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Thursday, September 4, 2008
Gygaxian "Naturalism"
This naturalism can take many forms. For example, OD&D often tells us that for every X number of monster Y, there's a chance that monster Z might also be found in their lair. In the case of the djinn and efreet, as another example, we find that they both can create nourishing food and potable beverages, as well as many other kinds of materials through the use of their innate powers. In AD&D, these sorts of things get expanded upon greatly, with the Monster Manual telling us how many females and children can be found in a monster lair and giving many creatures powers and abilities that don't serve a specifically combat-oriented purpose, such as a pixie's ability to know alignment, for instance.
The intention behind Gygaxian Naturalism is to paint a picture of a "real" world, which is to say, a world that exists for reasons other than purely gaming ones. The implication is that monsters have lives of their own and thus go about their business doing various things until they encounter the player characters. Exactly what they do is described by reference to game mechanics, whether it be the numbers of non-combatants in a lair or spell-like abilities that help the monster do whatever it naturally does when it's not facing off against an adventuring party.
A consequence of Gygaxian Naturalism is that it grounds D&D a bit more in a pseudo-reality. I don't mean to imply that it's realistic in any meaningful sense, only that its fantasy follows "natural" laws of a sort, much in the way that, for example, I know that there are squirrels and raccoons and rabbits in my neighborhood who go about their business when I'm not seeing them in my yard or chasing them away from my recycling bins. That's one reason why AD&D has stats for so many kinds of "ordinary" animals: you can't build a "real" world without stats for sheep and cows and horses and such, because you never know when the PCs might need to kill one.
The end result of this is that Gygaxian fantasy is a simulation -- a fantastical one, to be sure, but a simulation nonetheless. The downside is that it's a very specific kind of simulation and it carries with it a lot of assumptions and expectations that not everyone shares. I know many OD&Ders, for example, who don't like "naturalistic" orcs, preferring them instead to be spawned from black ooze that bubbles up from the mythic underworld that is the dungeon. Likewise, the tendency to provide stats for everything is a self-perpetuating one, reaching its zenith in 3e, in which the game almost literally did stat out every conceivable thing with which your character might interact. Needless to say, some find this to be too much, myself included.
Gygaxian Naturalism survived Gygax's involvement in the development of Dungeons & Dragons and formed one the most important, if often only sub-consciously, creative foundations of the game through its second and third editions. My read of the latest edition is that it largely rejects Gygaxian Naturalism without embracing the alternative offered by some interpretations of OD&D, instead opting for a different model altogether. I myself have drunk deeply from the wells of Gygaxian Naturalism, so it's second nature to me now. I won't go so far as to say that Gary's approach is inseparable from D&D, because that's certainly not the case, but I will say that it's so deeply ingrained -- even in OD&D, particularly if you add the supplements -- that, to remove it, is very likely to have the effect of creating a different game entirely -- certainly a different one that what has been called D&D for most of the game's existence.
45 comments:
In the defense of "Gygaxian Naturalism" I found including certain details generates conflicts, conflicts means adventure which is the point of the D&D game.
The problem is that not all details are equal. As the editions progressed people lost sight of that until the climax in 3rd edition where everything has a stat block.
As a DM you need to exercise judgment as to what details you include in your campaign. More than that you have to develop a system to teach the players the details you have.
In my own Majestic Wilderlands I developed over the years several techniques to ease players into the rich tapestry.
My Majestic Wilderlands has a lot of "realistic" details. I also use standard D&D fantasy trope incessantly relying characterization, plot and situation to provide variety.
But that not the only approach. The only rule is to be consistent so player can build their knowledge of your campaign. Good players will use their knowledge to seek out adventure in your campaign.
All of this is to provide conflicts that generate adventure. Why there is a thieves guild and a beggar's guild. Why three different tribes of orcs. And so on.In the defense of "Gygaxian Naturalism" I found including certain details generates conflicts, conflicts means adventure which is the point of the D&D game.
Oh, absolutely: I agree. I think that Gygaxian Naturalism is a logical companion to sandbox play. It's certainly my preferred approach, but it isn't the only approach, even if I think most others are going to run into problems with the way D&D is structured. I certainly have no problems with Gygaxian Naturalism.One of my complaints about fourth edition is that it does away with noncombatants. They are never mentioned in the monster manual at all. All orcs are one of the five varieties of orcs listed. There are no women and children.
I like having background things. I like that the party has to deal with civilians if they slaughter the warriors in an goblin tribe. I think it's important that villages have livestock. The 'Gygaxian Naturalism' you mention here is an important part of the verisimilitude of the world, and I miss it in the new version(s).
Still, that being said, if the players are looking more for straight combat without the moral problems inherent in having noncombatants around, I suppose having an all-male, all-warrior tribe of orcs doesn't hurt anything. Certainly my players look for that sort of thing sometimes. I think both forms of design have their place.RepliesInteresting that whilst later editions seem to insist on projecting our solution dilemmas onto the game, it dodges the real problems the characters face - what does a Paladin do with a clutch of "by his blade-orphaned" baby goblins?
DeleteI remember those impasses as a kid when I knew very little of the world. Now, I can't imagine what my paladin would do.
DM, are goblins pure evil? Yes? I guess I cleanse the area of their corruption! Are they not? Ok, I'll start an orphanage? Anyone want some baby goblins? Wait, how about we introduce them to civilization? Damn, now we're destroying their culture and becoming colonizers? Great. I just walk away (which is what we normally did with all that extra Gygaxian Naturalism errata) :-D
Another great article.
I think I'd say it this way:
Gary added these things because he was creating a role-playing game, not making minor extensions to a wargame. When people complain that there's nothing in the rules to support role-playing, they completely miss these things.
Gary didn't see role-playing as needing mechanics in the same way that combat and magic do. He didn't see the need for a general skill system to support role-playing.
He didn't see a need to try to explain role-playing.
But he did see the need for the DM to have an idea of the monsters and NPCs beyond being combatants or targets of spells. Because, when the role-playing starts, these things become important. This stuff is the support for role-playing.
It's also why the non-combatant monsters and NPCs don't get stats. People criticize the older editions for giving deities stats because it turned them into targets. Yet they then criticize the rules for being "incomplete" because you can't build every NPC in the milieu through the PC rules.
(FWIW, I like the "spontaneous generation" from a more pseudo-naturalist point-of-view. I like making the game world follow the laws of nature as the ancients or medieval folk viewed them.)- AnonymousSeptember 4, 2008 at 1:28 PM
I don't like these later (to OD&D) specifications of every living creature and what it doing while is "behind scene". For me, more important thing is Unknown.
I find "Small Insect or Animals", "Large Insects And Animal" section of M&T (page 20) as a tool box, but not finished furniture. I don't want to kown how looks back wall of furniture. It's not important.
If I'll need to know it, I'll make it - different each time - depends on situation, module needs etc. I never looks for artificial monster description - if I know what I need, I'll do it. It's base element of D&D identity.
And the Unknown. Gygaxian Naturalism, as you interestingly called it, is not necessary integral part of D&D identity. I mean OD&D, not later versions/editions. It rather kills unpredictable and standarizing Unknown.
OD&D is rather unpredictable "reality" we drop in, act, play and get some thrill from it's weirdness - even when we see intelligent rabbit eating caviar or coming out of nowhere Cat-Goddess. Later appears only in short moment - nobody (even she) don't know what she's doing "behind scene". Illogical? Sure! But it's fantastic! Look at Other Worlds section (Volume III, p.24). Less logic, genre attributes or rules, better "unknowness" in it.
For me - evolutionary standarization and covering in rules everything is regression. I like AD&D 1e and Supplemets to OD&D as source of inspiration, but in all other cases avoid it. Too boring and mechanical.
J I don't want to defend 4e too much, as the new MM is one of the worst game books I've read in a long time, but I think the argument is that you don't need details, in the book, for the non-combatants, because the players are never going to fight them. Kill them, possibly, but that would just be a case of one hit, one kill, the modern equivalent of a 0-level npc. If one of the non-combatants puts up a fight, they are then by definition a combatant, and so use the stats in the book.
Much as I dislike it, it's certainly a compelling argument.
Of course, this assumes a level of maturity and innovation in the GM that contradicts the oft-stated "new players" approach. Is the average kid going to think in these terms, or is every monster going to be a hostile combatant simply because that's all he's got stats for?I see what you're saying, Kelvin, but I don't agree entirely. The entries are bereft of flavor text in the first place. That's the trick. The orcs or gnolls or demons are just so many stats in the 4e MM. There's no reality behind them, no reason for being, they just exist so the PCs have something to put their swords in.
I also see your point, James, that not everything that can have stats should, but I for one feel sort of comfortable knowing that if I ever need stats for something, no matter how unusual, it's there somewhere or other. I think the perfect RPG would be one where everything is described, but rules are as informal as possible.Gygaxian naturalism, if I understand it correctly, isn't going to give you stats just to be mechanically orthogonal. It gives you combat stats for the creatures you're most likely to fight. But it also gives you some information about the creature beyond combat, because just because you might fight it, that doesn't mean you will. Likewise, it mentions non-combatants because they're important too, even if it doesn't give you combat stats for them. Being Gygaxian, though, these little additions are often expressed by an ad hoc mechanic rather than pure "flavor".
Which, perhaps, is what separates it from the ecologies of 2e.
Rach: "I also see your point, James, that not everything that can have stats should, but I for one feel sort of comfortable knowing that if I ever need stats for something, no matter how unusual, it's there somewhere or other."
Isn't it trivial to improvise combat stats for non-combatants when you have the stats for combatants? Isn't a game that gives you stats for things that are trivially improvised going to result in information overload?...just because you might fight it, that doesn't mean you will...
Hear hear. What's really disappeared is the idea of a non-combat encounter involving monsters.
The orcs will always fight! The townsfolk never will! Else, how are you supposed to ensure proper intake of experience and treasure parcels per session?
How are you supposed to ensure that the party will be in the correct shape for the next heavily invested, prepackaged combat?Thanks for linking to that article on the dungeon as mythic underworld - it's wonderful and revealing: it resolves a whole series of issues I've always had with the 10' cube corridor and learning chest.
I don't recall this line in AD&D 1e:
Monsters are assumed to have permanent infravision as long as they are not serving some character
but it makes perfect sense in this context, as does the lack of (a word you carefully avoided) ecology.
I wonder about Gygaxian Naturalism, though: it hints at an ecology without describing it. That doesn't let it off the hook of such description, it just adds a puzzle for the assiduous reader. Do you think there's a definite intention here, in not being more explicit?- AnonymousSeptember 5, 2008 at 9:28 AM
I don't recall this line in AD&D 1e:
Monsters are assumed to have permanent infravision as long as they are not serving some character
It's from The Underworld & Wilderness Adventures (page 9). It's OD&D, mate. Sorry, but 1e gives you ecology by description and in a lot of details. You thought about wrong system.
Fine example of anti-naturalism in OD&D. It's rather Gygax-Arneson expressionism vs Gygaxian naturalism - if we using scientific/art termonology. It's OD&D, mate.
Yes, I know: the article's quite clear about that. My point was that it seems to have been removed from 1e, and the dungeon environment is therefore less coherent in that edition (I could be wrong about this: I'm writing without the rulebooks at my side).
1e gives you ecology by description
I don't recall that at all, but I'll take your word for it. I remember lack of ecology being a perceived problem in the 80s, but I guess that's no guarantee it wasn't in the rulebooks.- AnonymousSeptember 5, 2008 at 10:35 AM
My mistake, sorry. Details in 1e, as James wrote, it was the beginning. 2e bestiary have "Ecology" as separate section. Back to 1e - example of Ant Lion from 1e MM II:
Giant ant lions are huge insects inhabiting areas of sand and gravel where giant ants and similar large insects are common. Typical habitats are desert fringes, badlands, and areas of rocky terrain. There the ant
lionsdig tapering pitsof about 60 feet indiameter. The pitswill looklike a cave or lair entrance 50% of the time. Any creature entering these funnel-shaped traps will be 50% likelyeach round to slip and slide down the loose sidesand land at the bottom. Lurking there is the ant lion. It will burst out of the covering of loose sand, gravel, and stones beneath which it has buried itself and attack the victim with its huge mandibles. A hit indicates the ant lion has closed its jaws and will not release its prey until it or the prey isdead. Thus, each round after the initial hit, the ant lion will inflict 5-20 points of damage automatically. Although ant lions do not collecttreasure, there is a 30% chance that there will be 1-4 of the following items in the monster's lair from previous kills
[table for treasure]
Ant lions devour 1 or more giant insects each day, carrying the remains away and concealing them. Thus it is possible to encounter one outside its pit.
Awful and not inspiring (and painful to read and to throw all these percentages). ;) I agree, that's not a very inspiring example. By ecology I was thinking more specifically of fantasy dungeon ecology: an answer to the question "what are all these monsters doing in adjacent rooms, do they know each other and how did they wind up electing to live here?" I have some sympathy for the view expressed above that "what's off stage doesn't require explication in rulebooks," especially if the dungeon is understood as a kind of Classicist psychodrama (very much like Theseus' labyrinth), but I also thought there was something useful in the discussion among pro-ecology folks. Once the dungeon inhabitants become collectively aware they're under attack, might they not organise some sort of collaborative defence?
I know this is somewhat OT. I'll shut up about it now.Much as I dislike it, it's certainly a compelling argument.
It's certainly a sound argument, although I don't find it particularly compelling. That is, it's an approach I can understand, even if I don't share it. And I think the fact that the 4e MM adopts a different approach in this regard is evidence of my consistent point: this is a new game, not a continuation of an old one. Even 3e, which is in so many ways a repudiation of key elements of the Gygaxian patrimony, is still a Gygaxian naturalist game, albeit one that ramped up naturalism to unnatural extremes.I think the perfect RPG would be one where everything is described, but rules are as informal as possible.
I certainly think that a game like that would be more in keeping with the Gygaxian patrimony of the game than would 4e's approach. I'm not sure I'd be happy with it myself, but I'm an eccentric.Fair enough! I'm not fond of the design decisions behind 4e myself (particularly the cold and characterless MM), and I was just being Orcus' Advocate. ;)
Nothing wrong with that! I do agree that the 4e MM is by far and away the worst of the three new books; it reads like a technical manual rather than a gateway to wonder and terror that the 1e MM was for me.This sort of 'creatures in the world among us' detailing by Gygax and his D&D decendents has been entirely left out of the new 4E version of D&D. Sure, they do include some fluff in the descriptions of 4E monsters - but the Terrain/Climate data has been completely stripped. When I opened the 4E monsters manual, I took this as a subtle message from the developers to indicate "There will be no _Random_ encounters in 4E". Well, suffice to say that I was unhappy about this enough that I charted out all 600+ monsters in 4E and included their Terrain/Climate information as far as I could from all the previousl editions of the game. Where a monster was truely new and unique to 4E (a minority) I just used my best guess. You can check out the lasted updated version of this list over at Core Lists (an offshoot site from my main blog).
ReplyDeleteOH! just when I was going to reply to donny's post... he removed it. =/
anyway, he stated "If it doesn't advance the plot, or enrich the gaming experience in some way, it is a useless piece of erroneous crud."
and I just wanted to comment - at least as far as my Extension of Gygaxian Naturalism post is concerned - that I agree with him; although monster ecology to me is more about "what else is there besides the orcs?" or "if the dragon has minions, what are the minions this type, or that type, of dragon are likely to be found with?"
As far as noncombatents and other roadbloacks-to-fun creatures: I usually overlook them unless the players ask or want to make something of them...crap.. my shameless plug failed - here's the link
Extending Gygaxian Naturalism IFantasy dungeon ecology is what it is. 4E finally realized that people can role play just fine without an elaborate framework of mechanics, skills, proficiencies, whatever.
As to dungeon ecology. It's great and all, but why bother? Doesn't nearly everyone houserule the crud out of the RAW anyway? Better to spend the time working on something more useful to the population at large, than TELLING people that a lair will always have between X and Y noncomatants, and they like to eat spam.
My opinion, is that 4E has liberated us from Gygaxian Naturalism. We now HAVE to make the stuff up. Is that such a bad thing? Why does there have to be a random table for everything?
In all fairness to "Uncle Gary" he gave us HIS houserules. Why are Orcs green and evil? Because he said they were. Why do trolls regenerate? Because he said they do. Why was there a ghoul in the boathouse? Because he said there was...seeing a pattern here?
As to the new MM, It's not bad. Really. Being the first of several, and the first of a new edition, it does it's job. I disliked the #E MMIV and V a lot more. They were nothing but afterthoughts from the first three anyway.
So I guess my question is, Why is returning to "make our own fluff" such a bad thing?
Difference of opinion notwithstanding, thanks for another thought provoking post :)So I guess my question is, Why is returning to "make our own fluff" such a bad thing?
It's not. What I call Gygaxian Naturalism isn't about the specifics of anything Gygax wrote so much as the general tenor of it, namely that the game rules describe a coherent world in which (to cite one example) monsters exist for reasons other than simply to be slain by the PCs. That's not to say that every time you place a monster in a dungeon there needs to be a deep reason for that placement (or indeed any reason). However, what Gygax offered us was a model of world building that has, in my opinion, been rejected in 4e. Whether that's a good or a bad thing depends, I guess, on how much of a pillar of D&D you consider Gygaxian Naturalism to be.ahhh.. THERE you are...
nice rewrite! I'll keep the original in my secrete "things people almost said" file!
As to "Why does there have to be a random table for everything?" Two answers come to mind -
1) becuase not everyone is as smart as you; and often times the results of a random set of results can spark new imaginative creations.
2) it saves time. If you are building a sandbox campaign, and your players decide to walk this way, instead of that way - its nice to have a quick answer that 'makes sense' given the setting.
Of course, you can always wing it - and I like your comment about Gary's house Rules. I dunno, maybe I'm the type with little to no imagination - I actually LIKE the tables and random crap. Its silliness to some, but could be a big resource to others.
Also... remember that game (D&D) was originally marketed to Adults 12 and up. Not every "12 year old adult" DM is going to be able to make the right choices for a balanced encounter, adventure, or even campaign. Although I'm a big supporter of 4E - I'm also a bit remiss that they have removed all the random table goodness for creature, treasure, loot, etc.
To wit - why did they remove all the creature/treasure random tables but decide to keep the random dungeon generation tables? Historical legacy?You called me smart...Just wait, I've got some idiocy hidden around here somewhere...lol.
Again a difference of opinion/style. I never liked randomness. To me, the dice do a perfectly good job at it without being encouraged :)
Too many party wipes due to random encounters over the years. I prefer the "not so random" encounter design. Creating coherent little one-shots to throw in whenever attention starts to lag.
My favorite, an upturned wagon on the side of the road. An arrow riddled corpse next to it. A group of scared farmers milling around, looking concerned.
A scripted encounter, good for lower level adventurers. It has gone 5 different ways throughout the years. I admit though, they are/arent bandits depending solely on the PC's interaction :)
Call me control freak, it fits, but as long as it is fun, who cares!?"Why are orcs green and evil"
Actually, orcs are not green. Neither are kobolds, goblins, hobgoblins, or gnolls. Trolls are, however.
Also, fluff is something you find in navels; background is what you find in Monster Manuals.
There's really no difference between saying "Trolls have 6+6 Hit Dice" and "Trolls are tall, green, regenerate and know no fear". Saying that Hit Dice is in some way more desirable than the no-fear detail betrays the writer's prejudices rather than being a statement of objective fact.
If one is really enamoured of making things up, then and edition of the Monster Manual is a waste of money.This post and the ensuing comment stream is, IMHO, a shining example of RPG blogging at its best. So, I've submitted this post to the upcoming OPEN GAME TABLE RPG Anthology for consideration. Of course, nothing would be published in Open Game Table until the author releases the material for inclusion in the Anthology. This post was simply submitted for consideration; which is the first step towards identifying the best in RPG blogging. Let me know if you have any questions over at the The Core Mechanic or in the OPEN GAME TABLE google group. In meantime, keep up the excellent work! Your blog rocks!
ReplyDeleteWhile I completely agree with Mr. Maliszewski's description of 4th Edition as non-Naturalistic (in the way he defines Naturalism), I find it utterly ironic that he attributes Gygax to Naturalism.
In fact, since D&D's release in the mid-1970s, Gygax' vision of fantasy roleplaying has always been decidedly of the NON-Naturalistic variety. From the beginning, Gygax's D&D was decried for its lack of "realism", its insipidness, where monsters do, indeed, exist only for their slaying by the PCs.
Games such Chivalry and Sorcery and HarnWorld (both truely Nautralistic in the way Maliszewski defines it) were created in the early days as a direct result of the reaction AGAINST the more vapid Gygaxian "hack and slash" flavor.
Thus, 4th edition D&D isn't a repudiation of Gygax's vision of naturalism; 4th edition is, on the contrary, the very clear culmination of a path that has always take D&D (in all its editions) further and further away from naturalism.James, I agree with your comments on naturalism as an approach found in OD&D but I'm curios why you refer to this concept as "Gygaxian Naturalism"? What I mean specifically is what seperates Gygax's approach to Naturalism from the nautralistic approach of Arneson as found in FFC (the 1972 Creatures in Blackmoor section for ex) or that of other early game designers such as Hugh Walkers Magira or Dave Weseley's Braunsteins? I get it that D&D's naturalism is a quite different approach to that found in some early games like Hammacks Crypt of the Sorceror or even chess or whatever, but I'm not seeing in what you have written why Gygax's approach in particular differs or is specialized from that of Dave Wesely or Arneson or a dozen other designers from the late '60 and '70's. Are you crediting Gygax for something that was in no way unique to him or are is there more to your concept of "Gygaxian" naturalism not mentioned here?
ReplyDeleteAre you crediting Gygax for something that was in no way unique to him or are is there more to your concept of "Gygaxian" naturalism not mentioned here?
Gygaxian naturalism isn't just about a persistent world. I agree that that kind of simulation predates Gygax and can be found in other early hobbyists. Gygaxian naturalism is naturalism specifically about the (super)natural world: the social dynamics of humanoid creatures, the economy of the Outer Planes, the metaphysics of magic, etc. It's an extension of the persistent world model to cover fantastical things. What I think makes Gygax unusual is that he treats even stuff like how monsters relate to one another among their own kind from an almost "scientific" perspective, as if the Monster Manual, for example, were almost a zoology text rather than purely a game artifact. I don't detect this perspective in Arneson, who seemed to have a much more whimsical view of fantasy than did Gygax.
Gygax called it "verisimilitude"...
Early Dungeon magazine had an incredible article that taught how to
stock a dungeon in such away. You decide what each room is/was used for
(library, bedroom, temple, storeroom, etc)- its "backstory",
basically, and fill it appropriately- in a ruined state for abandoned
areas. The players may or may not be able to tell the purpose of a
room, but the technique allowed the GM to fill it logically, and was
actually easier than filling it with random, unrelated items.
There was even a cool illustration of a room progressing from a
lived-in to a "dungeony" state (flags tattered, furniture rotted, etc).- Daniel BoggsJuly 1, 2012 at 12:51 PM
>I don't detect this perspective in Arneson, who seemed to have a much more whimsical view of fantasy than did Gygax. That's a thought worth considering. If one looks at the pre-D&D monster write-ups in Arneson's First Fantasy campaign, one finds orcs describes as living in villages, engaged in wagon train expeditions, and divided into tribes varying by habitat. Similarly, the rest of the given creatures are described with information regarding thier preference for solitary or family groups, preferred habitat and so forth. For example, " Rocs: Since their nests are only on the very highest peaks, thus only in mountaneous squares, ....there is a 40% chance the 1-3 eggs are hatched...." Another place to look would be Arneson's Temple of the Frog scenario published in Supplement II (1975), Here we see a well developed water swamp ecology in the temple dungeon wherein dwell the killer frogs and frog folk with access to the exterior moat surrounding the temple. Also in the dungeon are giant lizards, and trolls who feed on snakes rats and on the frogs, and giant snakes who feed on the trolls and the giant rats. In fact, the dungeon is clearly designed to make ecological sense and even more to provide a reasonable explanation as to why a given creatures was in a given place. If one compares this material to what Gygax was writing at the same time (CHAINMAIL, Tsojconth) Arneson's sense of environmental verissimilitude seems pretty dang sharp to me.
ReplyDelete I think Gygaxian Naturalism reached its apex through the "The Nature of..." articles that appeared in Dragon Magazine. I always thought that the back of the loose-leaf entries of all the Monstrous Manual should have had those kind of articles on them, as told by various kinds of Fantasy Naturalists.


