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Location: Grangefields, VIC, Australia


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Lovingly framed with crazy-stone pavers and colorful bedding plants, this pond brings a calming, unanticipated forest element to a compact city yard. Water lilies drift casually across the surface — look carefully just at dusk, and you might even spot fairies or other of the "wee folk" using the floating greenery as stepping-stones. Or perhaps simply pour something cool and refreshing, grab the chessboard, then pull up a couple of chairs at the adjacent wrought iron table and get set for an afternoon of friendly competition.
Tucked onto a terraced ledge amid foxgloves and heather, this seating area is like an oasis retreat. A log bench, smooth and stained just enough to enhance the natural graining, reflects the grandeur of stately cedar trees directly behind. Whether alone or with your sweetheart, give in to the invitation to savor time in nature.
This is one garden path you won't mind being led down. Baby 'mums and geraniums celebrate springtime with dazzling yellow and crimson blossoms. Decorative grasses dance in the wind, while green mosses form soft, natural scatter carpets along the walkway. At night, a contemporary interpretation of the Japanese lanterns lights your way and guides you home.
back to Landscaping

subset: commoncrawl


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Thank you, Mr. Kricfalusi, for saying what a lot of young artists need to hear. I'm always fascinated when I hear people talking about quality and tradition... as good things! I like hearing that training and skill are not incompatible with imagination and experimentation, but that they are necessary for each other. It's refreshing hearing that time is a necessary factor in honing a craft, longer than the four years we spend at a college. I hope, one day, to be able to be part of a team that makes a true piece of animated art, beginning to end. Thanks for the instruction and inspiration.
Oh yes, I've definitely been absorbing them. The color theories, composition stuff...the whole works. I'm still not awesome, but I'm working on it...
-they weren't drawn with a ruler -they have man made and organic shapes (the floppy umbrella over the flat windows)
-the shapes are well composed and frame the main action and leave space for the characters (dolls in the foreground I assume will frame the character in the background...the words on the window and the car in the background leave room for the character...)
-the perspective has been slightly altered, but in a controlled way (the filing cabinets...the fifties swinger pad)
-the colors are greyed,"realistic", earthy and undistracting
-there's contrast, everything doesn't just blend together in a calm pastel world of blandness
-there's interesting and varied shapes (the angular stylish fifties pad beside the weird curvy organic tree)
How am I doing?
Oh yes, I forgot clear sillohettes of major shapes, and a lack of symmetry.
I am an environment artist in the gaming industry and I am constantly checking your blog for inspiration and knowledge about backgrounds. They give me a lot of freedom here on my backgrounds (I am able to go from concept to completion of the 3d environment) and I have to admit I have made a lot of poor choices due to lack of expertise. This blog has helped me greatly in my layouts as well as using contrast to push the emphasis of the BG. I have been using your suggestions for backgrounds with much better results (although I still have a long ways to go) and I eagerly look forward to your posts.
"Why Play Leapfrog?" available at
It's funny that you posted this. I've been watching those John Sutherland films a lot lately. They're some nice looking cartoons. I have to admit your BG notes are pretty thorough and I haven't really absorbed it all yet.
you're doin' great.
Are you applying those ideas to your own cartoons?
I think Josh should get a gold star! I'd also add, they use varied texture and color to establish depth, and use directional cues (lines, shapes, etc) to visually encourage where the viewer's eye will travel, which further helps to frame the action. Interesting use of negative space as well, which goes with what Josh mentioned about balanced asymmetry and organic shapes.
Hey Kevin
yeah some of those Sutherland films are great.
It's interesting that the BGs are "modern" but the characters are bland versions of 40s style.
Do you know who did the BGs in this cartoon?
Thanks for the link Ted, I added it to the post.
I see the construction of shapes in picture 1, squares and rectangles. frame 2 kind of confuses me, I don't know exactly what to look for there. pictures 3 and 4 are readable. I can see that there is space in the background for the character to interact. In frame 3, i reckon that the blonde will move towards the doll. The arm touching her hair may not get cut from the scene. In frame 4, the character already notices the car, so he'll turn his whole body around that direction. pictures 6, 7, 8 are those flat layouts. I think those are used to establish the setting of the film. I don't know what picture 9 is doing, the silhouette....shaving a sheep? picture 10 is the broad, detailed kind of layout showing minute characters interacting with the background. It reminds me of those cityscape layouts. picture 10, i guess this layout was used to focus on the stack of hay since the bull is looking at it. in picture 11, i guess that the focus is on the butcher since we have a full shot of him cutting the meat. the butcher might be the main character and the woman the secondary. the last pictures, i think, all relate to space and what the character can interact with in the scene since he is drawn pretty small. I have your Layout notes form animation meat, John. Layout is one of many things I am working to improve on.
Here's a thing I'd like to add. In some of the BGs (such as 3), the details don't look evenly spaced. I was originally going to post what concepts each screenshot used (it was kind of long), but Josh and Pumml already stated most of the concepts.
"you're doin' great.
Are you applying those ideas to your own cartoons?"
I sure am. I'll post some in a couple of days.
I enjoyed that little short! Had some really fun music in the beginnning too.
Josh hit a lot of the points, so I only have a few to add:
*Harmonious color palettes, rather than the crayon box effect. Most evident in 4,5,6,7, & 12 especially. Lots of subtle shade differences instead of a primary & secondary-color vomit pool.
*Even though a lot of the bgs are very stylized, there's form in them still. The tree in 12 is wayy stylized, but still feels like it has volume.
*Not a single symmetrical shot. 8 could have very easily been centered & boring, but the artist used the slight skewing with varying sizes of the wooden boards to make the sheep sheering hut fun & interesting.
I like these quizzes John...you should ask more often! It's fun for us learning & (hopefully) reassures you that your efforts aren't in vain...
Josh got most of what I was gonna say. However, I would like to add:
-Besides the BG having muted tones they also use limited palettes with emphasis on a single color family (esp 4-7. 12). In 7 the grey building panels aren't even really grey but very neutral warms.
-Most of the BGs have a main color family but with a single compositional form from a different family to emphasiz that shape. In 11, for instance, most of the BG is greenish except for the wall and chopping block in the butcher shop that frame the two figures. In 8 most of the BG is dark earthy and greenish tones, but the pleasantly light pink sky emphasizes the shed's silhouette.
-I'm not sure if this is in the manual but i seem to recall something about keeping BG shapes simple, yet organic. I notice in these BG there tends to be a single shape (+ negative space) to frame the subject. Then all the bg details are added around that shape. In 1 it's the window box around the dolls. In 11 it's the interlocking of the counter+outside and the wall+chopping block. In 10 its the the negative space from the hills that frames the bull. Same thing in 6. In 3 it's the lighter half of the filing cabinets+ the counter that frame the fox and the doll.
The more I study these BG the more I realize how sophisticated they are since the BG and FG overlap several times.
Seeing these backgrounds spurred me to check out other Sutherland cartoons. It looks like this background artist did a number of other films for Sutherland.
Just as an historical aside, it seems to me that he was inspired by Constantin Alajalov. If you're not familiar with Alajalov's work, I highly recommend you check it out.
Aside from doing a Google image search, you can go to the New Yorker's web site store and search "Alajalov" for all of his covers.
Good eye there, Adam!
everyone seems to be growing.
So I should keep putting up lessons and theories about cartoon art?
I read ya stuff JOhn! I even printed it out! suck up, suck up...
In regards to the posted images: What Josh said.
BUT! I never feel comfortable when there is an object smack bang in the middle of a layout, like the doll on the counter. But we all do it and there are exceptions I guess? HECK, I did it with a recent image...but it wasnt a layout.
I also feel squashed with the 2nd shot, the foreground dolls seem like there are just too many...but as I havent seen this clip Im assuming like most scenes that the dolls move outwards as the camera moves forward?
Sorry to go against the rest of you, but what do I know...Im a young woman, shouldnt I be just be inking and painting? :D
I start my 'Watercolor Landscapes' class in 2 weeks and im excited, im going to take what i learned here and apply it to my paintings
eventually i want to use those bgs to animate over!
I am a grad student interested in animation. I am looking for some images showing squash and stretch effects in characters like Mickey mouse and any simple character. I basically need successive frames of the motion depicting squash and stretch for working on my research. It will be great if you could suggest some source where I can get such images.
Thanks in advance,
"So I should keep putting up lessons and theories about cartoon art?"
Yep. Please do keep putting up lessons and theories on cartoon art - I am graphic designer that fakes a lot of cartooning in interactives. With the background stuff you posted on your site I went from a dribbling, limp flesh puddle without direction to a strapping man with a visual purpose. Thanks and please keep posting all that good stuff.
