Mercedes-Benz Superdome. In an eerily similar fashion, Louisville lost to the Wildcats 69-62 exactly three months before in Rupp Arena.
"It's going to be tears either way for me," said UofL fan Julie Elliott, before watching the game with her boyfriend – a UK fan – at the Granville Inn. "With UK as good as they are this year, I'll be probably be crying because I'm so happy that UofL won or crying because we lost. Either way. There's a lot of respect both ways."
The Cards never gained control of the tempo throughout the game Saturday. Though they out-rebounded the Cats 40-33, they were 5-for-15 on second-chance opportunities and missed a whopping 13 dunks and layups.
The Cats soon built a 13-point lead in the second half, but the Cards, known for rallying last-minute, attempted resurgence. With 9:12 left in the game, the Cards tied UK 49-49 after Peyton Siva nailed an NBA-range 3-pointer. But, it was Kentucky's 57.1 percent shooting that made the biggest difference in the game. That, and Naismith Award winner Anthony Davis, who led the Cats with 18 points, 14 rebounds and 5 blocks.
"I feel like it's almost more a relief than anything else because it's been awhile," said Austin Miller, a UK faithful, on the Cats quest to their eighth NCAA title. "A championship, I just feel, is like closure to the team. It's been a really fun team to watch – very unselfish. They are what you want in a basketball team."
Miller was one of the few Kentucky fans packed into the Granville Inn, located about a mile away from The University of Louisville campus, during Saturday's game. The bar was filled with riled up Cards enthusiasts, who cheered and chanted before, during, and even after, the game, despite falling to UK.
"That Michigan state game (Cards fans) actually vibrated the plug out of one of the back TVs, it was so loud," said Martin Hazelett, owner of the Granville. "People who live three houses down from the Florida game they said they felt vibrations on their coffee tables coming from the bar at the end of the game."
The Final Four loss against Kentucky was tough for all those who developed a new-found hope for the Cards this year. Yet, regardless of the score in the Commonwealth Clash, no fan can walk away saying Louisville underachieved. Ranked fourth in the nation earlier in the year, the Cards faded out of the Top 25 toward the end of the season after injuries plagued the team.
It's the end of the journey, though, not the beginning that's important. And, after all Louisville accomplished amidst the adversity of this year, this ending only indicates a brighter future's in the Cards.
"This year's Cards exceeded all of my expectations," said Steve Stratton, a UofL fan who attended the Final Four in New Orleans. "Coach Pitino showed why he is the best coach in America. Next year's team is going to be even better than this year. Louisville fans have no idea how good of a player Luke Hancock is. And, we all need to remember that Wayne Blackshear was Mr. Basketball in the state of Illinois – over Anthony Davis!"
Writer Ashley Anderson can be reached at firstname.lastname@example.com and 502.498.2051.


text:
By Allison Epstein, Intern (2013) Unless you've been living in a cave somewhere away from any form of mass media, you've probably noticed a common theme in print ads and commercials. Advertisers are now not only selling us products, they're selling us another object that we consume by virtue of just seeing it: ourselves. Not … [Read more...]
You are here: Home / Archives for ideal beauty
Body Shame Bowl XLVII: Advertising Cultural Ideals Does No One Any Good
February 11, 2013 By Sharon
Filed Under: Beauty Standards Tagged With: #notbuyingit, Advertisements, beauty standards, body image, Calvin Klein, Carl Jr., gender stereotypes, Go Daddy, ideal beauty, Kia, media representation, men, men in advertising, Objectification of Women, Stereotypes, Super Bowl, Super Bowl XLVII, Women, women in advertising


text:
Executive Pastor
Jud Reasons -Executive Pastor
Jud Reasons was born in Nashville, TN on June 17, 1965. Jud grew up with two older brothers and parents who were both public school teachers. His home church of Woodmont Baptist Church played a very big role in his spiritual development. Jud accepted Christ at the age of 9 following a week of Vacation Bible School. He accepted a call into ministry during his 10 th grade year in high school while on a mission trip with Woodmont Baptist Church to Saginaw, Michigan.
While attending Mississippi College, Jud majored in Business Administration. It was during these formative years that he truly surrendered to the calling that God had placed on his life. During his sophomore year, he met Anne while on a Baptist Student Union Retreat. They were married May 14, 1988, which was also Jud's college graduation day! The graduation ceremony was at 2PM and the wedding ceremony was at 7PM. With the birth of Blake in 1992 and Kyle in 1994, the Reasons family has grown!
Jud was called to First Baptist Church Huntsville on July 23, 2006. Jud served as Associate Pastor of First Baptist Church Knoxville from November 1999 until coming to Huntsville. Prior to that time he served on the staff at First Baptist Church of Augusta, Georgia. He has also served churches in Mississippi and Kentucky.
When he is not working, Jud enjoys spending time with his wife, Anne, and kids, Blake and Kyle. His wife Anne is an Elementary Music Teacher at Jones Valley Elementary School, McDonnell Elementary, and Dawson Elementary School. Their oldest son Blake graduated this past year from Auburn University with a degree in Supply Chain Management. He is now living in Memphis where he works with Dollar Tree Distribution in logistics. Their youngest son Kyle is currently attending Auburn University where he is majoring in Aerospace Engineering.