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When I first met with Victoria Lyall, associate curator of Latin American art, last year to discuss the exhibition Children of the Plumed Serpent: The Legacy of Quetzalcoatl in Ancient Mexico, the topic of food and feasting came up continually. This past weekend, we hosted a mole and mezcal tour in conjunction with the exhibition. We partnered with local food tour company SixTaste and visited two Mexican restaurants—Moles la Tia and Guelaguetza—to see how ancient Mexican food culture has lived on today.
Before the tour, Victoria and I met with Guelaguetza partner Bricia Lopez (referred to as the "Oaxacan Princess" by Jonathan Gold) to talk about the ancient and modern Oaxacan culture of feasting and how Oaxaca traditions live on in Los Angeles.
Bricia Lopez, partner at Guelaguetza, talking about Oaxacan food culture on the mole and mezcal tour, photo by Marian Bacol-Uba.
Alex Capriotti: When Victoria and I started talking about the exhibition more than a year ago, this one image kept coming up. It was a part in the Codex Nuttall where two people were shown bathing in chocolate. Food seemed like such a big part of ancient Mexican culture. Can you talk more about that?
Codex Nuttall (detail), Mexico, Western Oaxaca, 15th–16th c., The British Museum Library, London, photo © Trustees of the British Museum/Art Resource, NY
Vicotria Lyall: Feasting was the basis of any kind of gathering in the pre-Columbian period and it was the glue that held all of these communities together. And you could find different kinds of feasts and parties. In the Mixtecs and the Zapotecs, for example, much more of the feasting was related to weddings. This was mostly because arranged marriages and that kind of festival was how power was exchanged and how people were able to negotiate more land and better access to trade routes. But among the eastern Nahuas, the feasts were actually much more geared toward divination. For them, it was much more about calendrical rituals and communing with the ancestors.
These societies had different relationships with the dead that filtered into their food cultures. The Mixtecs and Zapotecs would bundle their dead. They made them into mummies, attached masks, and put them in caves where they would visit them regularly. But the Nahuas would cremate them. They would burn them and put them in urns and they would turn into deities. So it was kind of a different relationship. A lot of the feasting rituals for the Nahuas related to the skeletal cult because of this. Many of their feasting items have skulls and severed hands. But for the Mixtecs and the Zapotecs, their feasting rituals were much more related to music, dance, and chocolate. For both, it was all ritualized. Feasting happened on very specific times and days.
AC: Bricia, I know that Guelaguetza's roots are long. You just opened your mezcaleria in the restaurant recently. Does your family have a history with mezcal?
Bricia Lopez: My dad made mezcal, my grandfather made mezcal, my great grandfather grew agave, so mezcal is part of who we are. Now, what we've always done is becoming more appreciated. We had a bar in the backroom at Guelaguetza and our bartenders are very well versed in mezcal—where it comes from, what it tastes like. We've always sold mezcal, but we've never had a forum for people to talk about it.
Victoria Lyall: It seems very timely too. I started going to Mexico city pretty regularly about five years ago. About three years ago, I started noticing that mezcal was what everyone in Mexico City wanted to drink. You building the mezcaleria was perfect timing.
AC: What's the history of mezcal? Has it always been around?
VL: In the chronicles from the sixteenth century, we found that for the Nahuas themselves, drinking was actually very ritualized and governed. If you were a woman, you weren't allowed to drink until you were older—till you were beyond the strictures of society. It was looked down upon if you got drunk.
AC: How did that phase out?
VL: I think the alcohol that the Spanish introduced—and the mores they introduced—were very different.
BL: The Spanish introduced liquor to get drunk, rather than liquor as part of ritual and cultural experience. When I give talks about mezcal, that's what I always say. Mezcal isn't something you drink to get drunk. Mezcal is something you drink before you eat. It is very traditional that, before you start your meal, you drink mezcal. You start drinking and you start conversing—it warms you up a little. And then from there, the food comes, and it intensifies the flavors in your mouth. Especially if you are eating a Oaxacan meal, it brings out all of those flavors in the dishes. A lot of chiles and smoked foods we use in mezcal have very long finishes. When you combine that with certain dishes, it makes a good pairing. I think the perfect pairing is a mole and a mezcal. It is a completely different experience than just having one by itself. The chapulines (grasshoppers) also go really well with mezcal.
AC: Does the tradition of eating chapulines go back into ancient Mexican culture as well?
VL: Yes! We have this beautiful piece in the show of a green stone grasshopper with the jewel of Quetzalcoatl.
Carved Insect with Cut-shell Motif, c. AD 1500, Green stone, Museum für Völkerkunde, Vienna, Bilimek Collection, photo © Museum für Völkerkunde, Vienna
AC: Victoria and I were talking earlier about an article by Jonathan Gold where he talks about how L.A. has so many different culturally specific restaurants, but sometimes they are cooking for themselves and for their people in L.A. But it's not so much fusing cultures together through food. Is that what you feel like Guelaguetza does—to keep the Oaxacan culture strong and alive?
BL: Yes, my dad from the very beginning wanted to sell food to Oaxacanios. He was never interested in doing the crossover thing. Our goal is for someone from Oaxaca to come and experience Oaxaca away from Oaxaca. Or for someone from L.A. to understand Oaxaca through our food—the colors, the ambiance, the people.
AC: Oaxaca is made up of a lot of different cultures too. Does the food differ a lot between cultures and regions?
BL: We only have food from the Zapotec region at Guelaguetza. We don't have anything from the other six regions. If your culture is near the coast, you serve more seafood. Certain chiles only grow in certain areas. Moles change from region to region. The Istmo region cooks a lot with iguana. I wouldn't even know what to do with an iguana.
AC: It's so interesting because it does go back to the exhibition and what an important role geography plays with certain objects.
VL: In the exhibition, there are vessels from certain regions that would hold the chocolate or that you would drink liquor out of. Every object in the exhibition has a very specific functionality and different cultures had different feasting vessels. And we only know these uses because that is what is pictured in the codices.
Chalice, Mexico, Puebla, Acatzingo, 1521–1600, Staatliches Museum fur Volkerkunde, Munich, photo © Staatliches Museum für Völkerkunde, Munich, by M. Weidner
BL: It's the same for mezcal. We actually use specific glasses at the restaurant.
AC: Bricia, on your blog, you are doing a video project where you ask the question "What does Oaxaca mean to you?"
BL: When I went to Oaxaca last year, I took a camera, but I didn't know what to do with it. So I started asking this question to people. And it was so interesting that people took the word Oaxaca very seriously. It was more than just the place they lived, it was where their soul was. It was what feeds them, inspires them, makes them.
AC: What does Oaxaca mean to you?
VL: I had never been to Oaxaca before starting work on this show, and I loved Oaxaca. Everything is just an explosion of creativity. Food, art, music. If you like design, everything is designed. From the food you are eating to the glasses you are drinking from. There's such a strong connection to craftsmanship. Everything is gorgeous and interesting and diverse. It feels like it is vibrating—like it has a pulse. There is a creative history that pulses there, and it just has never stopped beating.
BL: It's a place where I go, where I am at one with my soul.
This Sunday, learn more about ancient Mexican culture and food with two great programs. At 2 pm historian Xochitl Flores-Marcial explores the Zapotec tradition of Guelaguetza, which, in addition to being Bricia's restaurant's name, is one of several Mesoamerican indigenous rituals of reciprocal gift exchange. And at 3:30 pm, learn more about Oaxacan food culture at a book signing with Diana Kennedy, "the Julia Child of Mexican cooking." Check out a video of Bricia and Diana Kennedy discussing Oaxacan food culture.
Alex Capriotti


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Edgy t-shirt design juxtaposing a skull with a smiley face, perfect for those who love a twist on classic emoticons. Can be used on t-shirts, hoodies, and any other merchandise. Ready to use on Merch by Amazon, and other print-on-demand platforms like Redbubble, Teespring, Printful and others.
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The leaders of Brazil, Russia, India, China and South Africa – emerging economies that collectively are referred to as BRICS – announced Wednesday the creation of a development bank to fund infrastructure projects in developing nations.
"We have decided to enter formal negotiations to establish a BRICS-led new development bank based on our considerable infrastructure needs, which amounts to around $4.5 trillion for the next five years, but also to cooperate with other emerging markets and developing countries in future," South African President Jacob Zuma, the meeting's host, said Wednesday in Durban.
He added that the nations would also establish a "BRICS contingent reserve arrangement," which The Associated Press calls "a pool of money to cushion member states against any future economic shocks and further lessen their dependence on Western institutions" such as the World Bank.
Four of the five nations have been meeting since 2009 to discuss issues of mutual economic interests. South Africa began attending two years ago.
The bank would be the first institution set up by the informal grouping. But the leaders of the five nations failed to agree on just how much capital such a bank would need amid fears that China would play a dominant role in the institution, much as the United States and Europe do at the World Bank and International Monetary Fund.
Here's more from The New York Times about the grouping and the differences among individual members:
"For all the talk of solidarity among emerging giants, the group's concrete achievements have been few since its first full meeting, in Russia in 2009. This is partly because its members are deeply divided on some basic issues and are in many ways rivals, not allies, in the global economy.
"They have widely divergent economies, disparate foreign policy aims and different forms of government. India, Brazil and South Africa have strong democratic traditions, while Russia and China are autocratic.
"The bloc even struggles to agree on overhauling international institutions. India, Brazil and South Africa want permanent seats on the United Nations Security Council, for example, but China, which already has one, has shown little interest in shaking up the status quo."
The five nations make up more than 40 percent of the world's population and account for nearly a fifth of global trade. Still, trade among the members is small — just 2.5 percent of foreign investment by BRICS countries is in other members of the grouping, according to a U.N. report released this week. (That's up from 0.1 percent a decade ago.)
The meeting in Durban comes amid the backdrop of Chinese investment in Africa, and grumbling among some African leaders about China's role in the continent.
Copyright 2020 NPR. To see more, visit https://www.npr.org.


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Bone Grafting in Orange Park, Florida
Impairments of the jawbone can be caused in areas where teeth are missing. As a result, the jawbone can deteriorate and change your facial structure, making it unsuitable for a dental implant. Fortunately, modern oral surgery can repair damaged and deteriorated bones in preparation for dental implants, restoring functionality and esthetic appearance.
Thanks to advances in modern technology, your dentist will select a bone grafting technique that rebuilds bone structure safely and effectively while, if needed, creates ample space to accommodate dental implants.
Here is an overview on the types of bone grafting procedures:
Major Bone Grafting
Major bone grafts are used to repair implant sites where a previous extraction has taken place or severe bone deterioration has resulted from injury or gum disease. The bone is obtained from a tissue bank taken from the jaw or larger bones like the hip. To replace bone in the upper jaw, sinus bone grafts are performed. Special membranes are sometimes used to dissolve under the gum to protect the bone graft and encourage regeneration.
Minor Bone Grafting
Minor bone grafts are used to repair defects in the jaw which are usually caused by traumatic injuries, tumor surgery, or congenital defects. Large defects are repaired using the patient's own bone. If the jaw has a significant amount of deterioration, areas of bone harvest will be the skull, hip or lateral knee.
Ridge Expansion
Ridge expansions are performed when the ridge is reabsorbed and needs an increase in height or width. This type of bone graft is designed to restore lost bone dimension when the ridge is too thin to place an implant. With this procedure. The ridge of the jaw is expanded by mechanical means, allowing the bone graft to be placed and mature for a few months before the implant can be placed.
- Rebuilds bone structure
- Creates a stable foundation for dental implants
- Can prevent further bone loss
- Safe and effective for most patients
- Preserves facial structure
- Improves candidacy for dental implants
Your surgery may be scheduled several months prior to dental implant surgery so there is enough time for the bone to heal. Thus, dental bone grafts are typically performed under local anesthesia or intravenous sedation so you can completely relax during your surgery.
Thanks to bone grafting, your worries about replacing lost teeth can be alleviated. This popular form of dental reconstruction is a safe and effective way to repair your smile. For more information about cone grafting call at for a consultation.


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Exclusively from the editors at Total Beauty
Get the Buying Guide to see these top-rated products!
The right conditioner or leave-in conditioner can work wonders when it comes to achieving smooth, healthy hair. Add some moisture to your dry tresses with one of the products our readers think are the best conditioners and deep conditioners out there, or leave your own review, and let us know which hair conditioner you already love.


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Famous faces
Edgar Allan Poe
1809-1849 , Boston , MA
Edgar Allan Poe
On January 19, 1809, Edgar Allan Poe was born in Boston, Massachusetts. Poe's father and mother, both professional actors, died before the poet was three years old, and John and Frances Allan raised him as a foster child in Richmond, Virginia. John Allan, a prosperous tobacco exporter, sent Poe to the best boarding schools and later to the University of Virginia, where Poe excelled academically. After less than one year of school, however, he was forced to leave the university when Allan refused to pay Poe's gambling debts.
Poe returned briefly to Richmond, but his relationship with Allan deteriorated. In 1827, he moved to Boston and enlisted in the United States Army. His first collection of poems, Tamerlane, and Other Poems, was published that year. In 1829, he published a second collection entitled Al Aaraaf, Tamerlane, and Minor Poems. Neither volume received significant critical or public attention. Following his Army service, Poe was admitted to the United States Military Academy, but he was again forced to leave for lack of financial support. He then moved into the home of his aunt Maria Clemm and her daughter Virginia in Baltimore, Maryland.
Poe began to sell short stories to magazines at around this time, and, in 1835, he became the editor of the Southern Literary Messenger in Richmond, where he moved with his aunt and cousin Virginia. In 1836, he married Virginia, who was fourteen years old at the time. Over the next ten years, Poe would edit a number of literary journals including the Burton's Gentleman's Magazine and Graham's Magazine in Philadelphia and the Broadway Journal in New York City. It was during these years that he established himself as a poet, a short story writer, and an editor. He published some of his best-known stories and poems, including "The Fall of the House of Usher," "The Tell-Tale Heart," "The Murders in the Rue Morgue," and "The Raven." After Virginia's death from tuberculosis in 1847, Poe's lifelong struggle with depression and alcoholism worsened. He returned briefly to Richmond in 1849 and then set out for an editing job in Philadelphia. For unknown reasons, he stopped in Baltimore. On October 3, 1849, he was found in a state of semi-consciousness. Poe died four days later of "acute congestion of the brain." Evidence by medical practitioners who reopened the case has shown that Poe may have been suffering from rabies.
Poe's work as an editor, a poet, and a critic had a profound impact on American and international literature. His stories mark him as one of the originators of both horror and detective fiction. Many anthologies credit him as the "architect" of the modern short story. He was also one of the first critics to focus primarily on the effect of style and structure in a literary work; as such, he has been seen as a forerunner to the "art for art's sake" movement. French Symbolists such as Mallarmé and Rimbaud claimed him as a literary precursor. Baudelaire spent nearly fourteen years translating Poe into French. Today, Poe is remembered as one of the first American writers to become a major figure in world literature.
Tamerlane and Other Poems (1827)
Al Aaraaf, Tamerlane, and Minor Poems (1829)
Poems (1831)
The Raven and Other Poems (1845)
Eureka: A Prose Poem (1848)
Berenice (1835)
Ligeia (1838)
The Fall of the House of Usher (1839)
Tales of the Grotesque and Arabesque (1939)
Murders in the Rue Morgue (1841)
The Black Cat (1843)
The Tell-Tale Heart (1843)
The Purloined Letter (1845)
The Cask of Amontillado (1846)
The Oval Portrait (1850)
The Narrative of Arthut Gordon Pym of Nantucket (1850)
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Calendula officinalis 2x20pcs teabag
The method of preparation and application will be provided with your order. The herbals with the right type are selected, separated and packaged according to Prof Saracoglu methods.
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SEO Company in Jindalee
SEO or Search engine optimisation involves the implementation of a variety of strategies and application of best practices all of which are designed to increase a website's visibility and improve its ranking in search engines over time. Having a good SEO company in Jindalee and game plan is important since the large majority of online users trust search engines like Google and Yahoo. This means that the better search results ranking your website has, the more credible and domineering it becomes in the eyes of potential customers. If your business is not yet on the first two pages of Google search, then it is time to overhaul and upgrade your SEO and contact Visual Marketing now.
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We at the blog love to demonstrate new, cutting edge features and documenting them for current and future users of the emulator. Wii USB device emulation is one of those things that lacks data and testing in Dolphin. It requires real hardware just to try it out and only a select few people are crazy enough to work on anything involving the Wii IOS HLE. The first time E-ticket Service Launch support was added to Dolphin, it managed to break connecting Wiimotes; that's just how touchy that code can be!
When looking around, the most common answer is that USB Devices won't work with Dolphin, with examples of the Konami microphones being given and recommendations toward an old branch that implemented Wii Speak support (which still doesn't support those microphones.) For anyone searching, the answer to "Do Wii USB devices work in Dolphin?" came up as a flat no on the wiki, issue tracker, and forums.
It turns out that a lot of these devices work perfectly in Dolphin! Support was added way back in 2013, but seems to have been mostly forgotten by time. The primary reason for this was that it was a part of the Wii Networking merge. The main focus of that merge was to add Wifi support to Dolphin for playing games on the still active Nintendo servers. Hidden within that was an USB HID implementation for Dolphin. Somehow, this wasn't really tested or noted for the most part and snuck into the emulator almost unnoticed. When a discussion about this came up on IRC a few days ago, we just had to try and see what would happen when we plugged some Wii accessories into our computers for Dolphin.


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Invisible Deck Bicycle Cards
Have your spectator select a card from an imaginary deck, and place it face up in the deck.
At this point you produce a real deck, open it and fan through it. Incredibly, their named card is revealed to be the only face up card in the deck! Repeats instantly with different cards every time, even works with several spectators at once.
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Alexandria artist Suzanne Vigil thinks cockroaches are pretty.
"When you get up very, very close to one, you see that a cockroach is absolutely beautiful. It's got jeweled tones to it," Vigil says. "When I show people a cockroach and cover up the head, they look at the body and realize it's actually beautiful. When people are scared of them it's because all people normally see is the head and the tail end of the cockroach — the ugly part."
Some may disagree with Vigil's view on the attractiveness of cockroach anatomy, but most will agree the insect is an iconic symbol of fear, making it an ideal subject matter for Target Gallery's Fears and Phobias exhibit
opening January 12. The local artist used color pencils to create "Ick," a shiny, realistic close-up of a roach that forces viewers to confront their fear — if they have any.
"I want the viewer to have appreciation [for the roach]," she said. "I want them to disassociate themselves with all the negative things and just look at the color and try to get the whole sense of what cockroaches do, if it's possible without going out of your mind."
Vigil initially wanted to draw a snake but her fear of the animal made her cringe and shudder as she Googled images online, so rather than recreate her phobia, she drew a universal symbol of horror.
And there are few things more basic to the human condition than fear — it's relatable, which Assistant Gallery Director Allison Nance knew when she helped choose the exhibition's theme.
"It's such a theme that anyone can relate to," says Nance. "It can be open to anybody but can mean something different to everyone. It can be personal; it can be political."
Louisville artist John Talbott Allen chose the latter. His piece, "Shrapnel and Battery Acid," consists of faux IEDs (improvised explosive devices) made from cheerfully colored construction paper. The creation juxtaposes terror felt by American soldiers exposed to the camouflaged bombs with the detached reality the majority of Americans experience when it comes to wars abroad.
"These are objects of terror and fear," Talbott said. "The whole presence of them drives anxiety and fear, but here in the U.S., it's just something foreign. I'm trying to bring a discussion to people who don't really have a connection to soldiers or the war.
"I'm trying to bring something that should be important and should be a cause of anxiety, yet when people watch the war on TV, it's almost a form of entertainment."
Talbott's and Vigil's approaches represent the polar extremes of literalism and metaphor. The exhibit's juror, Lia Newman of Artspace in Raleigh, N.C., leaned toward metaphorical and abstract pieces when choosing the lineup. She shied away from the blatant interpretations of the theme, like Vigil's cockroach.
"I was most surprised by the number of artists who chose quite literal approaches in the visualization of particular fears and phobias," Newman said in her juror's statement. "When selecting works of art for the exhibition I leaned toward those that were less obvious in their portrayal. I was most interested in works by artists who approached the theme in a more conceptual manner."
Fears and Phobias opens January 12 and runs through February 19 at Target Gallery inside the Torpedo Factory Art Center, 105 N. Union St. Opening reception including a juror's talk takes place January 12 from 6 to 8 p.m.


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3 MLB FanDuel Studs to Target on 7/26/18
Just like in other sports, the focal point of your daily fantasy baseball lineups will be your high-priced studs. These guys take up by far the biggest chunk of your cap space, but they also offer the highest ceiling, and in the case of pitcher, by far the highest floors for production.
For hitters, we're looking for guys with big numbers, strong matchups, and with players around them that are likely to produce well too, increasing our chances for runs and RBI. For pitchers we want big strikeout numbers, while the ability to go deep in a game and pick up a win is also valuable.
Taking up so much salary, and playing such a big role in your lineup's ceiling, you're not going to want to whiff on these guys, so lets take a look at a few top-end options that you can count on to anchor your lineup today.


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By Adam Feldman, APIs Product Manager
UPDATE June 3: In the days since we announced the deprecation of the Translate API, we've seen the passion and interest expressed by so many of you, through comments here (believe me, we read every one of them) and elsewhere. I'm happy to share that we're working hard to address your concerns, and will be releasing an updated plan to offer a paid version of the Translate API. Please stay tuned; we'll post a full update as soon as possible.
Google I/O is always an exciting time for developers. This year we made 34 separate announcements, including 7 new APIs:
- Discovery Service
- Tasks API
- Books API
- Pagespeed Online API
- Places API (now generally available)
- Prediction API (now generally available)
- Fusion Tables API (additional feeds)
As the web evolves and priorities change, we sometimes deprecate APIs – that is, remove them from active development – to free up resources and concentrate on moving forward. Today we're announcing a spring cleaning for some of our APIs.
Note that the vast majority of Google APIs are not affected by this announcement.
Following the standard deprecation period – often, as long as three years – some of the deprecated APIs will be shut down. The rest have no scheduled date for shutdown, but won't get any new features. The policy for each deprecated API is specified in its documentation.
- These APIs are now deprecated but have no scheduled shutdown date: Code Search API, Diacritize API, Feedburner APIs, Finance API, Power Meter API, Sidewiki API, Wave API
- These APIs will be shut down as per their deprecation policies: Blog Search API, Books Data API and Books JavaScript API (not the new API), Image Search API, News Search API, Patent Search API, Safe Browsing API (v1 only), Translate API, Transliterate API, Video Search API, Virtual Keyboard API
Adam Feldman is a Product Manager, focusing on all of Google's APIs and making sure Google provides the best possible platform to developers.
Posted by Scott Knaster, Editor


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He kept taunting me from the rearview mirror, daring me to bury the needle even further, to more aggressively attack the relentless twists and turns ahead of me, to see just how far I could push this beast of a car I was driving. The motorcycle driver behind me had an advantage, of course, being able to take the hairpin curves of the road at a higher speed than I could, and he also seemed to know the area intimately, weaving his way around each bend in the road with confidence, no matter how severe, as if he knew each was coming miles ahead of time. I too had an advantage, however, specifically the 310-HP V6 engine under the hood of the all-new 2014 Acura RLX I was driving through a winding road in Napa Valley. The biker may have had the upper hand on the curves, but I owned the rest of the road. He'd inch closer when I slowed down ahead of a particularly sharp corner, but the RLX left him in the dust when the road opened up ahead of us again, effortlessly accelerating as I watched the biker shrink in my mirror. Unfortunately, the RLX handled the curves on our route much better than my wife's stomach did, so I wisely chose marital peace with my white-knuckled passenger over my inflated ego and eventually let the biker pass. But he knew. And I knew he knew.
Clearly, Acura's new luxury sedan is a blast to drive, which is why they invited us out to Solage Calistoga in Napa Valley to drive the RLX. The twists and turns in the surrounding roads were the perfect setting to test the limits of this direct-injection 3.5L V6 sedan, whose Precision All-Wheel Steer (P-AWS) system offered instantaneous and precise control through even the tightest of corners during our test drive. While my wife would argue that I took the turns too fast, the precision the P-AWS system offers assured me that I was only scratching the surface. My biker friend got off easy!
During our time at Solage, Acura talked about the three pillars of their Smart Luxury approach, the first of which is sustainability. The four-door RLX drives and responds like a sports car, displaying impressive agility through the winding roads with instantaneous acceleration, particularly when Sport Mode is enabled. And yet, those 310 horses deliver class-leading economy with 24 combined MPG, including 31 MPG on the highway.
We also really enjoyed the Adaptive Cruise Control with Low-Speed Follow, which is easily activated from the steering wheel. As someone who relies on cruise control during long drives, I loved how easily this system works, and just how responsive it is. Just set the speed as you normally would with cruise control, then set your desired distance from the car in front of you. The RLX will then speed up and slow down based on how fast or slow the car in front of you is driving. If they come to a stop at a stop sign, you'll stop too. But, as Acura warned us when we buckled up for our test drive, if that car rolls through the stop sign, you'll roll right with them! Combined with the Lane Keeping Assist system, this Adaptive Cruise Control speaks to the second pillar in Acura's Smart Luxury approach: Time is luxury.
Acura aimed for customization, ease of use and intuitive controls with the RLX. Mission accomplished. Most notable is the debut of the next-generation AcuraLink connected car system, a cloud-based application that allows drivers to access information like near real-time surface street traffic information and media feeds from sources like Twitter and Facebook while providing a Pandora interface, Bluetooth connectivity, text-to-voice SMS texting and much more, all without taking your eyes off the road or even picking up your phone. The RLX also comes standard with a beautiful seven-inch On-Demand Multi-Use Display with audible and tactile feedback, and audiophiles will want to upgrade to the Acura/ELS Studio Premium Audio System, a 14-speaker marvel that was developed with the help of Grammy winning producer and engineer Elliot Scheiner. This system must be heard to be believed.
Gadgets and gizmos aside, the interior of the RLX exudes luxury, with its heated 12-way adjustable seats and the stitched leather on the steering wheel, console and instrument panel, which looked even more impressive all lit up at night. In fact, after our initial late-afternoon test drive, we hopped back into the RLX with a couple of our fellow testers and headed to nearby Cade Winery for an amazing dinner, and the panel was quite a sight. Additionally, the RLX boasts the most spacious five-passenger seating in its class, which our backseat passengers most definitely appreciated on our way to dinner that night.
The RLX is quite an impressive piece of machinery, inside and out, with a look that will surely help it stand out in this crowded class. Most striking are the Jewel Eye headlights, a set of 10 LEDs stacked in two rows which give the RLX a distinctive appearance while providing improved brightness, distribution and down-the-road illumination on our drive to Cade Winery.
While the RLX doesn't necessarily break any new design ground, it clearly is an improvement over its predecessor, the RL. Most impressive is the RLX's ability to appeal to those looking for the room of a full-sized sedan while still maintaining the look and feel of a mid-sized sedan with its wide, athletic stance that just begs you to see what's under the hood.
The final pillar of Acura's Smart Luxury approach is value, and with a base of around $48,000, the RLX has an advantage over competitors like the Lexus GS, Mercedes-Benz E-Class, BMW 5 Series and Audi A6. Those are some heavy hitters, to be sure, but with the RLX representing improvement by leaps and bounds over the RL, and with a truly impressive set of features that enhances the driving experience, Acura is ready to do some heavy hitting of its own with its new flagship sedan.
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Posted in: Car Reviews, Cars
Tags: Acura, Acura RLX review, Acura/ELS Studio Premium Audio System, AcuraLink, auto photos, auto slideshow, automobile photo gallery, autos, autos for guys, autos for men, car info for men, car photo gallery, car photos, car slideshow, first drive, first drive automobile reviews, first drive car reviews, first drive reviews for guys, first drive reviews for men, Napa Valley, Napa Valley resorts, new automobiles, new autos, new cars, Solage Calistoga


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Girl Next Door: Barbara Desiree
Here's our newest Girl Next Door, Barbara Desiree, in a sexy gallery from J Scott Photography. She looks amazing in some very tiny lingerie and in her bikini on the beach as well. Check out all the pages of this gallery or just browse through the slideshow.
See more hot models like Barbara in our Girl Next Door channel.
You can follow us on Twitter and Facebook for content updates. Also, sign up for our email list for weekly updates and check us out on Google+ as well.
Posted in: Models
Tags: babes blog, Barbara Desiree, beautiful bikini, beautiful brunette, beautiful woman in bikini, best glamour models, bikini, bikini babe, bikini blog, bikini glamour, bikini models, bikinis, brunette, brunette babe, brunette beauty, brunette hottie, brunette model, Bullz-Eye Models, Bullz-Eye.com Girl Next Door, girl next door, Girl Next Door gallery, Girl Next Door slideshows, glamour models, GND, gorgeous brunette, hot bikini, hot brunette, lingerie, lingerie babes, lingerie models, model flashback, model gallery, pretty brunette, sensual bikini, sexy bikini, sexy brunette, sexy model in bikini, sexy slideshows, slideshows, swimsuit models, swimsuits, woman in sexy lingerie


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Gluten-Free Restaurant Search Results
The results below are from compiled recommendations from those in the community. While steps are taken to ensure the restaurant's safety, as always, it is up to the individual to ensure their own safety every time when dining out. The National Celiac Association is not responsible for these restaurants.
The map below shows only the the results of your search. Therefore if you zoom out on the map, you may not see results in other areas. To view results in other areas either reset your search or click here return to the Gluten-Free Restaurant main page.
9 Main Street, Natick, MA 01760, USA
9 Main Street, Natick, MA 01760, USA
GF dinners and desserts available in freezer


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We Need Your Help!
We're dedicated to paying our contributors and staff members fairly for their work—but we can't do it alone.
You can become a patron for as little as $1 a month, and every single penny goes to the people and services that keep Anime Feminist running. Please help us pay more people to make great content!
In a time wracked by despair, paranoia, and economic devastation, Evangelion captured the nihilistic zeitgeist of a nation and its citizenry


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I give you, Magic in Frosting!
Breathtaking, isn't it? This artifact, discovered by Luz G. of Beautiful Impermanence, is believed to date back to the "free love" era of the 1960s, when the word "magic" was interchangeable with the names of many and varied forms of hallucinogenic drugs. Coincidence?
Especially when you consider that the author claims to be the original creator of the Smashed Pink Elephant cake here. [arching eyebrow] Highly suspicious.
Regardless, this priceless find demonstrates some truly remarkable feats that our ancestors were able to achieve using nothing more than buttercream, a few simple tools, and the belief that any woman who plays tennis is a low-browed neanderthal with a thyroid problem.
Further evidence of the decade's inebriation includes this lovely (not to mention leggy) specimen:
So, where do modern-day Wrecks come from? Well, in light of these examples I believe there can be only one conclusion: they're made by the people who got these cakes as children.
- Related Wreckage: LIFE Wrecks


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Make every presentation a success when your colleagues have these custom promotional badge holders. These promotional items are definite must-haves. When you spend so much time and money to attend trade shows and special conventions, it's important to get your brand seen everywhere. Imprinting your corporate name and logo clearly on a customized badge holder will guarantee that you make a great impression on everyone you meet. Personalizing custom promotional badge holders will add the perfect touch to your professional name badge.
Our custom promotional badge holders have adequate printing space to fit your corporate name or logo. Up the ante even more by personalizing a slogan that will complement your company symbol. Whether you wear these to a convention or give them to employees as a handy custom badge holder, you will get your money's worth of brand exposure!


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CPR will save someone's life in a matter of seconds. Tilt your head back and look at the clouds to stop a nosebleed. If an animal spots you in the woods it will chase you relentlessly and maul you. Movies are great at telling stories, but they're horrible at teaching basic survival skills. Here are five of the ways they've taught us horribly wrong.
Movies and TV shows are meant as entertainment. As such, they tend to take shortcuts so they get to the point as quick as possible. Occasionally the survival methods they "teach" carry over into the real world, and our understanding of things like CPR, getting punched in the head, or even the best way to deal with a snake bite get skewed. Here are the correct ways to handle those situations.
Myth: CPR Takes Seconds and Brings Most People Back to Life
On countless TV shows and in thousands of movies, CPR is used on a victim minutes after they've passed out (or actually died) and they're resurrected safely and easily within a couple seconds. The problem is that CPR doesn't work like you see on TV.
CPR is meant as a life-prolonging technique, and it's typically not meant to bring someone back to life. Instead, it's supposed to keep their blood moving long enough for help to arrive. Worse, CPR isn't nearly as effective as it's depicted on television. On TV, CPR saves about 75% of victims and takes about a minute to perform. In reality, the effectiveness of CPR is between 2% and 30% depending on the reason for giving it. Instead of giving up after a minute, you should continue administering CPR until help arrives.
Of course, that doesn't mean you shouldn't learn CPR. You should, but knowing when to administer it—and how to do it properly—is key, since most movies and TV shows get it wrong. You're best off taking a class, especially since standard CPR training changed in 2010 to reflect new research that chest pumping is more effective than initially thought.
Myth: Knocking Someone Out (or Getting Knocked Out) Is No Big Deal
Getting a blow to the head is usually portrayed as a minor annoyance with no serious long lasting problems in movies. It's also a lot harder to knock someone out with a punch than you'd think.
The problem is that if you get knocked out (or knock someone out), the effects can be a lot more severe than movies portray. In general, a concussion isn't too horrible provided you're not out for longer than five minutes, after which you're susceptible to longterm damage. Of course, repeated concussions, like the ones athletes deal with (along with bravado types like James Bond) are suspected to lead to serious brain damage. While movies often show getting knocked out as an everyday occurrence, medical help is usually a good idea.
If you get a concussion, the best thing to do is see a doctor within a couple days of the injury. If you experience vomiting, a prolonged headache, visual disturbances, slurred speech, confusion, blood discharge, or another loss of consciousness you should see a doctor right away.
Myth: Tilt Your Head Back to Stop a Nosebleed
Although it has been recommended not to tilt your head back when you have a nosebleed for years, movies and TV shows still show people doing it all the time. Tilting your head back to stop a nosebleed isn't just ineffective, it's also dangerous because it causes complications by allowing blood into the esophagus, which increases the risk of choking and vomiting.
The New York Times explains how to stop a nosebleed the right way:
A report in the British journal BMJ says you can stop the bleeding by using your thumb and index finger to squeeze the soft tissue just below the bridge of your nose for 5 to 10 minutes. A cold compress or ice pack placed across the bridge of the nose can also help.
If all of this fails and the bleeding lasts for more than 20 minutes, or the nosebleed was caused by a blow to the head, seek medical attention.
It's a simple little thing, but chances are the last thing you want to deal with when you have blood falling out of your nose is a bunch of blood down your throat as well.
Myth: Suck Out Snake Venom After Being Bitten
It's a staple in classic western films: someone sucks snake venom out of a snake bite to save the victim's life. The idea is that you can catch the venom before it enters the bloodstream and then spit it out to save the victim. It makes sense in a weird sort of way, but the problem is that it doesn't really work. As WebMD points out, you should never attempt to suck the venom out of a snake bite.
Instead, keep the person as still as possible, cover the wound with a loose bandage (do not apply a tourniquet), and get the person (or yourself) to an emergency room as quickly as possible. The general rule is the less you move the victim, the less likely the venom will spread through the body and cause damage.
Myth: Most Wild Animals Will Attack You Unprovoked
One thing that Hollywood seems to truly hate is the wilderness. As far as movies are concerned, it's the most dangerous place out there, and every single animal is dangerous, even the cute ones. The truth is that while many animals are dangerous, most want nothing to do with humans, and the last thing you should do is taunt them.
When you run into most animals in the wilderness, it's best to remain calm, and back away slowly. Do not run from most bears, cougars, or wolves because they are way faster than you. In most cases, seek some kind of shelter if possible (and no, playing dead isn't a good all-around strategy, but it does work if the animal isn't aggressive). If they do attack, go for the eyes, and make as much noise as possible.
Of course, in reality, the best way to avoid animal attacks is to not mess with them. Don't leave food sitting out, don't wander into their territory, and don't go looking for them. Generally speaking, they want nothing to do with you, so if you stay away from them, they'll stay away from you.
Bonus Urban Survival Myth: Anything Any Movie Has Taught You About Computer Security
We couldn't help ourselves from taking on one of Hollywood's biggest urban survival myths: computer security. Hacking is represented in all kinds of goofy ways in movies. While these scenes are characteristically over the top, they also suggest that hacking is a fast process that just about anyone can do with the right mixture of Mountain Dew, Hot Pockets, and antisocial behavior.
Of course, hacking isn't easy, nor is it fast. While some fast hacks exist, like Firesheep, they're pretty rudimentary and easy to block. More complex hacking, like Stuxnet or Zeus take months (or more) to find the exploits, code the hack, and implement it.
In most cases, hacking also takes a lot of work and wits to do it. Even if you have tools like Reaver at your disposal, it still takes a fair amount of time, and just guessing passwords takes a special skillset. In general, finding an exploit and taking advantage of it is incredibly difficult. The fact is, hacking into any secure computer takes a ton of effort, and it's rather boring to watch on the screen.
The same goes for how viruses are typically represented. Viruses are a pain, but they can't damage your hardware, browse for porn under your name, or infect alien spacecraft. As far as virus prevention is concerned, the built-in Microsoft Security Essentials is all you really need.
And don't even get us started on "zoom and enhance" and Nokia gum hacks.
We've barely scratched the surface here, and countless other examples of terrible Hollywood survival skills exist out there. Of course, the lesson here is to not trust what you see on TV when it comes to anything important, and if you want to prepare for anything, research the correct way to do everything first. Our guides to wilderness survival, urban survival, and disaster survival are good places to start.


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I believe that you have driven your 2013 Volvo S60 T6 AWD at once or many times before reading this article. You should probably know that steering wheel is an important tool for 2013 Volvo S60 T6 AWD that you often make that your car in the direction where you want to go. It always seems like a "no-brainer" to operate. You only grab the wheel and then turn it no matter which direction you wanna choose. You use the wheel to make a turn and then hang on simply. With your only one finger, you might realize to drive your 2013 Volvo S60 T6 AWD. My general rule of thumb, I have seen someone driving with his knees so that he can realize something totally, such as type out a faithful text message or take some food. You can do that when you are driving your 2013 Volvo S60 T6 AWD.
You cannot become a safe driver if you cannot put both your hands on the steering wheel. I promise you that you cannot control your 2013 Volvo S60 T6 AWD that you want to do. You should know that you do not drive your car, you should control it actually.
As I said, if you do not have both your hands on the wheel, you cannot control your car very well. You will be confused what is the difference in driving safely and just driving. Is there a huge difference during them? For instance, when you are driving on the road, suddenly, there is a child in front of you. What is your first reaction? Your initial reaction should avoid the child and swerve out the way. However, do you think if you are driving your 2013 Volvo S60 T6 AWD with your own finger, knees or just one hand, it cannot be possible for you to turn the wheel safely. You will kill a child. So you should put both your hands on the wheel that you can already have lost control of your 2013 Volvo S60 T6 AWD or run over the child.
In order to control your car properly, you must put both your hands on the steering wheel. And the correct position is at 9&3 o'clock or 10&2 o'clock position. It would be the safest place for your hands. The accidents such as the instance above take place in milliseconds. By putting both your hands on the steering wheel, you also must be prepared for the unusual event of an emergency.
Some important things you need to remember firmly. When something is usually going to happen, every second that you never know what will happen. You can owe it to yourself or other passengers in your 2013 Volvo S60 T6 AWD, all the over drivers and pedestrians on the road. They get a grip on the cautious driving. If you want to avoid any accidents, you must keep your hands on the wheel firmly. Even though you control the wheel with your one finger or knees and it looks like handsome, you should consider about the life of you and other people. Get rid of your bad habit and drive your car safely on the road.


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Act I, Scene 4 A Hall in York Place. |
[Hautboys. A small table under a state for CARDINAL] [p]WOLSEY, a longer table for the guests. Then enter [p]ANNE and divers other Ladies and Gentlemen as [p]guests, at one door; at another door, enter GUILDFORD]
[Hautboys. Enter CARDINAL WOLSEY, and takes his state]
[Drum and trumpet, chambers discharged]
Previous scene | Play menu | Next scene |


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Tuftex is a division of Queen Carpet Corporation, a subsidiary of Shaw Carpet Corporation.
Founded in 1969, Tuftex has carved a niche within the carpet industry. Over the last 30 years, we have developed into the leading carpet manufacturer in the Western United States. This success can be attributed to our unwavering commitment to style, value, and quality.
According to realtors, location is everything. This has proven true for Tuftex. Our location has played a significant role in our success. Our Southern California site has enabled us to remain closely attuned to the current design trends and consumer preferences. Tuftex products are known for their innovative style, high quality, and contemporary color trends.
All customers are tremendously valuable. We operate a national salesforce knowledgeable and dedicated to promoting the Tuftex product line. For information on our sister divisions in Los Angeles, visit our Designweave (Commercial Carpet) and Concierge (Hospitality Carpet) websites.