Keep on with the theories & lessons for sure!! It's helping us ALL!
The images smack dab in the center of compositions is a bad habit everyone learns these days from TV production.
Damn, I really would have liked to get in on the discussion earlier - haven't had internet access all week, so been playing catchup. Here's my 2 cents anyway:
1. The blonde doll is pretty much in the centre of the image, the other dolls face in towards her. They're also drawn in darker colours, contrasting her bright colours. The sign above her keeps your eyes from wandering off upwards amidst the murky inside of the shop. The bright blue of the shop pops out against the comparatively muted tones of the surrounding shops. What you see of those shops work well as a framing device, as does the facing window pane. The upper wavy flaps of the shop point downwards, again, leading your eye. The red rectangular shape behind the blonde doll helps direct the eye - working with the "dollies" sign to draw your focus.
2. Great example of grouping similar objects together. Great sense of depth too - the foreground is much more saturated than the background, yet all the colours used in the whole picture are harmonious but never confusing - i.e. objects don't blend into eachother confusingly. I think this may be down to contrasting detailed areas with simple areas - eg the solid wood of the shelf against the pattern of a doll's clothing or the white box behind the doll with the ribbon. Overlapping shapes also help give the impression of depth eg. scissors on peg, ribbon behind it. The two dolls in the bottom left. Notice how they're not fully in frame - implying there's more in this world beyond the four edges of the frame. The perspective line of the base of the shelf also add depth. Good picture design with bold shapes - if you colour the foreground black and the desaturated background white, they form great shapes! all-round, balanced and asymmetrical.
3. Awesome use of perspective lines to show depth, but not boring because it's not done like an architectural drawing! Take that desk for example. The upper left corner perfectly points to the doll - which is also centred on the frame, but as the desk comes towards us, instead of widening, it narrows. This is sweet design that keeps it all organic and serves the presentation and point of the shot. Stylised design with a purpose. The blonde girl has an appealing pose, balanced and facing the primary subject. The filing cabinet in the back also points down to the doll, and as it recedes in perspective, leads our eyes around the picture with the help of the curtains that stop us from wandering too far right. in fact as the pink curtains take us down, we're back to the edge of the table top that's free of texture and patterns - the perfect stage for the doll.
4. Muted walls, tiles and outer walls of the window. The car is saturated so pops out as important. The dude in the foreground is staring right at it! His colours are in perfect harmony with the environment and not as saturated as the car, because the car is more important. The half cut-off tree implies there's more beyond the picture frame, and it's leaves draw you back towards the car. Essentially, this implies the man and tree are similar-sized objects in the world and the invisible line of perspective between them help frame the car again. Not to mention that halo around it! :)
5. Simple and effective use of tone to imply depth. That mill is so dark against the muted city/sky, that you just know it's closer to us. Apart from the rail tracks, there are no parallel lines - keeping it all organic, but not wonky.
6. WOW. how warm and inviting does that world look? Same notes on foreground/background implied through contrast. I love the organic shapes of the mountain and the clear space to the left to frame the foreground elements. BREATHE!
7. Amazing colours again. It would have been easy to place the shack right in the middle of the frame, but that would have flattened the composition completely. This way, your eyes stay on it and it's supported by the horizon lines and shape of the interweaving hills. They're almost forming a criss-cross pattern. The vegetation creeping in from either side of the frame again imply more beyond.
8. Beautiful organic framing. Firstly the wooden paneling is in good contrast to the silhouette. then there's the wooden beams that are pretty much acting like the frame of a painting, with that dark base running along the bottom. Nothing is parallel, it's all organic. Then there's the background - simple. Two complimentary colours in perfect harmony, with a sweeping line to keep things asymmetrical, organic and....fun!
9. The side of the building with repeated windows in perspective adds depth. The further an object is, the more muted less detailed it is. eg. the skyline compared to the watertower, compared to the ship and waterfront. I like how the supporting beams of the dock is also cut off, as is the ship - if they ware all in frame, the picture would appear flat. The cars pop out coz they's saturated. All colours are amazingly in perfect harmony. The lines from the red bridge on the left and the water tower in the top right all lean towards the main building. This main building is designed perfectly to show that bright sign "Assembly Plant". It's as though it's placed in perspective to have that sign spring out at you!
10. Organic hills, the bluey-greeny colours compliment the warm sky. The light-pink fence compliments the grass/hills, the saturated bull pops out, along with the hay - presumably the focus of the shot, as they are also framed by the fence - a nice ring in perspective. The cow's face and hence expression is also key, as comes towards us in perspective. Everything is kept fun and organic and free of clutter, yet never flat through well placed framing devices and implied perspective.
11. That window/doorway is a perfect framing device for the main action. The muted desaturated street doesn't interfere with the characters. Warm walls balanced by the cool cabinets and table top. Use of perspective lines to keep your eyes on the action. I probably don't need to repeat that cropping the weighing scale on the right, the coat on the left, the ham in the bottom left corner and the picture frame on the wall in the top right...all adds to the feeling of a bigger room/world.
12. Harmony harmony harmony. oooh and contrast with the main character, right in the middle of all this organic goodness. The design of the grass itself even frames him. Astounding. The tree is at an angle that points inwards, towards the subject.
13. Saturated objects pop up against what is now a muted background by comparison. So it's never too busy or confusing. The careful placement of the furniture keeps our eyes on the man. That car is gorgeous - simple, fun design, in perspective to keep it feeling like a real car. Awesome. Also, it's made of flat colours - contrasting the blended colours of the background. Goof contrast that also implies material - like it's manufactured, just like the fridge and cooker. They're flat colours too.
14. More of the same, great framing with the converging roof tops and curtain/doorway. The curved path on the right leads us back to the dude. Perspective can be kept organic and flowing.
Dunno if that's what you wanted to hear John, but I must say your posts are always really inspiring and essential material for an aspiring cartoonist / animator / layout artist. I've said it before, you've got great insight and while very vocal about your observations, it's always backed up by well-chosen examples in abundance. That's what makes reading this blog every day so great. So please, do keep posting.
I have been trying to apply the stuff I read in your posts to my own work, to varying degrees of success. To give you an idea, I used to do stuff like this:
but now I'm doing more of this:
and this:
Got a looong way to go yet, but I think some of what I've been reading is starting to have some effect. I find I re-read a lot of the older posts to remind me of the principles.
The uncredited background artist in this cartoon seems to be the same as in WHAT MAKES US TICK and A IS FOR ATOM. Neither of these films gives specific credit for background painting. Instead, they list "art direction" or "production design".
TICK gives credit to Gerald Nevius and Edgar Starr.
ATOM gives credit to Gerald Nevius, Lew Keller and Tony Rivera.
Nevius was a background painter. I'd guess that he was the lead artist and was assisted by the others.
Your lessons help me oodles and ooldles Sensei sir! I read your lessons all the time. And yes they are sinking in. It just takes a few itterations to get it right. I have a basic color wheel taped to my desk front. That also helps a lot. It was for sign painting - but it reminds me of my color basics now and then.
A lot of it relies heavily on the personal style of the artist. Some artists like lots of color and composition and others can be minimalist or modern type artists. That doesn't mean they don't know anything - it simply means they have a much different personal style from the next person. And it all depends on the viewer's personal likes and dislikes about art. It is definatly true to be said that no 2 artists think alike. Just look at how varied all that old style animation is - Bugs Bunny in the most early cartoons is not the same Bugs that he became and certainly is not the same Bugs now.
Your lessons are sinking in - it all depends on who wants to listen to them - or take offence to them. The open minded artist will take it all in and apply what he/she has learned and the non-open artist will get all mad and continue on his/her path because his/her style may be very different from these old examlpes. It all comes down to personal tastes. Not because we're not learning anything.
"Do you know who did the BGs in this cartoon?"
Shot in the dark,Maurice Noble? I'm probably wrong.
I must've missed the BG manual.
I think everything I would have said about the images has already been covered more in-depth by other fans, but I will happily add my voice that the tutorials and whatnot that you posted were incredibly useful to me and I'd love to see more.
Actually, I started watching your blog after someone posted a link to a wikipedia article on you that had useful links specifically to your technique posts, separated by topic such as backgrounds, color and whatnot. I admit I was rather disappointed to go back to the article later to find the links had all been taken down. It did encourage me to start reading your blog more thoroughly, but it had been nice to have that resource as a starting point. =)


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Undergraduate — Music History And Literature — BJUOnline
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Provides the necessary background for the appreciation of music by a general survey of aesthetic and formalistic principles in music and their sociological and historical implications. Guided listening. Not applicable toward major or minor.
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baseball, football, basketball, hockey, sports and
non-sport cards and card collecting.
Like all collectibles, some sports cards increase in value and a few can become very valuable. Determining a card's value is based on a number of factors including the popularity of the player, the card's scarcity, it's condition, and demand among collectors. A card can be scarce but if there's no demand for it, it's value may not be to great.
Q: What are some of the ways to collect cards ? There are several different ways to collect cards. For example, you can try to collect all the cards in a given set. Or you can focus on cards of your favorite team or even just your favorite player.
Some people only collect Rookie cards while others only collect cards of Hall-of-Famers. Because of the high cost of vintage sports cards today a growingly popular way to collect sportscards is "Type Collecting".
"Type Collecting" is collecting just one of each "type" (or different issue) made. To keep costs down, on some of the scarcer more expensive issues you can simply add a less expensive "common" to your collection. While on more common or recent issues you can select your favorite player or a card from your favorite team.
No matter how you collect - the key is to have fun !
1967 Topps WHO AM I ?NM/MINT to MINT COMPLETE 1976 Crane Potato Chip Football Discs Set.
It's easy to see why the 1967 Topps "Who Am I? set is a favorite of both sports and non- sport collectors. The set's 44 cards feature mostly important figures from world history but what makes this set even more popular was the inclusion of 4 of baseball's most popular players: Babe Ruth, Mickey Mantle, Willie Mays and Sandy Koufax !!!
The players picture on the front is covered with a scratch-off disguise with silly, exaggerated features like hair, moustaches, hats, noses... and clues to help kids identify the famous person pictured. The backs contained additional clues and instructions to "Scratch off disguise on front to discover Who I Am. Use a coin or fingernail."
Cards with their scratch-off coating intact are worth many, many times cards with the coatings removed. For example, NM/MINT Babe Ruth with the coating is in the $200-$400 range while a NM/MINT Ruth with the coating removed is closer to $25.
Click for complete
1967 Topps Who Am I? checklist and prices
1963 Fleer BaseballIn an attempt by Fleer to circumvent Topps exclusive rights to baseball cards, Fleer issued their 1963 baseball cards with cookies instead of gum. It is commonly thought that the 1963 Fleer baseball card issue was intended to be a much larger set issued in multiple series but Topps sued Fleer after their first series was released stopping further production. Due to Topps deep pockets Fleer soon pulled the set from the market and cancelled their plans for the remaining series leaving this very, very popular set at just 66 cards plus one unnumbered checklist.
But what a 66 cards !!! The 1963 Fleer Cards are attractive and feature an extremely high percentage of stars. Some of the top stars in the 1963 Fleer baseball card set are Brooks Robinson, Willie Mays, Carl Yastrzemski, Sandy Koufax, Roberto Clemente, Don Drysdale and Warren Spahn.. The set also included 2 very scare Short Prints, Joe Adcock and an unnumbered checklist.
The most interesting card in this set is the Maury Wills Rookie card. Even though Wills started his major league career with the Dodgers way back in 1959 quickly becoming a superstar, his 1963 Fleer card is considered his rookie card ! How is this possible ? Well, back in 1959, 1960 and 1961, Topps did not consider Wills worthy enough to have a baseball card.
As hobby lore has it: Needless to say, Wills was very upset at this slight from Topps. After Wills won the 1962 N.L. MVP award, Topps quickly came a courting but Wills answered with a large "NO". From 1961 thru 1966, Wills prevented Topps from making any of his baseball cards. Wills and Topps finally made up making his 1967 Topps high number short print his first Topps card and also his most expensive card. Adding interest to the Wills baseball card story, Post Cereal released a Maury Wills card in their 1962 set making that the earliest Maury Wills rookie card. Wills was also pictured on a special 1960 Topps card featuring the 1959 World Series. The card features Luis Aparicio stealing 2nd base with Wills pictured trying to make the tag.
Much of the above is true but Wills has said there was no "fued" with Topps and that he simply had signed exclusive agreements with Fleer.
Click for complete
1963 Fleer baseball cards Checklist and Prices
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It will take an organized effort and genuine responsibility to make the change. This week, students at St. James High School began talking about bullying and how it affects their everyday lives. This might just be a spark for the bully prevention fire. If just one student stands up for bullying, it could save a child's life.
Change comes when many like-minded individuals stand up and step forward in the same direction. The movie "Bully" calls for every person to step forward and stop bullying at its core.
The movie is the earth shattering tale of a few families and a few children who are affected daily by bullying. Some of the stories portray kids who were bullied so much they attempted, or succeeded in committing suicide, and the families who are left picking up the pieces and wondering what went wrong now that they're gone.
About 70 students, community members and teachers attending the movie event, all in recognition of Bully Awareness Week. There was audible sobbing in the theater as the movie played, especially when a mother described how her husband and son found her oldest boy hanging in his closet after being bullied in school.
Most moving for me during the movie, was the journey of a young boy who gets picked on for being "creepy." The child has big lips, big cheeks, a big nose and glasses. He laughs along as kids pick on him, calling him fish-face, punching him, and at times choking him. The kid is so desperate for friends he takes whatever attention he can get. Yet, when the issues are brought up to the school, nothing is done. He is lectured more than the students who bullied him and the school administration seems more upset that his parents found out about the bullying than the bullying itself.
This clearly is unacceptable, and why Bully Awareness Week is so important. The prevention of bullying begins with the students who are around bullying every day, but it is important for adults to get involved as well. Simply watching a kid get bullied, when you can lend a supporting hand is destructive for a child. Adults and parents have the responsibility to raise their children to be kind and empathetic. Victims of bullying need the support of a community – and those guilty of being a bully need condemnation from adults.
"We want people to realize the damage that bullying can do and realize that it's not ok, and that you're just as guilty if you sit back and watch as if you are the one doing it – because you can stop it," said Youth Council Member Derrick Shupe in an interview last week. "You can make a difference for that kid that's getting picked on."
It will take an organized effort and genuine responsibility to make the change. This week, students at St. James High School began talking about bullying and how it affects their everyday lives. This might just be a spark for the bully prevention fire. If just one student stands up for bullying, it could save a child's life.
This week, members of the St. James Youth Council spoke to students first as a large group and then smaller groups about bullying. Each day focused on different topics for discussion, with an overall goal of awareness and prevention.
There is also a poster contest for children grades six through eight. The posters are being created with the theme of recognizing bullying prevention. The winner of the contest will receive a Youth Council T-Shirt.
The end of the week has an assembly scheduled, with a skit taking place Friday about situational bullying.
"We are mostly focusing on bullying 101, you know, who gets bullied, why people bully, what can you do when you see it being done and who can you tell," said Youth Council Member Yari Hernandez.
The St. James Youth Council is made up of about 25 youth members of St. James who want to make a positive impact on the lives of people in the St. James area. They have volunteered at multiple events and community meetings during this last year including Rake the Town, Meals on Wheels and a recent funeral. Any youth member of St. James can join after a short application process.
The St. James Youth Council is dedicated to helping those students who are bullied and afraid to attend school every day. With the community supporting them, they hope to make St. James a bully-free zone.
The Youth Council, in collaboration with the Rotary club in St. James sponsored the viewing of "Bully" at the Princess Theater. The movie is available for rental at Redbox and Super Fair Foods.


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Addressing IC Engine performance using the latest modeling techniques.
There are many tough challenges facing manufacturers of IC Engines to reconcile legislative and market demands and up-front simulation has now become integrated into the product design process in most vehicle and engine companies throughout the world.
This webcast highlights some of the latest developments in numerical simulation of in-cylinder flow, fuel spray mixing and combustion that are becoming available to engine analysts. Examples illustrate new methods for accurately simulating fuel injection and sprays and how real fuels and fuel chemistry can be modeled within the framework of proven engine combustion models, including increasingly important dual-fuel combustion systems.
Attendees get an overall understanding of how to generate models with their engine geometries, set up simple simulations, perform analyses and post process results.


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I've been missing from the blogging world for a few weeks but now I'm back.
At the beginning of September we had a family illness to deal with and things now look a lot better than they did nine weeks ago. So my focus has been somewhere else for a while.
However I haven't been neglecting my family history research completely. I have been a subscriber to Ancestry for a long time but was becoming frustrated with not being able to find some entries in the 1901 census that I knew should be there. No matter what search criteria I used I couldn't find any entries for my Dawson relatives in the village of Steeton with Eastburn, near Keighley, West Yorkshire. In fact I couldn't find any entries at all for Steeton with Eastburn.
So I decided to buy a subscription to Find My Past. There were two reasons for this. One was to see if I had any better luck trying to find people living in Steeton with Eastburn. Second it gave me access to the 1911 census – I had been paying separately for this on the 1911 Census website and this was becoming expensive.
I was immediately rewarded. There it was – Steeton with Eastburn did exist in 1901 and there was a census!! I was able to fill in quite a few gaps in my information.
It seems that this whole village is missing from Ancestry.
I was then eager to start updating as much of my tree as I could with the 1911 census information. So over the past few weeks I have been trying to go through the primary names in my ancestry and systematically add the 1911 information and search for subsequent births, marriages and deaths. This work is ongoing.
I have to say that I was really excited at the prospect of using a new set of records from Find My Past. However I was also quite disappointed with the quality of some of the census transcriptions that I came across. I duly submitted corrections and they were quick to deal with these.
Don't get me wrong here – I know how difficult it is to accurately transcribe handwriting especially if the document is not very clear and the location names are not known to the transciber. I discovered just how hard it was when I started transcribing for Family Search. But sometimes the correct information just seems so obvious. Anyway that's my little rant out of the way.
As a result of all this my attention has been diverted from blogging – but I have kept up to date with some of my favourite bloggers and am glad to be back with you.


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One week after leading a bipartisan delegation to tour Hurricane Sandy's devastation on the Jersey Shore, the assembly speaker today unveiled a package of job-creation bills she hopes will receive a bipartisan reception.
Sheila Y. Oliver (D-East Orange) said the Legislature and Gov. Chris Christie need to deal with the state's high unemployment rate in order to ensure that the Sandy recovery coincides with a more substantial economic recovery.
"Nothing is going to get us there more quickly than if we get more New Jerseyans back to work," Oliver said.
The package contains a number of bills that already have been passed and vetoed by Christie, though Oliver said the majority are new bills.
"We are today throwing out a hand of bipartisan participation and cooperation to the administration to sit down with the general Assembly and let us revisit many of those bills that we know will lead to growing and expanding and creating jobs in the state," she said.
Even with the talk of bipartisanship, the Democrats didn't shy away from laying blame for what they see as a too-slow economic recovery in the state.
Assembly Majority Leader Lou Greenwald (D-Voorhees) said the state's unemployment rate remains near 10 percent, and said many of the private-sector jobs created during Christie's tenure have been low-paying jobs.
"No amount of press conferences or talking points is going to obscure the fact that in the last three years, New Jersey's economy continues to get worse," he said.
The package includes legislation to support high-paying manufacturing jobs and collaboration between business and higher education. Other bills encourage hiring of veterans and the long-term unemployed. The package also contains tax credits for investment in biotechnology, and a revamped version of the Back to Work NJ program, a plan previously vetoed by Christie and based on a jobs program in Georgia.
Assembly Budget Chair Vincent Prieto (D-Secaucus) said he plans to have hearings on the bills Dec. 11 in order to allow floor votes Dec. 17.
Oliver said the total cost of the package is about $20 million. Greenwald noted that price tag is far less than the $183 million income tax plan proposed by Christie, which Greenwald charged would have "overwhelmingly rewarded the wealthiest 1 percent in the state."
Greenwald said the Democratic plan is wiser investment, because businesses would first have to commit to jobs and growth before the state would have to spend money.
Asked if the timing of the package was related to the Assembly's vote Monday to raise the state's minimum wage, a move opposed by business groups, Oliver said the Assembly has already done much to support businesses and said her jobs package would also be helpful to businesses.
"This is not designed to deflect away or cushion the aggressiveness around wanting to raise the minimum wage," she said. "This is just another component of what is necessary to get New Jersey's economy working."


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Say what you want about Lance Armstrong, but he's not a dope.
Armstrong took dope to win his Tour de France titles, and, on Thursday night, he was hoping we would end up being the dopes.
Say what you want about Lance Armstrong, but he's not a dope.
Armstrong took dope to win his Tour de France titles, and, on Thursday night, he was hoping we would end up being the dopes.
Certainly there was some take away from Armstrong's tell-all interview with Oprah Winfrey, but all of that take away occurred in the first few moments of the sit down when Armstrong answered yes to several successive questions.
With each "yes" Armstrong reversed positions that he had defended fiercely and repeatedly for over a decade.
He admitted to using about every kind of dope and said he had utilized all illegal therapy options both inside and outside of competition for the duration of his career.
That's when the interview should have ended.
This silver tongued cycler had done enough with that early interview verbiage. Lance the liar had fully replaced Lance the champion.
Unfortunately the interview continued and Armstrong began to do his best impression of a champion boxer who employed, appropriately enough, the rope-a-dope.
This column won't mention the name of that champion boxer. Why sully a man's good reputation by connecting him to the exploits of Armstrong.
At any rate, Armstrong took the hits Thursday and seemed self effacing, then he slid in some counter punches by inserting a few phrases that he hoped would distract from his illegal activities and restore at least some measure of his good name.
Sorry, Mr. Armstrong. We were fully awake and listening. Your days of fooling the public with whole cloth fabrications have ended.
The first sly notation was related to the plausibility of any athlete having enough prowess to win seven tours without performance enhancers.
Armstrong mumbled something about it not being possible in his "generation" of cycling, an obvious attempt to claim that, since all cyclers were doping, the field of cyclers were competing on level ground.
It was a ridiculous assertion.
If the evidence tells us anything, it would be that Armstrong mastered the art of drug use.
He got maximum bang for his buck.
Without the drugs, he doesn't win. More over, without his proficiency at doping, he fails to win.
And in a field of evenly matched cyclists, one would be hard pressed to believe Armstrong would win one tour, let alone seven.
Later in the interview, Armstrong tried to make listeners believe that he was protecting people or shielding people by not talking about the specifics of his drug program.
It was another lie. Armstrong didn't want to create more of a negative situation than what already existed. He knew that the telling of his elaborate schemes would further cement his fate as the most deceptive athlete of his generation, or, quite possibly, any generation.
This interview was a damage control effort by Armstrong.
Then there was the attempt to resurrect an athletic career.
Armstrong actually had the audacity to claim he didn't take PEDs in his last two tours.
His comeback was genuine and drug free. And he got third in that first return ride back in 2009.
See, Armstrong was a good cyclist and an elite level competitor without the drugs.
If you believe that, you should he is, in all likleyhood, lying again.
Ask yourself this.
Why would he stop taking the drugs? What would spurn him to change?
The answer is, quite obviously, nothing.
As the Thursday night interview careened onward, Armstrong told some truths, and, if history is any indicator, probably more lies than we would care to know about.
In the end, it was all a waste of time.
Armstrong was thought to the greatest endurance racer ever. He made believers out of us.
All the while, he lied, bullied, coerced and doped his way to fame and fortune and didn't feel the slightest tug on his conscience.
That's not speculation. He confirmed all of that on Thursday.
It's over Lance. You aren't what we thought you were, and so we are moving on.
Thanks for your work with Livestrong. We will always admire your fight in beating the deadly disease of cancer. And we hope you'll end up remembered for something else.
But those cycling accomplishments are meaningless now.
And they can't be recreated, saved or modified to suit a better narrative no matter how many interviews you do with Oprah, Dr. Phil, Anderson Cooper, or anyone else.
It's a sad notion. And one that's probably foreign to Mr. Armstrong.
Because it's the truth.


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posted by Thom Holwerda on Fri 3rd Feb 2006 22:41 UTC
Security watchers say the Kama Sutra worm, which is programmed to overwrite files on infected Windows PCs today, will have a damaging but not catastrophic effect. The Kama Sutra worm (or Nyxem-E or Blackworm) poses as an email message offering a variety of salacious content. Subject lines used in the malicious emails include: The Best Videoclip Ever, Fw: SeX.mpg, Miss Lebanon 2006 and Fuckin Kama Sutra pics. The worm, which can also spread across network shares, only affects Windows PCs.


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Pick Me Up (US - DVD R1)
Thumb a ride with Gabe and Larry Cohen's Master's of Horror entree...
Mother always told you not to pick up hitchhikers, and Father always told you not to take rides from strangers. But what happens when an evil, hitchhiker murdering truck driver picks up an evil, driver-murdering hitchhiker? More over, what if they started fighting over slaughter territory? And what if you were a young, recent divorcee trapped in the middle? Why folks, I believe we've got ourselves a successful gimmick here.
Personally, the two wildcards on the Masters of Horror slate were always Joe Dante and Larry Cohen. Neither director has a single horror film on their resume, strictly speaking (neither does John Landis for that matter, but he's not as intriguing a filmmaker), and both are often overlooked by genre fans. Dante actually delivered for me (sort of), but he had the unfair advantage of having the best concept behind his episode. Now I come to Cohen, and I actually find myself impressed.
Larry Cohen, if you aren't familiar, has been around forever, mostly working in television and on various B-Movie genres, including horror, blaxploitation, Sci-Fi, and Westerns. What's interesting about his episode is that he did not write it (splatter-punk pioneer David J. Schow holds that honour), as Cohen has actually seen more success as a writer than a director (few of his films have even seen wide release). Cohen created such TV shows as Branded and The Invaders (a major inspiration on John Carpenter's They Live), and most recently had two telephone based thrillers released under different directors ( Phone Booth and Cellular).
Cohen's work can be distinguished with a basic, single sentence hook ('There's a killer mutant baby', 'An ancient Aztec bird-God is eating New Yorkers', 'There's a new desert delight that's turning consumers into mindless zombies') that is the basis for a twisty-turny, and always entertaining plot. Most, if not all, of his films are infused with a healthy does of tongue-in-cheek humour, and a smidgen of allegorical undertones. For the most part, Cohen's films were all very low budget, and entirely misunderstood by critics upon their initial releases.
Pick Me Up is the type of story Cohen could've easily come up with himself, and it fits neatly into his repertoire. Like all the other Masters of Horror short films, it has its limitation, not the least of which being the overwhelming pre-release hype. I've got a review copy of the first six episodes coming as I write this, and already covered Carpenter's and Gordon's episodes before, so I'll try to keep my comments on the series as a whole to a minimum for now, but I have to mention the fact that none of these films have lived up to expectations yet. There is an inherent budget constrictive problem here, but fortunately budget constraints are a Larry Cohen specialty.
Pick Me Up may actually be my second favourite of the series so far, just behind Dante's Homecoming. I wanted to love Carpenter's and Argento's episodes, but found myself undeniably disappointed. Though Cohen's film runs mostly on concept (one that my girlfriend, bless her heart, swears she came up with in High School creative writing class), there is still quite a bit of celebration to be had here.
The biggest party should be thrown for Michael Moriarty who plays Wheeler, the demented truck driver. Moriarty, who's worked with Cohen on several other occasions, is always good, but here he's electric. Wheeler is similar, yet entirely unlike any other serial killer I've ever seen on film, and most of it comes down to his speech patterns and personality ticks. In contrast, but just as cool, is Warren Kole (an actor I was not familiar with) as Walker, the hitchhiker. Figuring that the plot revolves around these two antagonists, these performances go a long way in making the final product worth watching. And let's not forget the always dependable oddity that is Fairuza Balk, who only disappears a little bit in the shadow of these tyrants.
Like every other entree in the series, an hour seems to be the wrong runtime. This particular story would work better as a thirty-minute short, or an expanded feature length film. As is, the story feels stretched in some spots and stilted in others. Ambition gets the better of Cohen on occasion, but occasionally this ambition brings about some fine visuals, like an overturning semi-truck, or a well orchestrated crane shot that checks out three rooms in a seedy hotel from above. It's all a bit touch and go, but I liked it, and think Cohen was just the man for the job.
As in other Masters of Horror release, the overall image here is lacking in detail. Dark scenes, of which there are many, have a lot of digital blocking and low level noise problems. I'm most disappointed by the dull, dishwater colours, which are a symptom of the overall lack of brightness. The anamorphic, 1.78:1 widescreen adds a certain air of respectability and cinematic ambition, but the compression isn't exactly top of the line. Black levels are respectable. I'm guessing these weren't filmed in HD or anything, but there's no reason such a new film, big budget or not, should look so mediocre.
Also adding a boost to the production value is a fine 5.1 Dolby Digital surround track. This mix goes well beyond what one usually sees in a TV show, save some of HBO's larger budgeted series. The soundtrack is a bit lacking, and thinly orchestrated, but it sounds nice and has a full bass bottom. Dialogue is centred and clear, and there is no obvious distortion. The track could do with a little bit of directional effects tweaking, or better yet more directional effects all together, but your rear channels will still get a decent workout.
These Masters of Horror releases are usually worth their meagre price tags for their special features alone. If you are a fan of any particular director, you'll want to pick up their episode for the extras. This disc is no exception.
We start with a two main featurettes, Death on the Highway: An Interview with Larry Cohen and Working With a Master: Larry Cohen. These probably should've been edited together, as both follow Cohen from his early TV work to the making of Pick Me Up, though one is mostly from Cohen's P.O.V., and the other from those he's worked with through out his life. Personally, I'd already read Kim Newman's Nightmare Movies book, which has a pretty lengthy chapter about Cohen, and I've seen a lot of the man's films, but I still found plenty to learn here. Fans should probably understand that this is the closest to a feature length expose on the writer/director we'll ever see.
Cohen's solo commentary track is a mile a minute. It kind of makes you want to pause the DVD so the poor guy can catch his breath. Unfortunately Cohen spends a little too much time describing on screen events and telling us stuff we already learned from the featurettes to warrant the listening for anyone but the biggest fans. Budding filmmakers may enjoy the track for the descriptions of how to get some good shots fast and cheap. Maybe Cohen should just give a seminar.
There are interviews, each around ten minutes, with the three lead actors. Moriarty is a weird guy. Either he's a method actor still in character at the time of the interview, or he really is a bit mad. He goes off on a long tangent about his inspiration for the character, an abortionist, who he sees as hateful, sterilized baby killers. Obviously not a Pro-Choice kind of guy, but pretty interesting, and a big fan of Cohen. Warren Kole and Fairuza Balk are a lot less intense, and have nothing but love for their director. In fact, no one really talks about anything but how much they love Cohen. The only surprise of the disc, meaning a departure from the other DVDs in the series, is a television interview with Cohen from a TV show entitled Fantasy Film Festival. This is cute as the interviewer is a young Mick Garris, the series producer and director of several made-for-TV Stephen King films.
The features are rounded out with a behind the scenes montage (which is dry, and can mostly be found in bits and pieces during the docs), a script to screen comparison (another Masters of Horror DVD regular), a Cohen text bio, and a set of Masters of Horror trailers.
Problematic, but probably my second favourite in the series so far (just behind the equally problematic Homecoming), Pick Me Up is an enjoyable little thriller that Larry Cohen fans should enjoy. The DVD is a little lacking in the video field, but has a nice sound mix and a bang up set of special features. If anything, this disc has reawakened my personal interest in the director, and I plan on tracking down copies of The Stuff and Q: The Winged Serpent as soon as I can. I wish I would've bought them before they went out of print.
Review by Gabriel Powers
Existing Posts
where i can find more about warren kole? he was really hot in part 'pick me up'. ; )
i like very much about 'masters of horror' but the first part was the best of all.
i like very much about 'masters of horror' but the first part was the best of all.
Chris Johnson wrote: This all makes me wonder: will the Italian "Masters Of Horror" show be released here after it's finished?
I'm sure it will be in Italy, but whether it has English subtitles is questionable.
I'm sure it will be in Italy, but whether it has English subtitles is questionable.
Jonno2006 wrote: Off topic but I really wanted to know when are we gonna get news of the R1 version of 'The Descent'. DavidDVD had the news of it for like a month. but I was waiting for you guys to officially announce it couple days later. Still nothing.. I really loved that movie and I can't wait to buy it! Any news would be great thanks :D
Lionsgate material is difficult to obtain, especially when the person in charge only randomly responds.
Lionsgate material is difficult to obtain, especially when the person in charge only randomly responds.
Off topic but I really wanted to know when are we gonna get news of the R1 version of 'The Descent'. DavidDVD had the news of it for like a month. but I was waiting for you guys to officially announce it couple days later. Still nothing.. I really loved that movie and I can't wait to buy it! Any news would be great thanks :D
This all makes me wonder: will the Italian "Masters Of Horror" show be released here after it's finished?
I actually haven't seen it yet. I plan on watching it tonight. I suppose that the fact it was made by Miike made it worth the 7 dollar purchase to me.
OK, just watched Imprint. So far it's the only Masters of Horror entree that's actually scary. I can understand why it'd disturb people though.
OK, just watched Imprint. So far it's the only Masters of Horror entree that's actually scary. I can understand why it'd disturb people though.
"Imprint" was terrible!
They're having a massive sale at Best Buy, and some of the better episodes are available for only 7 bucks. This isn't one of them, but Imprint and Jenifer are worth 7 bucks.
I really wish they'd release a set of all the Masters of Horror (which is quite the ironic title considering some don't even direct horror, but I digress) in the U.S., like they did in England. I would snatch that up in a heartbeat, buying them all individually is just too much to ask for.
The Howling is a comedy with horror elements, thus not strictly speaking a horror film, IN MY OPINION. Did anyone read any other part of my review, or are we only going to argue the semantics of one sentence?
How is The Howling not a horror movie?
Anyway, I just watched Pick Me Up last night. I dug it, more or less. The concept was good, a lot of the script was as well. It's failings were a lack of gore/suspense/horror, and Fairuza Balk being utterly irritating and completely useless. Still, one of the better MOH eps I have seen so far.
Anyway, I just watched Pick Me Up last night. I dug it, more or less. The concept was good, a lot of the script was as well. It's failings were a lack of gore/suspense/horror, and Fairuza Balk being utterly irritating and completely useless. Still, one of the better MOH eps I have seen so far.
Chris Johnson wrote: Gabe Powers wrote: I don't consider either of those strictly horror.
Horror or not, those are both good movies.
Wellll, I love AAWIL, but Innocent Blood is pretty mediocre IMHO. But it's besides the point.
Horror or not, those are both good movies.
Wellll, I love AAWIL, but Innocent Blood is pretty mediocre IMHO. But it's besides the point.
Gabe Powers wrote: I don't consider either of those strictly horror.
Horror or not, those are both good movies.
Horror or not, those are both good movies.
where can I find a link to this on imdb or amazon?
I don't consider either of those strictly horror.
Actually, John Landis did direct An American Werewolf in London and Innocent Blood.
Thanks Frank.
i'll pick it up soon, I really liked the ones i've owned
You can get both Q and The Stuff on www.deepdiscountdvd.com
You can get both Q and The Stuff on www.deepdiscountdvd.com
This product has not been rated
Disc Details
Release Date: 18th October 2006
Discs: 1
Disc Type: Single side, dual layer
RCE: No
Video: NTSC
Aspect: 1.78:1
Anamorphic: Yes
Colour: Yes
Audio: Dolby Digital 5.1 English, Dolby Surround 2.0 English
Subtitles: English
Extras: Death on the Highway: An Interview with Larry Cohen, Working With a Master: Larry Cohen, Director Commentary, Behind the Scenes, Fantasy Film Festival: Mick Garris Interviews Larry Cohen, Cast Interviews, Trailers, Script to Screen, Bio, Stills
Easter Egg: No
Feature Details
Director: Larry Cohen
Cast: Michael Moriarty, Fairuza Balk, Warren Kole
Genre: Horror
Length: 58 minutes
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text: Edmunds.com features a complete listing of Mitsubishi dealerships in Polk County, making it simple to the find new or used Mitsubishi vehicle of your dreams. Compare local dealer prices in Polk County with instant online quotes for Mitsubishi car, truck, wagon, SUV, and minivan models. At Edmunds.com car buyers can search a comprehensive network of trusted Mitsubishi car dealerships in their region, allowing them to pinpoint the lowest prices at the most convenient location.


text:
"Courage is the art of being the only one who knows you're scared to death."
--Earl Wilson
This site is a listing of quotations I have found as inspiring, intriguing, intuitive, unique, insightful, and thought provoking. Hopefully, you will find them the same.
Search by Author or word or topic in search box at the top of the page, or by categories below. Also, if you want quotes with PICTURES, just put the term 'picture' in the search box.
The Profit Prophet


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product description
Related Products:
Burke, Bill, M.S.
Carbon Steel
Fixed Blade Knives
Work by Mastersmiths
Blade Style - San Mai
Carbon Steel - 52100
Chef Knives & Santoku
Distal Taper
Full Tang
Japanese/Asian Knives
Wood - Ironwood
Maker: Bill Burke, M.S. (click to see more by this maker)
Item num: 91588
*** This is handmade and one-of-a-kind ***Blade length: 9.12 in.Total length: 14.50 in.Blade height (at heel): 2.05 in.Blade thickness (near bolster): 0.09 in.Item weight: 6.90 oz.Blade: San mai blade combining a 52100 carbon steel core with 416 stainless steel sidesBolster: 416 stainless steelHandle: Presentation grade Arizona desert ironwood
Description: Mastersmith Bill Burke's chef's knives are among the highest performing cutlery found anywhere. His heat treatment technique, combined with his choice of steel, results in edge holding that is far beyond other knives. This is a knife that you won't want to put down.
This high performance chef's knife is a perfect choice as a primary knife in the kitchen. The long, deep-bellied blade is well suited for slicing vegetables and meats. The gentle arch of the cutting edge is perfect for a rocking chopping motion with plenty of finger clearance over a cutting board.
This san mai blade was created by beginning with carbon steel (to form the core and cutting edge) that is then encased in a steel with greater stain-resistance. As a result, the cutting edge of the blade is as sharp and durable as a 100% carbon steel knife, while the stain-resistant steel outer layer makes this knife significantly easier to maintain. Many knifemakers and users feel that 52100 is among the best, if not the best steel currently used for knifemaking.
Like his hunting knives, this chef's knife was pre-tested for edge flex and cutting ability before assembly. The heat treatment followed the formulas developed in conjunction with Mastersmith Ed Fowler and creates some of the sharpest and most long lasting edges found anywhere.
The handle is formed from presentation grade Arizona desert ironwood. The wood has a nice mix of light and dark warm tones and is carved to swell toward the front of the handle, move into a slimmer waist and finally to swell again at the beak at the end of the handle. Ironwood is a perfect choice for a chef's knife and holds up well to the heavy demands of either a home or commercial kitchen. The bolster is formed from 416 stainless steel, pinned and soldered to the blade for strength and durability. By distal tapering both the tang and blade, Burke ensures a perfect balance.
Availability: Not currently available


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Nymbler is the smart baby name guide that responds to your personal taste.
Nymbler makes name connections with insights from baby-naming expert Laura Wattenberg, author of The Baby Name Wizard.
A boy's name of Celtic and Irish origin that has a comfortable mid-century style. Glen was most popular in 1957 and is currently not among the top 1000 U.S. boys' names. Meaning: Irish: a short form of Glendon.
U.S. popularity statistics:
|Peak year:
|Rank in 2008:
|3-year trend:


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There is something about Sian's natural, innocent beauty that just drives men wild - Sian makes sexiness look effortless!
In this film, shot on location in South Africa, you get to spend a lazy summer afternoon with Sian. Just you and her chilling out together! Sian is taking it easy swinging in her bubble chair and enjoying the feeling of the sun on her smooth, tanned skin.
No make-up, no over-styled hair just a naturally beautiful girl enjoying being naked. Sometimes less is more and Sian is one of those girls who just doesn't have to try too hard. It's all in the eyes and smile!
So enjoy your chilled-out afternoon with Sian - what better way is there to while away the hours?!
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"Doesn't that prove how vital the Commentaries are" Not really. It shows how convoluted the commentaries can be in trying to explain away difficulties in the suttas.robertk wrote:tiltbillings wrote:How about the monks that killed themselves after being given the practice of the repulsiveness of the body by the Buddha. After giving that subject for meditation, the Buddha goes on retreat for a time, comes back to find sangha a bit thinned out. Now, the commentary gives an unbelievably silly story about that and Ven Bodhi to his credit does not seem to buy it. SN V 320-22 CDB 1773-4.
p 1951 of Bodhi: anapanasamyutta commentary (Bodhi)SPK: ""why did he[buddha]
speak thus?[saying that he was going into seclusion for 2 weeks]? In
the past, it is said, five hundred men earned their living as hunters.
They were reborn in hell, but later, through some good kamma , took
birth as human and went forth as monks..However, a portion of their
original bad kamma had gained the opportunity to ripen during this
fortnight and was due to bring on their deaths both by suicide and
homicide. The blessed one foresaw this and realized he could do nothing
about it.....Among those monks some were wordling some were sotapanna,
some sakaadgami, some anagamai
The Buddha spoke of foulness to remove their attachment to the body so
they would lose their fear of death and could thus be reborn in
heaven. ..he went into seclusion to avoid being present when destiny
took its toll."""
Doesn't that prove how vital the Commentaries are to understand what really happened. The Buddha is SammasamBuddha- he has knowledge of all of this. He asked Ananda what had happened not becuase he didn't know but because sometimes Buddha's ask questions in order to introduce a teaching.
Ven Bodhi. There is no argument in this statement; just ad hominem.Bodhi's dismisal of this Commentary is as telling as his support of those bhikkhunis ordained from a chinese lineage being called Theravada- he really doesn't believe the Theravada is the heir of the Dhamma- they are as liable to introduce porkies and tell outright lies, as their Mahayana cousins so he apparently thinks..


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The blue crystal ornaments and snow white tiles, create a nice contrast and give serenity to the master bathroom. The shower has three square windows providing abundant natural light, and a rainforest style shower head above.
Image 2:
Towering white walls, minimal decorative accents, and a divided space make this an ideal place to take a bath. The art glasses in aquamarine and emerald, and the trio of palm leaves define the tub area and contrast with the whiteness of the rest of the space.
Image 3:
The thickness of the countertop top highlights the material and provides a framework for the two basins which are symmetrically installed and have curved polished chrome faucets. The long horizontal mirror also provides a strategic balance in space. Under the counter lies a rectangular ottoman that looks like floating ice in this great space.
back to Bathrooms, Powder, Pool


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A ledgestone column and rough grain, wide plank flooring give this butler's kitchen a welcoming, country cottage ambiance. Two-tone cabinetry in natural brown with sage green uppers is complemented with slate-colored, angled counter surfaces and off-white porcelain tile backsplash quietly implying an outdoor plaza where dining alfresco is the order of the day.
Perfect for hosts who enjoy sharing their best vintages with guests, this butler's pantry includes multiple, eye-level racking for the current offerings, ample display cabinetry for stemware, and a concealed wine refrigerator tucked into a far corner. The counter is clean and simple, the backsplash designed with minimal texture and just a hint of color - both forming a noncompetitive backdrop to the more intricate millwork designs.
Compact yet oh-so-functional, this lively pantry packs all the essentials - dishwasher, prep sink, storage - into a space with a footprint not much larger than a double-width closet. The white-on-white color palette enhances the sense of open, airiness while under-cabinet task lighting means no working in the shadow during meal prep or clean up.
back to Butlers Pantry, Wet Bar


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|Click to return to
Baseball-Cards.com Vintage Topps & Bowman cards with Mickey Mantle, Willie Mays
1973 Topps #175 Frank Robinson (Angels) Baseball cardPrice = $ 17.5
Select a different Sport or Vintage Baseball Cards set Enter words,partial words,partial words with wildcards (*) or a phrase in quotes.
1959 Topps Yankees displays vintage 1959 Topps Yankees cards.
Bowman Mantle displays all Bowman Mickey Mantle cards, old and recent.
Clicking banner escorts you to our online store in San Diego.
Topps cards, supplies here in San Diego,New York City,Las Vegas.
Below are some tidbits on baseball and sportscard collecting.
Visit our web site for more info on vintage and current
baseball, football, basketball, hockey, sports and
non-sport cards and card collecting.
(part 2)
In hockey, there were a few sets issued in the 1910's and while O-Pee-Chee issued some sets in the 1930's, the real modern sets began in 1951 with the itroduction of Parkhurst's first set.
In racing, while cards go back as far as the early Indy car days of 1911, modern racing sets began in 1988 with the issues released by MAXX.
1952,1953,1954,1955 Red Man TOBACCORed Man Tobacco issued baseball cards in 1952, 1953, 1954 and 1955, making them the only tobacco company to do so since 1920. The cards are very attractive with a large, painted portrait and a short player's bio on the front. On the back is company advertising. 1/2" tabs at the bottom of each card could be exchanged for a prize. The exchange rate was 50 tabs for one free Big League style baseball cap. Thus, cards with the tabs still intact are much, much, harder to find making them more valuable.
Without the tabs it is difficult to determine which year certain players were issued. It is usually easiest to determine the year by looking at the expiration date on the back. Subtract 1 from the expiration year to determine the year of the card.
Each set is made up of 25 players from each league all personally selected by Editor J.G. Taylor Spink of the "Sporting News". Managers from each league were included in the 1952 and 1953 sets. The 1954 set had four different variations. If you ignore the many variations of the expiration dates, that brings the total to only 208 cards to complete your Master Red Man Tobacco Baseball Card Set !!! Start collecting now !
Click for complete
1952,1953,1954,1955 Red Man Tobacco cards checklist and prices
1971 O-Pee-Chee BaseballAlso referred to as OPC or Topps Canada, most vintage OPC sets were near replicas of the Topps cards from that year. Exactly same in design they usually only differed with the addition of French to the backs and some fronts.
To the benefit of collector's OPC made several changes in their 1971 set. The most obvious and useful was a complete redesign of the card backs and the addition of another player photo ! Additionly, over 20 cards were changed including the inclusion of what could be considered the first "Traded" cards. Another difference: Topps cards #202 and #289 were changed to allow the addition of 2 more Expos to the set.
The 1971 OPC set is legendary for its short print run, estimated at perhaps just 5% of Topps' Production. This issue is considered quite elusive, even in Canada.
TOP ROOKIE: Steve Garvey
TOP STARS: Nolan Ryan, Roberto Clemente, Willie Mays, Hank Aaron, Ernie Banks, Pete Rose, Ted Williams, Thurman Munson, Reggie Jackson, Don Baylor/Dusty Baker RC & MORE !!!
Click for complete
1971 OPC/O-Pee-Chee Baseball checklist and prices
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CA: San Diego, Los Angeles, San Francisco; Las Vegas, Miami, New York City, Washington DC escorts


text:
Linked by Thom Holwerda on Mon 4th Apr 2011 22:59 UTC
And yes, the stream of controlled Windows 8 leaks continues. This time around, Thurrot and Rivera have published a number of screenshots from Windows 8's brand-new tablet user interface, and surprise surprise, its built on Metro, the same design language that underpins Windows Phone 7. Windows 8 will also include its own PDF reader, Modern Reader, which also happens to be the first application packaged in Microsoft's new AppX format. Update: Long Zheng has some technical details on AppX, including this little tidbit: "The extensive list of properties signifies the comprehensive scope of this system to be the ideal deployment strategy for 'applications', in all essence of the word. In fact, the AppX format is universal enough so it appears to work for everything from native Win32 applications to framework-based applications and even *gasp* web applications. Games are also supported."
Permalink for comment 469533
To read all comments associated with this story, please click here.
To read all comments associated with this story, please click here.
RE[4]: Monopoly
by Glynser on Thu 7th Apr 2011 15:37 UTC in reply to "RE[3]: Monopoly"


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PITTSBURGH — A judge has rejected a request for a mistrial by the defense attorneys for suspended state Supreme Court Justice Joan Orie Melvin.
Melvin's attorneys asked for the mistrial today because the justice's former law clerk testified Friday that a handwritten document from the judge was a request to fill out a campaign endorsement questionnaire in 2003.
In reality, the document was from 1998 and had nothing to do with political campaigning, which Melvin is accused of doing illegally using her former Superior Court staff.
The judge rejected the mistrial request after prosecutors acknowledged making an honest mistake with the document and the jury was instructed today to disregard that evidence.


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Ecological genomics seminar
The Ecological Genomics page
This page is for use of participants in EEB 6485 Seminar in Ecological Genomics
- To upload a pdf use this form (note that this form requires authentication; contact Eric Schultz for the username and password)
- To add a link to an uploaded journal article pdf, review the instructions that will arrive in an email following each successful use of the upload form (more help on hypertext links in Help).
The Spring 2010 Edition
February 3
- Rokas, A. and P. Abbot. 2009 Harnessing genomics for evolutionary insights. Trends in Ecology and Evolution 24:192-200.
- Ungerer, M.C., L.C. Johnson and M.A. Herman. 2008. Ecological genomics: understanding gene and genome function in the natural environment. Heredity 100: 178-183.
February 10
- Snow day.
February 17
- Place et al 2008 MEPS.pdf Gene expression in the intertidal mussel Mytilus californianus: physiological response to environmental factors on a biogeographic scale
February 24
- Hahn et al 2009.pdf Gene discovery using massively parallel pyrosequencing to develop ESTs for the flesh fly Sarcophaga crassipalpis
March 3
- Vera, J. C., C. W. Wheat, H. W. Fescemyer, M. J. Frilander, D. L. Crawford, I. Hanski, and J. H. Marden. 2008. Rapid transcriptome characterization for a nonmodel organism using 454 pyrosequencing. Molecular Ecology 17: 1636-1647.
March 17
- Metzker, M. L. 2010. Sequencing technologies - the next generation. Nature Reviews Genetics 11: 31-46.
March 24
- Cummings, M. E., J. Larkins-Ford, C. R. L. Reilly, R. Y. Wong, M. Ramsey, and H. A. Hofmann. 2008. Sexual and social stimuli elicit rapid and contrasting genomic responses. Proceedings of the Royal Society B-Biological Sciences 275: 393-402.
March 31
- Hegedus, Z., A. Zakrzewska, V.C. Agoston, A. Ordas, P. Racz, M. Mink, H.P. Spaink and A.H. Meijer. 2009. Deep sequencing of the zebrafish transcriptome response to mycobacterium infection. Molecular Immunology 46: 2918–2930.
April 7
- Goetz, F., D. Rosauer, S. Sitar, G. Goetz, C. Simchick, S. Roberts, R. Johnson, C. Murphy, C. R. Bronte, and S. Mackenzie. 2010. A genetic basis for the phenotypic differentiation between siscowet and lean lake trout (Salvelinus namaycush). Molecular Ecology 19: 176-196.
April 14
- Aubin-Horth, N., and S. C. P. Renn. 2009. Genomic reaction norms: using integrative biology to understand molecular mechanisms of phenotypic plasticity. Molecular Ecology 18: 3763-3780.
- Aubin-Horth, N., Letcher, B.H., and Hofmann, H.A. 2009. Gene-expression signatures of Atlantic salmon's plastic life cycle. General and Comparative Endocrinology 163(3): 278-284.
April 21
- Ellegren, H. 2008. Comparative genomics and the study of evolution by natural selection. Molecular Ecology 17: 4586-4596.
April 28
- Rubin et al. 2010. Whole genome resequencing reveals loci under selection during chicken domestication. Nature 464: 587-593.
- Turner et al. 2010. Population resequencing reveals local adaptation of Arabidopsis lyrata to serpentine soils. Nature Genetics 42: 260-264.
Topics of interest
Toyshop: overview of next generation sequencing technologies (Rachel O'Neill, rescheduled tentatively for 3/3)
Functional variability in gene expression; response to abiotic factors, social factors, other species
Linking intra- and interspecific genomic variability to morphological variability
Environmentally-mediated modification of the genome; epigenetics
Metagenomics: genetic variability at the community level
Genomics and community/ecosystem-scale processes
Genomics and development: how regulatory pathways shape morphology
Genomics and systematics: discovery of informative loci
Reference compilations
Methods-oriented overview papers
- Metzker, M. L. 2010. Sequencing technologies - the next generation. Nature Reviews Genetics 11: 31-46.
- Morozova, O., M. Hirst, and M. A. Marra. 2009. Applications of New Sequencing Technologies for Transcriptome Analysis. Annual Review of Genomics and Human Genetics 10: 135-151.
- Mortazavi, A., B. A. Williams, K. McCue, L. Schaeffer, and B. Wold. 2008. Mapping and quantifying mammalian transcriptomes by RNA-Seq. Nature Methods 5: 621-628.
- Rothberg, J. M., and J. H. Leamon. 2008. The development and impact of 454 sequencing. Nature Biotechnology 26: 1117-1124.
- Schuster, S. C. 2008. Next-generation sequencing transforms today's biology. Nature Methods 5: 16-18.
- Shendure, J., and H. L. Ji. 2008. Next-generation DNA sequencing. Nature Biotechnology 26: 1135-1145.
- Weber, A. P. M., K. L. Weber, K. Carr, C. Wilkerson, and J. B. Ohlrogge. 2007. Sampling the arabidopsis transcriptome with massively parallel pyrosequencing. Plant Physiology 144: 32-42.


text:
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I became intrigued with the idea of finding out what a wagoner would do in the Civil War and what the wagons physical shape and size would be like. The idea that my great-grandfather would be a wagoner was truly amazing to me! He was my size 125 lbs. 5 ft. 4 inches tall. George was young and strong back at the time of the Civil War being about 18 years old. I think we can see he was a determined person.
In a letter dated July 20, 1999 from Guy LaFrance of the Eastern National in Manassas, Virginia (Battlefield of the Civil War – Bull Run), I received this bit of information:
"What I can tell you, based on my own personal knowledge, is that the role of a wagoner was to transport the supplies needed by the army. He was responsible for driving the wagon and maintaining it, feeding and caring for the mule team that pulled it, ensuring that it was loaded properly, and seeing that its cargo reached its destination safely. The cargo could be anything that an army of that time required; food, medicines, weapons, ammunition, clothing, shelter tents, tools, the soldier's knacksacks, officer's luggage, and anything else the Quartermaster Corps, the branch of the U.S. Army that was responsible for obtaining and distributing supplies felt was needed. It was, and still is an essential job, one that is too often overlooked when studying military history."
The picture of the wagon was taken at a museum in northern Minnesota probably the Itasca Historical Society but I do not remember exactly where. I was amused by the shiny floor and this huge wagon that towered over me. I think it is probably a Conestoga style. Next time I am near one of these wagons I will stand next to it so it is documented my size versus a wagon of this type.
Here is an article about the Quartermaster Department in the Civil War.
The Quartermaster Corps during the Civil War was managed by Montgomery Meigs who reorganized and it made it work. Several years ago I was poking around on the internet about the Quartermaster Department of the Civil War and there was nothing but now things are changing. Wikipedia has a great biography of this man and his contributions: http://en.wikipedia.org/wiki/Montgomery_C._Meigs
Tip: go to Google Images and type in "Civil War Wagons" and you get a lot of photos of the different kinds of wagons used: ambulance, supplies, guns and more. Copyright will not allow me to post pictures here unless I ask permission.
General Sherman writes in his memoirs:
"An ordinary army-wagon drawn by six mules may be counted on to carry three thousand pounds net, equal to the food of a full regiment for one day." The Memoirs of General W. T. Sherman, Vol. II., Part 4; by William T. Sherman
George Barclay writes in his own words:
This is taken from George's Civil War Pension record and written in his own hand. Civil War Pension records are mostly about the service of the soldier and their medical condition in order to secure their pension. Here George is pleading his case. He wrote this about 1891. Ouch!
Here is an interesting article on mules at the blog: Civil War by LearnCivilWarHistory.com, http://www.nellaware.com/blog/civil-war-mules.html It tells about their uses and care. Apparently they didn't use mules around the guns for they would not be willing participants. Mules worked best for hauling. I saw a donkey at the Latte Plantation in North Carolina but he was small and shaggy so learning a little about mules versus horses has been very educational for me, I am a city kid.