text:
Columbia Health will be hosting a Spring Flu Fair Tuesday, 1/29 in Lerner Hall, Broadway Room, 11 a.m. - 4 p.m. Alternatively, Columbia members may schedule an appointment at Medical Services in John Jay Hall by calling (212) 854-2284 for a free flu shot.
© Copyright 2016, The Trustees of Columbia University in the City of New York.
For questions or comments, please contact the web administrators.
435 West 116 Street, New York, NY 10027 — 212-854-2640


text:
A. Overview and Applicability
All District officers, Employees, Community Members, Students, Visitors and Volunteers of the Edgewood Independent School District shall abide by the policies and guidelines set forth in Board policy series CQ and in this document.
This Acceptable Use Policy ("Regulation") applies to District officers, Employees, Community Members, Students, Visitors and Volunteers (collectively "Users") who have access to and/or who attempt to access any of the following:
1. The District's electronic communication systems, including but not limited to the EDGENET System; and/or
2. The use of District-owned electronic equipment, software, operating systems, storage media, and/or network accounts that provide electronic mail, voice, fax and/or other forms of communications; and/or
3. Internet browsing and file, text and/or image transfers using District property or on District property through any means – for example: File Transfer Protocol (FTP), Hypertext Transfer Protocol (http) Graphical User Interfaces (GUI), and Transmission Control Protocol/Internet Protocol (TCP/IP);
all of which, individually and/or collectively, is referred to herein as "Network."
4. This Acceptable Use regulation is also applicable to any of the above using non-District property during District employment hours and/or while on District property.
Because of the need to protect the Network, the District does not guarantee the confidentiality of information created, exchanged and/or stored on the Network. For security, network maintenance, and/or other lawful purposes, authorized individuals may monitor the Network at any time and reserve the right to audit communication and data on a periodic basis to ensure compliance with this policy.
Edgewood ISD has the right to place reasonable restrictions on the use of equipment. Access to resources and materials by Students and Employees will be limited to login credentials as determined by the Technology Department. Students and Employees shall follow the rules set forth herein and in the District's policies, rules and regulations governing conduct, disciplinary code, and the law in their use of the Network.
All access and rights are privileges granted by the District, and users should expect no privacy rights. Access to the Network shall be primarily for instructional and/or admin- istrative purposes. Limited personal use of the Network is permitted if such use:
1. Does not violate this regulation;
2. Is not illegal or a violation of a community or District standard;
3. Imposes no tangible cost on the District;
4. Does not unduly burden the District's Network resources;
5. Is not for a business purpose; and
6. Has no adverse effect on an Employee's job duties or performance or on a Student's academic performance.
B. System Security
Under no circumstances is any User authorized to engage in any activity involving the Network that is illegal under local, state, federal or international law. Should a User become aware of a violation of this Regulation, be informed of an alleged violation of this Regulation, or become aware of any possible security risk, the User shall immediately inform the Technology Department or the User's supervisor. In the case of a User Student, the Student shall notify the Student's teacher or counselor if the Student is unable to inform the Technology Department.
Except as otherwise permitted herein, Users shall not divulge their passwords to other persons except upon request by the Technology Department Administrator or an authorized technician in the Technology Department engaged in the technician's assigned duties or upon the request of the Superintendent or designee. Student-Users may reveal passwords to their teachers, Technology Department personnel and Administrators.


text:
LAMPASAS (January 7, 2013)—The city is spending their first day without their Public Works Director Randy Clark, who retired Friday after nearly 30 years working for the city.
He was originally hired for the municipal inspection department, a newly created department, where he spent six years.
Later, as the public works director, Clark oversaw the city's water, sewer and electric departments and worked closely with the city council on a variety of projects to help improve the city.
Clark is credited with helping a new wastewater treatment plant come to fruition as well as constructing several electric lines to help reduce power outages in the city.
Friday was Clark's last day as a city employee since 1985.
He plans to spend his retirement enjoying moments with his family, he told city employees.


text:
Home > Food > Recipe Slideshows > Thanksgiving Menu Planner
Thanksgiving Menu Planner
5 of 12
Roast Turkey
A turkey is the featured entrée at any Thanksgiving meal. Whether it's your first time with this crucial responsibility, or you just need to brush up on your technique, check out our easy instructions for roasting a turkey.
Get the recipe for Roast Turkey.
Next: Wild Rice with Mushrooms
More on: Thanksgiving
Sign-Up Now!
Sign up to save recipes or create shopping lists online.
Already registered? Login here
Cooking Tips
Loading the player...
More Videos: