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Tried or prescribed Cognitive-Behavioral Therapy (CBT) (Procedure)? Share your experience.
I'm a professional and |
0 people have tried Cognitive-Behavioral Therapy (CBT) (Procedure) | 0 people have prescribed Cognitive-Behavioral Therapy (CBT) (Procedure) |
Cognitive-behavioral therapy (CBT) is a form of talk therapy. This means that you discuss your thoughts, feelings, and behaviors with a mental health professional. CBT focuses on how the way you think affects the way you feel and act.
Your therapist helps you identify negative thoughts and evaluates how realistic these thoughts are. Then, he or she teaches you to unlearn negative thought patterns and learn new, helpful ones.
CBT is a problem-solving approach. While you cannot control other people or situations, you can control the way you perceive and react to a particular situation. CBT teaches you the skills to change your thinking. It can also help you manage your reactions to stressful people and situations.
What to Expect
Prior to Procedure
There is no specific preparation for CBT. You may be asked to fill out a questionnaire about your feelings.
Description of the Procedure
You may receive CBT in one-on-one therapy sessions or in a group format. CBT can be divided into two parts: functional analysisand skills training.
Functional Analysis
You and your therapist will identify stressful situations. You will also determine the thoughts that lead to or worsen these situations. These thoughts will then be analyzed to see if they are realistic and appropriate. For example, your therapist may point out negative thought patterns, such as "I cannot handle this" or "people are laughing at me."
Skills Training
Next, your therapist guides you to reduce unhealthy ways of thinking and to learn healthier ways. Instead of thinking "I cannot handle this," you will learn to draw on your strengths: "I have handled difficult situations before, so I can handle this one."
You will also learn to ask more questions about yourself before making a conclusion. For example, "Could those people be laughing at something other than me?" The goal is to replace irrational thought patterns with better ones.
Skills training takes a lot of practice. You will often be given "homework." You might practice deep-breathing exercises or role-play how to act in certain social situations. For example, a person dealing with substance abuse might practice ways to decline an alcoholic drink.
Homework is vital to the success of CBT. You must practice new, rational responses until they replace your previous, unhealthy responses. Homework also allows you to try new skills. You will then be able to give feedback on which works best for you.
How Long Will It Take?
The length of an individual session is usually 50-100 minutes. Group sessions may last longer. Treatment sessions may occur 1-2 times per week for 12-16 weeks.
This is a general guideline. Depending on your situation, treatment may be longer or shorter. Keep in mind that it may take several tries to unlearn poor habits and to learn healthy ones.
Post-therapy Care
You may be given homework between sessions. You will need to practice the strategies you and your therapist have discussed.
Some therapists advise that you return for a check-up about three, six, and twelve months after therapy has ended. In addition, you may call your therapist whenever the need arises.
The goal of CBT is to change your thought process. This will allow healthy and realistic responses to difficult situations. Many patients notice an improvement in their symptoms within 3-4 weeks of beginning CBT.
American Psychological Association
The Beck Institute for Cognitive Therapy and Research
National Association of Cognitive—Behavioral Therapists
BC Health Guide, British Columbia Ministry of Health
Canadian Psychiatric Association
About cognitive therapy. The Beck Institute for Cognitive Therapy and Research website. Available at:
. Accessed November 30, 2005.
About cognitive therapy. The Beck Institute for Cognitive Therapy and Research website. Available at:
. Accessed June 10, 2007.
Bush JW. The CBT website. Available at:
. Accessed November 29, 2005.
Butler AC, Chapman JE, Forman EM, et al. The empirical status of cognitive-behavioral therapy: a review of meta-analyses [abstract].
Clin Psychol Rev. 2005.
A cognitive-behavioral approach: treating cocaine addiction. National Institute on Drug Abuse website. Available at:
. Accessed November 22, 2005.
Cognitive-behavioral therapy. National Association of Cognitive-Behavioral Therapists website. Available at:
. Accessed November 22, 2005.
Morris N, Raabe B. Some legal implications of CBT stress counselling in the workplace.
British Journal of Guidance & Counselling. 2002 Feb;30(1):55-62.


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Gold Metal Winding Chunky Hoop Earrings
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Gold Metal Winding Chunky Hoop Earrings
These Gold Metal Winding Chunky Hoop Earrings feature a distinctive winding design that spirals around the hoop, creating a mesmerizing illusion of movement. The chunky silhouette makes a confident statement, while the high-quality metal construction ensures durability and a lasting shine.
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Justin Popovich
The Venerable Justin of Ćelije (aka Justin Popović; in Cyrillic Serbian, Јустин Поповић) (1894-1979) was a theologian, a champion, a writer, a critic of the pragmatic church life, a philosopher, and archimandrite of the Monastery Ćelije, near Valjevo. He was formally glorified as saint by the Holy Synod of the Serbian Orthodox Church on May 2, 2010, and commemorated on June 1 each year.
Saint Justin was born to pious and God-fearing parents, Proto Spyridon and Protinica Anastasia Popović, in Vranje, South Serbia, on the Feast of Annunciation, March 25, 1894 (April 7 by the New Calendar). At baptism, he was given the name Blagoje, after the Feast of the Annunciation (Blagovest means Annunciation or Good News). He was born into a priestly family, as seven previous generations of the Popovices (Popović in Serbian actually means "family or a son of a priest") were headed by priests.
Blagoje Popović completed the nine-years' studies at the Theological Faculty St. Sava in Belgrade in 1914. In the early twentieth century the School of St. Sava in Belgrade was renowned throughout the Orthodox world as a holy place of extreme asceticism as well as of a high quality of scholarship. Some of the well-known professors included the rector, Fr. Domentian; Professor Fr. Dositej, later a martyr; and Dr. Atanasije Popović ; and the great ecclesiastical composer, Stevan Mokranjac. Yet one professor stood head and shoulders above the rest: the then Hieromonk Nikolai Velimirović, Ph.D., the single most influential person in Fr. Justin's life.
During the early part of World War I, in autumn of 1914, Blagoje served as a student nurse primarily in South Serbia—Skadar, Niš, Kosovo, etc. Unfortunately, while in this capacity, he contracted typhus during the winter of 1914 and had to spend over a month in a hospital in Niš. On January 8, 1915, he resumed his duties sharing the destiny of the Serbian army, he passed a path of Golgotha from Peć to Skadar (along which 100,000 Serbian soldiers died) where on January 1, 1916, he entered the monastic order in the Orthodox cathedral of Skadar, and took the name of St. Justin, after the great Christian philosopher and martyr for Christ, St. Justin the Philosopher.
Shortly after becoming a monk, Father Justin, along with several other students, traveled to Petrograd, Russia, to begin a year's study in the Orthodox seminary there. It was here the young monk Justin first dedicated himself more fully to Orthodoxy and the monastic way. He learned of the great ascetics of Russia: St. Anthony the Great and St. Theodosius of the Kiev Caves in Kiev, St. Seraphim Sarovsky, St. Sergius of Radonezh, St. John of Kronstadt, and others.
After his year's study and sojourn in Russia, Fr. Justin Popović entered, by the prompting of his older colleague, Fr. Nikolai Velimirovich later Bishop Nikolaj, the Theological School in Oxford, England. Justin attended the studies of theology at Oxford in the period 1916-1919, but his doctor's thesis under the title "Filozofija i religija F.M.Dostojevskog" (The Philosophy and Religion of F.M. Dostoevsky) was not accepted.
In 1923, Fr. Justin became the editor of the Orthodox journal The Christian Life; and in this journal appeared his first doctoral dissertation, "The Philosophy and Religion of Dostoevsky," for which he was persecuted at Oxford. Together with his fellow colleagues from the Oxford University he has edited the periodical The Christian Life for twenty years.
In 1926 he was promoted to the title of the Doctor of Theology at the Faculty of Theology, University in Athens (his dissertation being "Problem ličnosti i saznanja po Sv. Makariju Egipatskom", The Problem of Personality and Cognition According to St. Macarius of Egypt). For his course on the Lives of the Saints, Justin began to translate into Serbian the Lives of the Saints from the Greek, Syriac, and Slavonic sources, as well as numerous minor works of the Fathers—homilies of Ss. John Chrysostom, Macarius, and Isaac of Syria. He also wrote an exquisite book, The Theory of Knowledge According to St. Isaac.
From 1930 until 1932 after a stint as Professor in the Theological Academy of Ss. Cyril and Methodius in Prizren, he was an associate and escort of Bp. Joseph (Cvijovich) of Bitola in reorganizing the Church of the Carpatho-Russians in Czechoslovakia. This area had been besieged by those espousing Uniatism, where previously converted Christians of these regions started their conversion back into Orthodoxy.
Fr. Dr. Justin was chosen, in 1934, as Professor of Dogmatics at the Theological Faculty of St. Sava in Belgrade. As the professor at the University of Belgrade he was one of the founders (1938) of the Serbian Philosophical Society along with a number of noted intellectuals of Belgrade.
He was also the professor of Dogmatics at the Faculty of Orthodox Theology of the University of Belgrade from 1934 until 1941, until the World War II. In 1945, within the perspective of the newly established communist and atheistic regime, the likes of a zealous Christian such as St. Justin, who was now beginning to convert the intellectuals to faith in Jesus Christ, had no place. Considered ineligible by the Communist party, together with a few fellow professors, he was ousted from the Faculty in 1945. As an ecclesiastical person and clergyman St. Justin spent 31 years in the Monastery Ćelije under the continuous surveillance of the Communist Party police.
Saint Justin of Ćelije fell asleep in the Lord on March 25, 1979, on his birthday, the Feast of the Annunciation (April 7 by the New Calendar).
Apolytikion in Tone One
Let us honor with splendor the divinely inspired theologian, the wise Serb Justin, who by the scythe of the Holy Spirit hath thrashed the error of atheism and the insolence of the Latins, being a mystic of the God-man and lover of piety, crying out: Glory to Christ Who hath glorified thee, glory to Him Who hath crowned thee, glory to Him Who hath rendered thee a luminary to those who are in a state of darkness.
Kontakion in Tone One
We proclaim to the faithful the inexhaustible fount conveying the Orthodox doctrines, and an angel-like man full of divine zeal, the divine Justin, the offspring of the Serbs, who by his sound teachings and writings hath strengthened the faith of all in the Lord.
"In Christianity truth is not a philosophical concept nor is it a theory, a teaching, or a system, but rather, it is the living theanthropic hypostasis—the historical Jesus Christ (John 14:6). Before Christ men could only conjecture about the Truth since they did not possess it. With Christ as the incarnate divine Logos the eternally complete divine Truth enters into the world. For this reason the Gospel says: "Truth came by Jesus Christ" (John 1:17)."
Selected bibliography
- "The Philosophy and Religion of F.M. Dostoevsky" (1923)
- "Dogmatics of the Orthodox Church", I-III (1932, 1935, 1980)
- "The Progress in the Death Mill" (1933)
- "The Foundations of Theology" (1939)
- "Dostoevsky on Europe and Slavism" (1940)
- "Philosophical Abysses" (1957)
- "The Man and the God-Man" (1969, in Greek)
- "Hagiographies of the Saints", I-XII (1972-1977)
- "The Orthodox Church and Ecumenism" (1974, in Greek and Serbian)
External links
- Communique from the Holy Assembly of Bishops of the Serbian Orthodox Church in Belgrade April 26-May 5, 2010, announcing the glorification of St Justin.
- Life of Our Father Justin Archimandrite of Chelije by the V. Rev. Protopresbyter Daniel Rogich
- Photos of Archimandrite Justin Popovich (scroll down the page for thumbnail previews)
- The Attributes of the Church by Blessed Father Justin Popovich
- Condemned to Immortality: A meditation on the Resurrection
- Perfect God and Perfect Man
- How to read the Bible and Why
- Homily on the Feast of the Beheading of St John, the Glorious Prophet, Forerunner and Baptist of the Lord
- Kommentar zum HI. Evangelium nach Matthãus in German.
- Житие Св. Саввы Life of St. Sava (in Russian)
- On a Summoning of the Great Council of the Orthodox Church
Categories > Church History
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Categories > Liturgics > Feasts
Categories > Liturgics > Feasts
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Categories > Organizations > Seminaries > University of Athens Theology School Graduates
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Categories > People > Modern Writers
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Related: question #879, Most interesting mathematics mistake. But the intent of this question is more pedagogical.
In many branches of mathematics, it seems to me that a good counterexample can be worth just as much as a good theorem or lemma. The only branch where I think this is explicitly recognized in the literature is topology, where for example Munkres is careful to point out and discuss his favorite counterexamples in his book, and Counterexamples in Topology is quite famous. The art of coming up with counterexamples, especially minimal counterexamples, is in my mind an important one to cultivate, and perhaps it is not emphasized enough these days.
So: what are your favorite examples of counterexamples that really illuminate something about some aspect of a subject?
Bonus points if the counterexample is minimal in some sense, bonus points if you can make this sense rigorous, and extra bonus points if the counterexample was important enough to impact yours or someone else's research, especially if it was simple enough to present in an undergraduate textbook.
As usual, please limit yourself to one counterexample per answer.


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Elephant Pencil Test, animated by animation giant, Mike Kazaleh
When we first started using Harmony, we animated on paper and scanned it in. This was somewhat helpful in making the transition from what we were used to, to animating completely on the computer.
Elephant Final, tweaked in Harmony
Once some of the paper animation was in Harmony, I wanted to see if I could take the actions further. We stretched and squashed the key poses of this elephant and gave the action more emphasis. Jojo did, anyway.
All those wacky BG color card camera effects were done in Harmony. I painted a bunch of BGs in photoshop and kept elements of them on separate layers. Then I got Alex to move them around and dissolve them over each other in Harmony. We also did all the character colors changing using some Harmony tricks.
Boy's body on left is one drawing squashed and stretched in Harmony,
Girl Body is traditionally animatedI was experimenting with bounce cycles and wanted to see if I could make a computery bounce look as lively as a straight ahead hand drawn bounce. The boy's body is just one drawing squashed and stretched on a 12x beat in Harmony. It looked flat so I animated some stripes moving up and down around the form of his body and overlapped the up and down action with the body's.
The girl's bounce is more customized and completely drawn, so didn't need extra details to make it feel round. I also overlapped her bounce down with his. Her body squashes 1 frame later and doesn't move up as fast. I didn't want them to look robotically in synch.
I have longed for a good computer program that would allow me (and others) to do things that were traditional in animation 70 years ago and have brought ideas to software companies many times. I worked with Flash in the early days and tried to get them to put in an exposure sheet and other handy tools. Instead, they came up with an awkward timeline that is practically unreadable-just a mess of indecipherable black dots.
Many animation software companies have told me over the years that they had exposure sheets, but when I actually went to use them, found out that they just looked superficially like ex sheets but didn't function like them.
What's great about how they used to use ex sheets was the way it gave animation directors control over the timing and pacing of the cartoons. Classic ex sheets are marked off by tempos-different tempos depending on the mood and pace of the scenes. 12x tempo is a moderate pacing. 16x is slow. 8x is fast etc... The directors would then go in and mark the key actions and plan the relative spaces between them rhythmically-as if they were writing a musical score or playing the drums.
Then the animators took the large general timing notes and broke the actions down further, into individual frames.
A couple years ago I suggested to the folks at Toonboom that they add in directors' columns and customizable tempo markers that would allow us to plan out the actions according to rhythms like in the old days. Harmony now has this feature, although it is not quite perfect yet.
It is buried in mysterious hidden menus and it is not completely connected to the timeline, so you have to make your own tempo markers in the timeline, which we do for each project.
The yellow row is a 12x tempo we added to the timeline to match the 12x tempo in the ex sheet.It would also be nice if the timing in the directors column could be manipulated and reflected in the corresponding animation column at the same time. Right now though, if you make any changes to the timing you have to change them manually in every column and that's hard to keep track of and amounts to doing it all by hand on paper.
But it is still a very handy tool. You just have to stay organized - which is hard to do once you get on a roll and start animating. I have found through trial and error that it is best to start the project with the layers and timing very organized. It's hard to work straight ahead and then go back and put everything in order, which sucks for me because I like to just get in there and start drawing and hate to have to break a creative flow-which happens all the time because of technical confusions.
Maybe. and I don't just mean hand-drawn when I say "traditional"; I mean all the fundamental atoms of classic animation that have largely been lost since the 60s.
First, there has to be a generation of cartoonists who want to animate and move things in customized, yet controlled ways. - where the way things look and move is a fundamental part of the entertainment, not just an afterthought or a vehicle to mouth inane dialogue written by non-artists.
I think the basic tools are there and am hoping that I get to work with some programmers to take them even further and to make them more artist-friendly and obvious.
The best things about Harmony so far are:
1) Good drawing tools.
This is huge.
If you do not fear drawing, then Harmony is quantum leaps ahead of Flash. Flash is sort of geared for people who can't draw and are comfortable hiding behind all the technical tricks. Harmony might give actual artists back their rightful place at the top of the animation heap. Maybe - if other factors also go our way.
The Harmony brushes are much smoother and more accurate than the tortuously disobedient and ragged Flash brushes.
They take a bit of getting used to but after some practice, you can draw and animate almost clean - and with thick and thin lines.
2) Instant playback - allows you to learn faster
You can play back your animation instantly and loop cycles and make modifications quickly. (It'd be great if the loop function also worked when you were inbetweening and connecting a cycle, but they haven't thought of that yet I guess. I'll suggest it to them).
In the 1930s when animators were on their fastest learning curve, they didn't have this advantage at all. They had to shoot pencil tests and then wait at least a day to see what they did. If it looked crummy, they'd have to go back and try to figure out how to improve it by trial and error.
Most studios didn't even do pencil tests, so animators had to sometimes wait months to see what they did and whether it worked or not. Even with this disadvantage animators improved themselves and the whole medium faster than at any point in history since. How did they do it?
They were smarter and more logical about the process. They animated everything to tempos and thus knew that their actions would play rhythmically and would that important actions would have emphasis and relate to each other.
Classic animators also learned the art from the ground floor up. They didn't start as storyboard artists or designers being completely ignorant of how animation actually works.
An artist would start by cleaning up and inbetweening the work of a more experienced animator and gradually absorb his skills. If he was good, he might become a full-fledged animator on his own and then add add his own style and touches. Other animators in turn would benefit from each other's progress. This doesn't happen anymore.
THEY ANIMATED HERE-we need a program that allows this to happen again. I think Harmony could do it if it continues to evolve and gets easier to use.
Most animation today is done either overseas on a soulless assembly line or in Flash by moving around puppet drawings. Not very many people today ever have the opportunity to learn how animation really works. Many people think you make animation by writing a script and then sending it to Korea and waiting for 6 months it to come back moving as if by magic. Then everyone pats themselves on the back and says "See what we made?" When they didn't actually make anything. They just vaguely described something and commanded someone in another land to make it for them.
I'll tell you the only thing Flash is good for. It expands your vocabulary. It's like the Rosetta Stone of cursing.
3) Ex Sheets with tempo markers
Having tempo markers in Harmony's ex sheets allows you to pre-plan your actions so that they feel good. This helps you learn timing faster than the classic animators ever could have. To me, the beat is every bit as important to animated cartoons as it is to music. it's part of the structure and emphasis of the art. Without a beat, you just have meandering mushy actions, each as unimportant as the next.
4) Combining Traditional With Digital Techniques
Whereas Flash tends to guide you towards sliding puppets around the screen, Harmony is more versatile. You can jump back and forth between hand-drawn animation and computer tricks while disguising the computer tricks so they look less robotic than in Flash.
5) Inking and Painting
Inking and Painting is pretty easy in Harmony.
You can do colored lines quickly and you can later change the color of a line or fill on a character all in one shot. You don't have to go and individually recolor every single frame.
I wish they had a separate ink and paint program just so I could farm out the clean up and coloring of the cartoons to artists who want to work their way up the creative food chain. Maybe that will come next - a junior harmony program, for apprentices.
If that existed we could have virtual studios around the world and directors with individual styles could have a much larger talent pool to work with. As readers of my blog know, I have many young cartoonists from all over who have a feel for cartoony styles like mine and who practice by inking and cleaning up my rough drawings. It would be great if I could hire them to help me do these projects and not have to up and move to LA at huge expense (and overhead for the studio).
It would also be a way for cartoonists and animators to learn the important fundamental skills on the job again.
As it is now they'd have to have Harmony (along with Flash, Photoshop, Illustrator, Painter and all the other big programs they probably have already) and if they get the big package with all the bells and whistles, it'd pretty challenging to figure out what's what right off the bat.
But I'm hoping these things will come and that we will again have a thriving evolving artform that also values a diversity of styles and approaches rather than the handful of corporate assembly line animated products we have today.
I'd be curious to know your experiences if you are animating in Harmony. You probably know some tricks I haven't discovered yet.


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Self-Defence for Women in Uxbridge
What is Aikido?
Aikido (Japanese: 'way of spiritual harmony'), (originally derived from the Japanese Martial-Art: Daito-ryu Aiki-jujutsu) is a martial-art that utilising: locks, holds, throws and pins. The aim is to turning an attacker's strength and momentum against him. Pressure on vital nerve centres are also used.
Aikido is very different from disciplines such as Kick Boxing, Karate, Taekwondo, Kung Fu, Mixed Martial Arts, Muay Thai, Kempo and Krav Maga where there is emphasis on kicking, punching or wrestling.
By choosing Aikido don't expect to spend hours kicking bags or learning boring katas.
Aikido is versatile with flowing circular movements and you will practice a variety of differing attacks and defences (applications) during a typical evenings training.
Is Aikido for me?
Because Aikido is a purely defensive Martial Art, it is the preferred choice for many professionals who experience problems with violence in the line of their work.
The law is clear that you are able to defend yourselves from attack but only by using the minimum force necessary.
The police for example are taught basic moves that are quick to learn, but Aikido is equally suitable for other 'customer facing' professionals such as: teachers, doctors, nurses, paramedics, firemen, and others in public services owing to its passive but effective nature.
Aikido is particularly well suited as a self-defence for women as size and strength are not important issues.
Trough the martial-art training at Pinner Aikido Club London you can:
- Learn Self-Defence skills
- Increase confidence and awareness
- Develop better posture and body language
- Enhance flexibility and coordination
Martial arts are not just about strength and size, but also speed, control, and mental discipline which females have plenty of.
Many martial arts instructors observe that women learn and master techniques faster because they put emphasis on executing the correct technique rather than relying on sheer power as men are inclined to do. It's a smart tactic employed by women to compensate for their lack of muscle mass.
Women absorb lessons better, because they are not burdened with the pressure of kicking ass, or beating opponents, like men do. To women martial artists, practice sessions are learning opportunities and not competitive arenas to lord over.
Club and Training
Club runs a mixed class with separate changing facilities. The classes are quite social affairs and training partners are encouraged to help each other with fair practice and advice.
Training partners are changed frequently so you won't be stuck with one person all night. Our Aikido students work at their own pace during the training sessions and no one is forced into doing anything they are not comfortable with. Most of all though, our classes are fun!
How to join? - Self-Defence for Women in Uxbridge
You don't have to sign up to anything so you can feel free to come along and visit - join in or just watch from our seating area if you prefer.
See our New Starters Guide to find out what to wear and what you can expect when you come along. Also visit our FAQ, that contains all the common questions related to club and training.
"If your heart is large enough to envelop your adversaries, you can see right through them and avoid their attacks. And once you envelop them, you will be able to guide them along the path indicated to you by heaven and earth. " - Morihei Ueshiba
"When an opponent comes forward, move in and greet him; if he wants to pull back, send him on his way. " - Morihei Ueshiba
For those who are looking for Self-Defence for Women in Uxbridge and area this is the right place. Self-defense (or self-defence) is the act of defending oneself, one's property or the well-being of another from physical harm. While the term may define any form of personal defense, it is strongly associated with civilian hand-to-hand defense techniques. Self-defense defines a civilian activity as opposed to hand-to-hand combat in a military context.
Awareness is defending yourself by avoiding danger and by thinking ahead to make good decisions. Examples might include parking in a well-lit area, or not playing music so loudly in your headphones that you can't hear what's going on around you or distracting you from paying attention to your surroundings.
Due to its non-physical nature, awareness is emphasized heavily in women's self defense classes.
Aikido is a budo or Martial Way developed in Japan by Morihei Ueshiba, "O Sensei" (Great Teacher) as a non-violent Martial art system that encourages the avoidance of confrontation and harmony with an aggressor. The classes are well attended with Aikido students always on the mat and suited for levels from beginner to advanced. Everyone is welcome to come along regardless of fitness or experience.
For those who are interested in learning about awareness and avoidance, plus some simple but effective techniques our aikido classes are are held every Tuesday and Wednesday evening at our Harrow dojo, and Thursday evening at our Pinner dojo in NW London. If you are living in in Uxbridge and you are looking for some place to train you can easily find us by clicking at How to find us link. We believe that the traditional elements of Aikido provide an excellent basis.
These are strongly emphasized in our classes. Self defense is a topic that is tackled frequently as it is important that students have the ability to defend themselves. Students are encouraged to build on their individual style, for we strongly believe that Aikido is a personal art form which will vary depending on each persons characteristics. Pinner Aikido Club London can help you achieve self-defense skills, self-esteem, confidence, and fitness. Most of all though, our classes are fun.
Pinner Aikido Club provides training sessions of Self-Defence for Women in Uxbridge and area. If you are located in in Uxbridge please feel free to come along and visit - join in or just watch from our seating area if you prefer. Either way you'll be welcome and hopefully you'll have an interesting time at our friendly aikido club.
Find out more details about lessons of Self-Defence for Women in Uxbridge and area: timetable and fees.


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When we last left our beloved Cub, he had just reunited with true love Jasmine in the pastel forest. We pick up their story from there, switching to second person (second bear?):
"Jasmine my love!" you shout as you run into each other's arms. "We must go to Norway!" you continue, not bothering to explain yourself. Nonetheless, she does not question it.
Just then, the you both look up to see your old friend the Owl fluttering above. He lands on a nearby rock and again begins jawing.
"Congratulations Cub on deciphering the forest's unspoken message and revealing your next destination. However, before you embark, I shall grant you a gift for you to carry with you on your journey."
"How kind, dear Owl," you reply. "What might this gift be?"
"Now Cub, it is not a gift given merely out of affection or generosity. It is a gift of necessity. I cannot tell you exactly what role it will play in your upcoming quest to find your father, but I will say that at some point it will be critical to your survival."
"Furthermore, it is a gift you must choose among four possibilities."
Intrigued, you glance over at Jasmine. She is beaming, presumably at the prospect of choosing a gift.
The owl continues, "your four choices are:"
1) a satchel of dirt 2) a folding fan 3) a matchbook 4) a water canteen You glance back at Jasmine. She doesn't seem so excited anymore.
"You can only choose one of these items, and you must choose wisely. If you select the wrong one, you will be doomed in your quest. Fortunately, you needn't make your decision immediately - I will give you until midnight PT tonight to make your selection. Hopefully before then, you can figure out which item you will need."
"Also, remember this," continues the Owl. "As you embark on the next segment of your journey, you will encounter familiar faces of both friends and enemies. The friends will help you if they can. The enemies will most certainly hurt you. Avoid the latter."
Suddenly, the Owl's tone becomes stern. "Now close your eyes."
As per usual when interacting with the Owl, you are confused. Yet you do as he asks and close your eyes, as does Jasmine. You begin to feel dizzy, and just as you are about to pass out you hear the Owl's parting words: "ha det bra, og lykke til!" Then everything goes black.
You awaken with Jasmine by your side. As you both groggily get to your feet, you look around and notice you are no longer in the forest. You are in some sort of room with no ceiling, with green walls that extend more than twelve feet in the air. Soon you realize you are in a hedge-maze! Or at least a room whose walls are made of hedges. And you see three doors leading out of the room, one on the North wall, one on the South wall, and one in the Southeast corner.
"Which way should we go?" Jasmine asks. As you consider your options, Jasmine then asks, "and did you hear the Owl's parting words? What did they mean?"
You are not sure how to answer either question, but you decide to focus your energy on the immediate decision - figuring out which way to go. Which exit do you take?:
(Incidentally, you notice each exit is marked "one-way ". This is the case with all doors/exitways in the hedge labyrinth).
Hint #1 (10:59am): Map it out.
Hint #2 (11:13am): Ignore the numbers that are the titles of the post. They were used to construct the puzzle but are irrelevant to the solution. Hope nobody spent too much time trying to figure out what they meant.
Hint #3 (1:33pm): In most but not all cases, the date and time of each room's post is irrelevant.
A Hidden Bonus Hint #4 added 2:07pm in the relevant place within the maze.
Hint #5 (3:25pm): If you're traveling to a foreign country...learn the language!
Hint #6 (5:35pm): There are 5 steps:
Hint #1 corresponds to step 1 above. Hints #3 corresponds to steps 3 and 4. Hidden Bonus Hint #4 is in the key room and corresponds to step 5; and Hint #5 also corresponds to step 5.
- map out the hedgemaze;
- find the "key" room;
- figure out what the 2nd poem in the key room means and do as it says;
- figure out the missing words in the 1st poem in the key room (step 3 helps with this immensely), and finally
- figure out what the completed 1st poem means and do what it says.
Solution: click here.
Two Puzzle Notes:
- Please comment only in this master thread, not the other posts that comprise this puzzle, as otherwise I will probably never see your comment. I believe I have deactivated commenting in the other posts to enforce this, but may have missed one.
- I think I double-checked the intricate web of links, but if you find a broken link in this puzzle, please comment here or email us to let me know.
Puzzle Rules: The answer to the puzzle is one of the four gift options - the satchel of dirt, the folding fan, the matchbook, or the canteen of water. Comment freely in the thread, but if you have the solution, please don't give it away to everyone in the comments section. Instead, do the following:
- Email us with the correct gift option along with your reasoning. Submitted answers without the correct reasoning, even if correct, will count for participation credit only. And please include your screen name somewhere in the email; and
- Post a comment simply saying you have emailed your solution attempt. I may not be able to reply to your original email promptly, so please be patient and check back on the comment thread for the latest news; I may confirm correct answers there.
- As a Grand Slam Puzzle (the finale!), this one is worth 150 points. And no succubus!
You have until midnight PT tonight to submit your answer, as per the Owl's words. Good luck!
Not familiar with SoSG's off-day puzzle competition? Read up here. And join the fun!


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Last year, it was lemon and strawberries; this time, vanilla and passion fruit take the stage to celebrate my sister's birthday.
I don't bake layer cakes as often as I would like to, but when I do this is the first book I reach for – again, the results were great. The cake layers turned out tender and the ganache was delicious and light, yet easy to spread and firm enough to hold the cake together (I adapted a white chocolate ganache recipe from the book).
Not completely sure if Jessica'd liked the cake, I asked: "wanna take some home?" - when she smiled and eagerly said "yes!" there was no doubt left. :D
Vanilla buttermilk cake with whipped passion fruit ganache
adapted from Sky High: Irresistible Triple-Layer Cakes
4 whole eggs
2 egg yolks
2 teaspoons vanilla extract
1 ¼ cups (300ml) buttermilk – divided use
3 cups (420g) cake flour, sifted*
2 cups (400g) sugar – I used vanilla infused sugar
4 ½ teaspoons baking powder
½ teaspoon salt
1 cup (226g/2 sticks) unsalted butter, room temperature
Passion fruit ganache:
168g (6oz) white chocolate, finely chopped
1/3 cup + 1 ½ cups (440ml) heavy cream – divided use
2 tablespoons sugar
½ cup (120ml) pulp of passion fruit
Preheat the oven to 180ºC/350ºF. Butter the bottom and sides of three 8-inch round cake pans or spray to coat with vegetable oil. Line the bottom of each pan with a round of parchment or waxed paper and grease the paper.
Put the eggs and the yolks in a medium bowl, add the vanilla and ¼ cup (60ml) of buttermilk. Whisk to blend well.
Combine the flour, sugar, baking powder, and salt in a large mixer bowl – it has to be large, because there will be a huge amount of batter; whisk to blend. Add the butter and the remaining 1 cup (240ml) buttermilk and butter to these dry ingredients and with the mixer on low, blend together. Raise the mixer to medium speed and beat until light and fluffy, about 2 minutes.
Add the egg mixture in 3 additions, scraping down the sides of the bowl and mixing only until thoroughly incorporated. Divide the batter among the prepared pans.
Bake the cake layers for 28-32 minutes or until a cake tester or a wooden toothpick inserted in the center comes out clean and the cake begins to pull away from the sides of the pan. Let the cake layers cool in the pan for 10 minutes; then carefully turn out onto wire racks, peel off the paper liners and let cool completely.
Prepare the ganache: put the white chocolate in a small heatproof bowl. In a small saucepan, bring 1/3 cup (80ml) of the cream to a boil. Pour the hot cream over the chocolate, let stand for 1 minute then whisk until smooth. Let stand until cool to room temperature.
Process the passion fruit pulp in a food processor or blender to crack the seeds. Pass through a fine sieve directly onto the white chocolate mixture and mix well (I left a bit of seeds in the ganache just to make the cake look more like a passion fruit).
In a chilled bowl, with chilled beaters, beat the remaining 1 ½ cups of cream (360ml) with the sugar until softly whipped. Stir in the passion fruit cream and beat until fairly stiff, taking care not to overbeat the mixture, which would cause the ganache to separate.
To assemble the cake, place one layer, flat side up, on a cake stand or serving plate. Spread about ½ cup of the whipped ganache over the layer right to the edge. Repeat with the next layer. Plate the last layer on top and use the remaining ganache to frost the top and sides of the cake.
* homemade cake flour: 1 cup (140g) all purpose flour minus 2 tablespoons + 2 tablespoons corn starch
Serves 12-16


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PelletVent Pro Collection 4 Inch x 60 Inch Pellet Chimney Straight Length Pipe
Warranty Notice: M&G DuraVent warranty applies to this professional grade product only when installed by a trained professional installer.
This 4 Inch x 60 Inch Pellet Straight Chimney Galvalume Length Pipe from the PelletVent Pro series is a Type L Biofuel Chimney Pipe component and consists of the duralock system for a tight seal. Features fully unitized, twist-lock construction in 3? and 4? diameters. Listed at 1? clearance to combustibles in the USA and Canada. It can be used in both vertical and horizontal installations. Stainless steel welded seam inner wall, combined with a galvalume welded seam outer wall. Pipe OD is diameter plus 5/8?. Galvalume or painted black outer finish. 12? length available with stainless steel outer (SS). To calculate installed length, subtract 1 1/2? from each length of pipe.
Fuel Type: BioFuel, Oil, Pellet
Inner Diameter: 4″
Length: 60″
Double Wall Construction
Inner Wall Material: Stainless Steel
Outer Wall Material: Galvalume Steel
UL Listed
All PelletVent Pro® components that come into contact with flue gases are built with an inner wall of corrosion resistant superferritic metal. PelletVent Pro is engineered with features for a durable, safe and aesthetically pleasing venting system. PelletVent Pro is a patent-pending venting system for stoves and inserts that use wood pellets, corn and other biofuels, or oil, as fuel. As a result of DuraVent?s cutting-edge manufacturing process and commitment to innovation, PelletVent Pro is uncompromised in attention to detail and performance. This perfect fit and finish is made possible with a laser-welded inner and outer wall. Select components are available in black. PelletVent Pro is now UL listed for 1? clearance to combustibles in the USA. It?s double-wall, air-insulated design offers superior performance. Seams are factory-sealed on all elbows, tees, and fittings. Since the introduction of pellet stoves in the 1980?s, DuraVent is recognized as the industry leader in venting systems for pellet stoves.
Looking for Simpson Dura-Vent? You found it! Simpson Dura-Vent has changed their name to DuraVent. DuraVent is a recognized technological leader in the venting industry. Consistently the first to market with new innovations in venting systems, DuraVent has captured a leadership position in emerging markets. DuraVent has patents for several products and continues to design safe and technologically advanced venting. The company's research into solving problems with corrosion, when biofuels such as corn are used, led to the break-through patent for PelletVent Pro. Scientifically proven materials and unequalled engineering make DuraVent products not only the best choice, or safest choice, but the only choice for professional quality venting products.
DuraVent 4PVP-60
Type L Vent Pipe Pipe Length
4 Inch PelletVent Pro Collection
Brand |
Material |
Stainless Steel, Steel
Manufacturer Part Number |
Model |


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Time for the 2012 updates!
As has become a habit (2009, 2010, 2011), here is a brief overview and update of some of the most discussed model/observation comparisons, updated to include 2012. I include comparisons of surface temperatures, sea ice and ocean heat content to the CMIP3 and Hansen et al (1988) simulations.
First, a graph showing the annual mean anomalies from the CMIP3 models plotted against the surface temperature records from the HadCRUT4, NCDC and GISTEMP products (it really doesn't matter which). Everything has been baselined to 1980-1999 (as in the 2007 IPCC report) and the envelope in grey encloses 95% of the model runs.
Correction (02/11/12): Graph updated using calendar year mean HadCRUT4 data instead of meteorological year mean.
The La Niña event that persisted into 2012 (as with 2011) produced a cooler year in a global sense than 2010, although there were extensive regional warm extremes (particularly in the US). Differences between the observational records are less than they have been in previous years mainly because of the upgrade from HadCRUT3 to HadCRUT4 which has more high latitude coverage. The differences that remain are mostly related to interpolations in the Arctic. Checking up on the predictions from last year, I forecast that 2012 would be warmer than 2011 and so a top ten year, but still cooler than 2010 (because of the remnant La Niña). This was true looking at all indices (GISTEMP has 2012 at #9, HadCRUT4, #10, and NCDC, #10).
This was the 2nd warmest year that started off (DJF) with a La Niña (previous La Niña years by this index were 2008, 2006, 2001, 2000 and 1999 using a 5 month minimum for a specific event) in all three indices (after 2006). Note that 2006 has recently been reclassified as a La Niña in the latest version of this index (it wasn't one last year!); under the previous version, 2012 would have been the warmest La Niña year.
Given current near ENSO-neutral conditions, 2013 will almost certainly be a warmer year than 2012, so again another top 10 year. It is conceivable that it could be a record breaker (the Met Office has forecast that this is likely, as has John Nielsen-Gammon), but I am more wary, and predict that it is only likely to be a top 5 year (i.e. > 50% probability). I think a new record will have to wait for a true El Niño year – but note this is forecasting by eye, rather than statistics.
People sometimes claim that "no models" can match the short term trends seen in the data. This is still not true. For instance, the range of trends in the models for cherry-picked period of 1998-2012 go from -0.09 to 0.46ºC/dec, with MRI-CGCM (run3 and run5) the laggards in the pack, running colder than the observations (0.04–0.07 ± 0.1ºC/dec) – but as discussed before, this has very little to do with anything.
In interpreting this information, please note the following (mostly repeated from previous years):
- Short term (15 years or less) trends in global temperature are not usefully predictable as a function of current forcings. This means you can't use such short periods to 'prove' that global warming has or hasn't stopped, or that we are really cooling despite this being the warmest decade in centuries. We discussed this more extensively here.
- The CMIP3 model simulations were an 'ensemble of opportunity' and vary substantially among themselves with the forcings imposed, the magnitude of the internal variability and of course, the sensitivity. Thus while they do span a large range of possible situations, the average of these simulations is not 'truth'.
- The model simulations use observed forcings up until 2000 (or 2003 in a couple of cases) and use a business-as-usual scenario subsequently (A1B). The models are not tuned to temperature trends pre-2000.
- Differences between the temperature anomaly products is related to: different selections of input data, different methods for assessing urban heating effects, and (most important) different methodologies for estimating temperatures in data-poor regions like the Arctic. GISTEMP assumes that the Arctic is warming as fast as the stations around the Arctic, while HadCRUT4 and NCDC assume the Arctic is warming as fast as the global mean. The former assumption is more in line with the sea ice results and independent measures from buoys and the reanalysis products.
- Model-data comparisons are best when the metric being compared is calculated the same way in both the models and data. In the comparisons here, that isn't quite true (mainly related to spatial coverage), and so this adds a little extra structural uncertainty to any conclusions one might draw.
Given the importance of ENSO to the year to year variability, removing this effect can help reveal the underlying trends. The update to the Foster and Rahmstorf (2011) study using the the latest data (courtesy of Tamino) (and a couple of minor changes to procedure) shows the same continuing trend:
Similarly, Rahmstorf et al. (2012) showed that these adjusted data agree well with the projections of the IPCC 3rd (2001) and 4th (2007) assessment reports.
Ocean Heat Content
Figure 3 is the comparison of the upper level (top 700m) ocean heat content (OHC) changes in the models compared to the latest data from NODC and PMEL (Lyman et al (2010) ,doi). I only plot the models up to 2003 (since I don't have the later output). All curves are baselined to the period 1975-1989.
This comparison is less than ideal for a number of reasons. It doesn't show the structural uncertainty in the models (different models have different changes, and the other GISS model from CMIP3 (GISS-EH) had slightly less heat uptake than the model shown here). Neither can we assess the importance of the apparent reduction in trend in top 700m OHC growth in the 2000s (since we don't have a long time series of the deeper OHC numbers). If the models were to be simply extrapolated, they would lie above the observations, but given the slight reduction in solar, uncertain changes in aerosols or deeper OHC over this period, I am no longer comfortable with such a simple extrapolation. Analysis of the CMIP5 models (which will come at some point!) will be a better apples-to-apples comparison since they go up to 2012 with 'observed' forcings. Nonetheless, the long term trends in the models match those in the data, but the short-term fluctuations are both noisy and imprecise.
Summer sea ice changes
Sea ice changes this year were again very dramatic, with the Arctic September minimum destroying the previous records in all the data products. Updating the Stroeve et al. (2007)(pdf) analysis (courtesy of Marika Holland) using the NSIDC data we can see that the Arctic continues to melt faster than any of the AR4/CMIP3 models predicted. This is no longer so true for the CMIP5 models, but those comparisons will need to wait for another day (Stroeve et al, 2012).
Hansen et al, 1988
Finally, we update the Hansen et al (1988) (doi) comparisons. Note that the old GISS model had a climate sensitivity that was a little higher (4.2ºC for a doubling of CO2) than the best estimate (~3ºC) and as stated in previous years, the actual forcings that occurred are not the same as those used in the different scenarios. We noted in 2007, that Scenario B was running a little high compared with the forcings growth (by about 10%) using estimated forcings up to 2003 (Scenario A was significantly higher, and Scenario C was lower), and we see no need to amend that conclusion now.
Correction (02/11/12): Graph updated using calendar year mean HadCRUT4 data instead of meteorological year mean.
The trends for the period 1984 to 2012 (the 1984 date chosen because that is when these projections started), scenario B has a trend of 0.29+/-0.04ºC/dec (95% uncertainties, no correction for auto-correlation). For the GISTEMP and HadCRUT4, the trends are 0.18 and 0.17+/-0.04ºC/dec respectively. For reference, the trends in the CMIP3 models for the same period have a range 0.21+/-0.16 ºC/dec (95%).
As discussed in Hargreaves (2010), while this simulation was not perfect, it has shown skill in that it has out-performed any reasonable naive hypothesis that people put forward in 1988 (the most obvious being a forecast of no-change). However, concluding much more than this requires an assessment of how far off the forcings were in scenario B. That needs a good estimate of the aerosol trends, and these remain uncertain. This should be explored more thoroughly, and I will try and get to that at some point.
The conclusion is the same as in each of the past few years; the models are on the low side of some changes, and on the high side of others, but despite short-term ups and downs, global warming continues much as predicted.
- G. Foster, and S. Rahmstorf, "Global temperature evolution 1979–2010", Environmental Research Letters, vol. 6, pp. 044022, 2011. http://dx.doi.org/10.1088/1748-9326/6/4/044022
- S. Rahmstorf, G. Foster, and A. Cazenave, "Comparing climate projections to observations up to 2011", Environmental Research Letters, vol. 7, pp. 044035, 2012. http://dx.doi.org/10.1088/1748-9326/7/4/044035
- J.M. Lyman, S.A. Good, V.V. Gouretski, M. Ishii, G.C. Johnson, M.D. Palmer, D.M. Smith, and J.K. Willis, "Robust warming of the global upper ocean", Nature, vol. 465, pp. 334-337, 2010. http://dx.doi.org/10.1038/nature09043
- J. Stroeve, M.M. Holland, W. Meier, T. Scambos, and M. Serreze, "Arctic sea ice decline: Faster than forecast", Geophysical Research Letters, vol. 34, 2007. http://dx.doi.org/10.1029/2007GL029703
- J.C. Stroeve, V. Kattsov, A. Barrett, M. Serreze, T. Pavlova, M. Holland, and W.N. Meier, "Trends in Arctic sea ice extent from CMIP5, CMIP3 and observations", Geophysical Research Letters, vol. 39, 2012. http://dx.doi.org/10.1029/2012GL052676
- J. Hansen, I. Fung, A. Lacis, D. Rind, S. Lebedeff, R. Ruedy, G. Russell, and P. Stone, "Global climate changes as forecast by Goddard Institute for Space Studies three‐dimensional model", Journal of Geophysical Research: Atmospheres, vol. 93, pp. 9341-9364, 1988. http://dx.doi.org/10.1029/JD093iD08p09341
- J.C. Hargreaves, "Skill and uncertainty in climate models", WIREs Climate Change, vol. 1, pp. 556-564, 2010. http://dx.doi.org/10.1002/wcc.58


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"You've got a bad case of deconditioning," the doctor says.
Actually, it would be the rare doctor who would say that to anyone. And though it might sound like something to do with hair, in fact, deconditioning is a familiar and more profound problem: the decidedly unnatural state of being physically inactive.
At some point in the last few decades, the human race went from being a species that is active most of the time to one that is increasingly sedentary. The Lancet recently called it an "inactivity pandemic," responsible for 1 in 10 deaths worldwide. That's a major shift, and a major public health problem, many researchers have pointed out. Inactivity is linked to heart disease, diabetes and some types of cancer.
Now Michael Joyner, a physiologist at the Mayo Clinic, argues in a commentary out this month in the Journal of Physiology that one way to deal with the problem is to make physical inactivity a mainstream medical diagnosis. It's one of the most common preventable causes of illness and death, and Joyner writes, there is "one universally effective treatment for it — exercise training."
Shots called up Joyner to get him to elaborate a little more on just why doctors need to get more involved with this problem.
"The entire medical research industrial complex is oriented towards inactivity," he tells us. Insurance companies will reimburse patients for pills for diseases related to inactivity, but rarely for gym memberships. "Physicians really need to start defining the physically active state as normal," he says.
Joyner says that he thinks about 30 percent of the responsibility to fight inactivity should fall on the medical community. "Physicians need to interact with patients about being active, and they need to write prescriptions for exercise," he says.
He points to two of the greatest public health triumphs of the 20th century — improvements in traffic safety and the decline in smoking rates — as models for how we should tackle the inactivity epidemic. About one-third of the behavior change came from individuals who started using seat belts and car seats, and those who quit smoking, and doctors directly influenced that, he says. The rest was up to the public health community — to enact indoor smoking bans and harsh drunken driving laws — that helped support the right behavior.
For inactivity, doctors can push patients to get exercise, and cities and towns can make it easier for them to do it, he says, with more bike lanes and parks that can be an alternative to the gym.
Joyner says he increasingly sees two types of patients in his clinic: the ones who follow health guidelines and keep active; and those whose don't and see no connection between their behavior and their health outcomes.
"We have to be more innovative and creative to figure out how to help the people who aren't empowered to exercise for their health," he says.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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Trina, Rustic Rooster's owner, is committed to her customers. She strives to get every order out right away.
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The love-to-hate-him (her) character is by now a staple of TV. But rarely has there been an actor who so palpably enjoyed being love-to-hated as Larry Hagman. Hagman died of throat cancer Friday at age 81, in the place where he spent much of his childhood and working life, and the place where Americans came to hiss-applaud him as oil tycoon J.R. Ewing—Dallas.
Hagman was born near Fort Worth in 1931, into a part-showbiz family—his mother was a Broadway actress—and spent his childhood in Texas, California and New York. He kicked off his showbiz career in Dallas, working in local theater until his career took him to the stage in New York City and movies through the 1950s and early 1960s. He first became a national stars playing, of all things, a sweetheart: astronaut Tony Nelson, the put-upon "master" of Barbara Eden's title character in I Dream of Jeannie, which rolled up the '60s vogue for the space program, fantasy sitcoms and pre-women's-lib gender relations all in one.
(MORE: TIME's 1980 Larry Hagman Cover Story)
But Hagman's career, and TV history, would be changed by his casting in Dallas, one of those incidents that shows how much television magic comes from happy accidents and unintended consequences. J.R., the conniving scion of a Texas oil family, was not meant to be the star of Dallas. But as Hagman played him, it became clear that he couldn't not be.
Soap-star villains are common as Texas dirt, but Hagman tapped a once-in-a-lifetime gusher of gleeful villainy. J.R. was written as a callous, cocky bastard, the evilest mind ever to lease space in a ten-gallon hat. But what made him a TV icon—the thing people remember of Dallas even if they never watched it—was the swaggering, lusty, funky delight that Hagman brought to his schemes. He embarked on deceptions as happily as if he were digging into a plate of barbecue, and it was that infectious delight that made audience want to see him brought down—and also, to never, ever stop.
J.R. and Hagman very nearly obliged them. Dallas ran from 1978 to 1991, bracketing the flush Reagan '80s on either side. But its pop-cultural peak was the third-season cliffhanger, when J.R. took a bullet and "Who Shot J.R.?" became a national obsession all summer. The shooter turned out to be his sister-in-law Kristin, pregnant with his child, but who couldn't it have been? That America was so rapt with vengeance-worry over the fate of a rat-bastard millionaire shows how well Hagman physically embodied what storytellers since Milton, with his Lucifer, have known: nothing beats a charming villain.
(MORE: Dallas Returns, 20 Years Later)
This year, Hagman had a chance to reprise the role in TNT's Dallas, which continued the same story two decades later. I'll freely admit I was skeptical about bringing back Hagman (and Patrick Duffy and company) to tap a well that had already been worked for 14 seasons. But it turned out that Hagman's curtain call was by far the best thing of the adaptation: as I wrote in my review, "seeing him reinflate into his calculating, venomous role is a treat, like watching Darth Vader rise again in his helmet."
In their first response to Hagman's death, producers of the new series praised his "legacy of entertainment, generosity and grace"; Hagman had already shot part of the second season, which as of this writing is still expected to premiere on schedule next year. Whether or not the Dallas revival can long survive Hagman, though, his legacy in today's more-ambitious serial dramas lives on, carried on through Tony Soprano to the charismatic antiheroes of Boardwalk Empire, Breaking Bad and more.
Larry Hagman could not be with us forever. But evil never dies. RIP.
MORE: Greed, Melodrama and the Unexpected: What Made Dallas TV's Greatest Happy Accident


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Mark your year of sobriety with this respectable 1.5-inch medallion, which will serve as an amulet, warding off the evils of alcohol, a tangible reminder of the milestones reached on the road to recovery. This coin is your symbol of personal change and accomplishment, a powerful reminder of your sobriety. By acknowledging your limitations, attending regular meetings, and implementing the Twelve Steps, you appreciate the behaviors that will help you uphold your hard won abstinence.
Look ahead to today because today is the only day you must commit to your sobriety, but also look back with satisfaction on your accomplishments. When you need to remember your pledge, let the strength of this token serve you well.
Minted in solid bronze, plated in nickel, selectively enhanced with gold, and then imbued with bold black enamel on both sides, his proof-like coin is the perfect way to observe another 365 days of sobriety. The obverse features the years of sobriety on the obverse along with the words "To Thine Own Self Be True," found in Shakespeare's Hamlet (Act 1, scene 3, 78–82), a motto that those endeavoring for sobriety know well. The reverse displays the AA Serenity Prayer: the refrain of AA's sobriety 12-step program. It words read:
"God, grant me the serenity to accept the things I cannot change, courage to change the things I can, and wisdom to know the difference.
This 1.5-inch challenge coin sized medallion is larger than traditional recovery coin sizes, a more tangible reminder of your recovery. Drawing on the proud military tradition of unit challenge coins, the challenge coin size recovery medallion signifies dedication, community, and commitment. The additional tug of this slightly heavier coin will become a constant, reassuring reminder of your daily success and that you are not alone.


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This week, Bridget of The Way the Cookie Crumbles selected Lemon Cup Custard on page 387 of Dorie's book, Baking: From My Home to Yours.
Not since the raisin haters came out of the closet was there so much trash talk about the egg on the Tuesdays with Dorie website. Who knew that the little egg caused so much gag reflex to so many! Unlike my Ecuadorian friend who eats everything with an egg, I discovered there are many a baker out there who aren't card carrying members of Egg Custard Council.
I'm not a big fan of the egg custard, but I wanted to give this recipe a go. I made 1/4 of the recipe and that filled three mini-ramekins.
I followed Dorie's basic recipe and couldn't find my lemon extract so I just used the zest of two Meyer lemons to lemonize the custard. It's beyond simple to make, and I'll let my friend decide. I think I overcooked it a bit and it should have been a bit more jiggly (like parts of my body nowadays...but I digress). Also, I strained it twice...when adding the milk and when placing the custard in the ramekins. I probably won't make again, but I'm glad I gave it a shot.


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When you're Downtown, Anthony Candelino's River City Brewing Company is the place to enjoy a small batch brew and a gorgeous view of the city skyline from the south bank of the St. Johns River.
Brewing since 1993, the restaurant occupies a large piece of impressive real estate that draws a mixed crowd of professionals, lunching ladies, downtownies and night-outers for hand-crafted brew and upscale global cuisine, like house favorite RCBC Jambalaya and goat cheese and golden beet salad, which these days frequently includes local produce.
"We have a new chef who believes in buying local," said General Manager Bernard Santiago.
With five in-house beers to choose from, like Jags Light and Jackson Pale Ale, as well as a full bar and menu, this spot is casual enough for drinks with the pals after a friendly game of softball but elegant enough for a dinner date with someone special.
As an added bonus, River City has enough space for private functions of 1,200 of your closest friends and frenemies, otherwise known as wedding receptions and office parties, but doesn't feel overcrowded and contrived. On nice days (basically every day in Northeast Florida), grab a bite and a beer on the deck and watch boats, birds and boxcars traverse the majestic St. Johns.