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Photo: Courtesy of Twitter.
The people spoke, and Twitter listened. After an outcry from users, the social-media giant has finally decided to support animated GIFs on its website and its iOS and Android apps. Until now, users could only view GIFs through the third-party platform Giphy, which would open the tweeted images in a separate window.
While Facebook has previously avoided supporting GIFs out of fear that a thousand dancing cats might pollute the look of its news feed, Twitter has solved the issue by including a play button that users must click if they want to see a GIF in action.
For all intents and purposes, Twitter is the digital age's leading method for breaking-news delivery and consumption, and, believe it or not, GIFs have become a huge part of that delivery system. While the looping image format is rooted in humor, if a singular moment that requires re-watching ever occurs, it's only seconds before the Twittersphere collectively calls out for a GIF. Jennifer Lawrence falling at The Oscars and Felix Baumgartner's space dive come to mind. If Twitter wants to continue to be the populist service that it's become, adopting GIFs was an essential move.
Just take one look at your new timeline and you'll see what we mean. The excitement is palpable. So go on, start tweeting GIFs with reckless abandon. Just make they're 140 dance moves or less. (The Verge)


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by Mumia Abu-Jamal
The national referendum determining Britain's exit from the 28-nation body called the European Union (EU) – dubbed "Brexit" by the hip British press – has sent shock waves around the world.
That it has done so is a reflection of how narrow the national – and global – media is and how little they see of the world they purport to cover.
It is also a window into the world of rising right-wing nationalism – and a walk away from the very notion of globalism.
The EU, which began as the EC (European Community) was a centuries-long trend to unify Europe as a singular global force – a kind of United States of Europe.
While that notion still has force, to have one of its biggest members vote to leave means that unifying force is weakening.
That's largely because the EU served its economic elites first – and best – and left working class and poor people to fend for themselves. The Brexit vote demonstrates that older, working-class Brits yearn for British hegemony – the old days of empire – and not to be submerged in a bland European stew.
Other nations now are considering whether the grass really is greener on the other side.
The media used polls and pundits to predict the upcoming vote – and their projections strongly leaned toward British rejection of the Brexit option. Unheard were the voices of the elderly, the rural, the poor, the working classes.
Unheard and unseen, they became the voters for rejection of the globalist project and a return to a more hopeful time.
They provided an immense shock to the system.
The globalist notion, so long seen as the inevitable, has been given a big punch in the nose.
Let's see if other punches are coming!
© Copyright 2016 Mumia Abu-Jamal. Keep updated at www.freemumia.com. His new book is "Writing on the Wall," edited by Joanna Hernandez. For Mumia's commentaries, visit www.prisonradio.org. Encourage the media to publish and broadcast Mumia's commentaries and interviews. Send our brotha some love and light: Mumia Abu-Jamal, AM 8335, SCI-Mahanoy, 301 Morea Road, Frackville, PA 17932.
2 thoughts on "Brexit"
Mumia (and some other progressive journalists in the US) has written a story from which it is hard to see if he understands what is going on in the UK. With all respect, there is more going on than he writes in only these few words. I cannot explain it here either in a few words, but this video and other stories make the situation more clear, hopefully. I know he cannot see it right now, but I would like to share it here, an interview by Owen Jones with Yannis Varoufakis, the former Greek minister of Syriza, talking about Brexit (before the referendum took place):
"Former Greek finance minister Yanis Varoufakis tells me he would love to give Brussels a shock – but a Brexit vote to leave the EU in the UK's refrendum in June would lead to the disintegration of the European Union and a return to the xenophobia, racism and ultra-nationalism of the 1930s. He also argues that it could also lead to Boris Johnson becoming prime minister." (see also this movement of which Varoufakis is a member: Diem25 https://diem25.org/what-is-diem25/)
And here is Paul Mason, a progressive journalist from Britain, who has spent a lot of time in Greece trying to make sense of what was happening there, and who talks about Brexit here:↓
But maybe this is what Mumia meant: https://diem25.org/a-painful-lesson-from-brexit-w… ?↓

subset: commoncrawl


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Carla became known throughout the globe for her real-life portrayal of a psychic crime fighter, starring in the hit TruTV (formally Court TV) series, "Haunting Evidence," now in worldwide syndication. In fact, Ms. Baron actually coined the term "psychic profiler" years before this series was even in development, as numerous articles / feature press stories attest, covering her investigations.
You may also have seen Carla Baron in the pilot for "Psychic Detectives" (Court TV) – the one that kicked off the pioneering genius where 'Psychic meets Crime.'
Ms. Baron appeared on several episodes of Biography's "Dead Famous." Her work as a psychic profiler was highlighted on ABC's "Primetime," and 20/20 for WE.
The breakout phenom – "MTV's FEAR" – was Carla's premiere foray into the paranormal, traveling all over the world on location, filming their documentary segments as official psychic for the haunting reality series.
Ms. Baron was featured on "Psychic Hollywood: The Search For Truth" (E!) and History Channel's "MysteryQuest" series on the ghostly isle of Alcatraz.
This past December, Carla Baron taped an episode with the production team behind Dr. Phil for a development pilot called "Beyond Talk" on the CBS/ Paramount lot. The program is a psychic-themed special showcasing top psychics/ mediums/ intuitives/ other practitioners who use their unique "gifts" to benefit society today.
For more on Carla and her work visit Psychic Carla Baron – official site
Follow on Twitter and Facebook
Other Great Links: psychiccarlabaron | Official Blog carlabaron's posterous
Describe yourself in 3 words: Pioneering, Visionary, Catalyst
What is your life motto? Create a timeless, seamless, limitless universe within, above, & around yourself. In this way, you can truly transcend what you have done before – in this life, and previous incarnations.
It is confounding how many limitations souls place on themselves when completing their quest for answers and true enlightenment here on Earth.
When did you start pursuing your career and how long did it take to become successful? I was told I would become a famous psychic/ medium in my early teens when visiting a psychic reader named Mary in the Poconos. I suppose it was then that I truly knew, even though I fought this idea for a while after. My dream at the time was to become the next American Idol as singing was my life, my passion. In fact, every job I had was a singing job – from laying down tracks in recording studios, to singing piano bar in fine restaurants, to competing in various competitions (one of which was the Miss America pageant.)
But I can tell you – without reservation – that my destiny is what I do now as a psychic, medium, & psychic profiler. I cannot imagine another calling for me… EVER. This is truly what makes me exhilarated to be alive every single day & twilight.
How much time and effort did you dedicate to pursuing your dream? I'm still happily in that process. Your dreams are ever-evolving, manifesting. I cannot remember a time in my life since a young child when I was not voraciously tearing through knowledge about life after death, the existence of ghosts, the paranormal, spirits, history, God, the universe, souls, astrology, seers (Nostradamus, Edgar Cayce, Jeane Dixon), ancient Chaldean-Hebrew numerology, Gong Hee Fot Choy, the Dead Sea Scrolls, religion, beliefs, divination tools (tarot, I Ching, rune stones, crystals, etc.)
So to answer the question ~ ALWAYS.
What are the challenges in your line of work? Knowing which psychic 'battles' to pick, and which to leave behind.
Having a sense of humor and grace when it comes to those who profess to be 'skeptics.'
Allowing oneself time to assimilate each lesson as a famous psychic medium – each has his/ her own time frame in which to develop & master their individual skills. This should not be 'forced' in any way.
Connecting with death, horrific crime scenes, murder MINUS the emotional quotient in the first 'review.' There must be a 'clinical' approach at the onset. Emotional processing can occur later once the critical data is retrieved.
Always remembering you possess a unique gift that should be shared responsibly. (Not everyone is prepared to hear what you have to say.) Appreciating the role you have been given this lifetime, and the global impact you have in disseminating cosmic information.
What is the mistake that taught you an extremely valuable lesson? The mistake I made early on was to invite everyone into all aspects of my life. My innate character is to be open and honest – about everything. (Gemini moon/ Venus in Sag.)
But my Scorpio Sun / Cancer Ascendant has since learned to 'harness' those urges. Having a distinctly separate private life is integral to your survival in the public eye. (Especially when you happen to work on high-profile missing persons & murder investigations.)
What is the best piece of advice you have been given to date? Do not wait for someone – or something – to effect the change in your life. Take the very first step. The rest will miraculously begin to germinate as you have set things in motion within the universe. (It's that simple.)
In your mind, is formal training essential? If you are the type of personality that responds well to training, then YES. In my case, however, it was easier for me to pick up various techniques from observing the best of those around me, and through extensive research. My mind is one to absorb quickly, succinctly. I have a well-developed photographic memory from birth. Something akin to Poppy Montgomery's character in "Unforgettable." (Helps a lot on unsolved mysteries & crime work.)
Do you think having a mentor is important? How would you go about getting one for this industry? Absolutely.A mentor, or 2 – as many that are meant to cross your path of destiny within your chosen lifetime – will provide guidance right when you are ready to accept that guidance. They will challenge you, when necessary, to become the best you can possibly be in that moment, and hopefully help you sustain & progress greatly along the course of the journey ahead. Even if one does not think of having a "mentor"… they can certainly pinpoint times when individuals indeed helped them in their quest. ('Unsung' mentors, if you will.)
What are some steps those starting out can take to start/further their career? Quiet down, and stop "trying so hard" to get it all figured out overnight. Once quieting the extraneous "noise" in their heads, they will be able to hear only one voice – their higher self – guiding them to what it is they should do next.
The problem with most starting out in the paranormal fields is that they don't know in what areas they are proficient, or conversely – they know what they wish to do, but do not still themselves long enough to hear their unique inner voice. Then, and only then, do you seek out those who are creating strides within that particular vein of the industry.
I, myself, am partial to the 'pioneers' – the ones with the proverbial 'machetes' cutting through the archaic brush, carving out fresh pathways to the truth.
What kept you going when you weren't at your best? My need to be thorough, get it done, make it perfect – even when I thought I would drop from sheer exhaustion at times. (This is what true OCD will do to you if you allow it to infiltrate.)
Do you believe that 'making it' is about luck and being in the right place at the right time? Perhaps not 'luck' so much, as Destiny. I do believe in carving out our own destiny, whereas you can change the course of that particular destiny at will, if you so desire. That is what we term "free will." Your guardians, or spirit guides, will get you to the right place at the remarkably right time if this is your agreed-upon path. (Don't worry, they will.)


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Condit Dam Removal Update from Andy Maser on Vimeo.
This fall marked a major step forward in the effort to remove aging dams throughout the Pacific Northwest, with two high profile dam removals on the Elwha and White Salmon River. While both projects remain works in progress, dam removal is already changing each river's landscape in unmistakable ways. The Condit Dam on the White Salmon came out with a targeted blast of dynamite and a flood torrent of backed up water and sediment, while the dam removal on the Elwha has been far more gradual. On the White Salmon chinook salmon were transported above the dam prior to the blast and this spring for the first time in almost a century, juvenile salmon will emerge from the gravels above the dam and follow the spring freshet to sea. Websites for each project are monitoring their progress and giving the public a glimpse of the changes that are underway.
The White Salmon Timelapse project:
The Elwha River Restoration project:


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Obstacles coursesEdit
First Stage obstaclesEdit
- Barrel Climb/ Cataract Climb (Maruta Nobori/ Taki Nobori)
- The competitor must jump over a small pit onto a staircase of logs that each freely rotate on a lateral axis, then climb to the next obstacle.
- Used in SASUKE 1 - 7.
- Quintuple Step (Godantobi)
- The competitor must jump across 5 platforms that are angled 45° degrees toward the center of a water pit, and then jump to the platform at the end. The platforms are positioned alternately, left and right, across the length of the pit. They are each 60 centimeters (1 ft, 11.62 in) wide, and the total length of the obstacle is 6.2 meters. (20 ft 4.09 in).
- Used in SASUKE 8 - 11 & 28 (RISING)
Hill Climb (12th competition) (Yamagoe)
The competitor must cross over two small hills which are at a 60° incline.
- Prism Tilt (Prism See-Saw)
- The competitor must jump over a small pit onto a large triangle which is supported by an axis in the center. The weight on one side of the triangle will tilt it into the water, so it must be crossed quickly.
- Used in SASUKE 13
- Cone Maze (Ensuitobi)
- The competitor must cross two large cones that are spinning and jump to the next platform.
- Used in SASUKE 14
- Hurdle Jump
- The competitor must cross three pits, while also clearing the bungee-rope hurdles located at the end of each intermediate platform (excluding starting and landing platforms). The first platform is shaped like an opening quarter-pipe, the second is flat and inclined to about 30°, and the landing platform is inclined to about 45°.
- Used in SASUKE 15
- Sextuple Step (Rokudantobi)
- Essentially the same as the Quintuple Step, but with 6 intermediate platforms instead of 5. It was the first obstacle in the 16th, 17th, 19th- competitions. (The first obstacle in the 18th competition was the Rope Glider, but this proved to be too dangerous, thus the Sextuple Step was reprieved.)
- Used in SASUKE 16 - 17,and 19 - 22
- Rope Glider
- The competitor must hold onto a rope as it slides down a track, and then let go to land on a mat floating in the water. Due to many injuries in the 18th tournament, the obstacle has since been removed.
- Butterfly Wall
- The competitor must jump and grab onto a vertical wall that spins around a central vertical axis to reach the platform on the other side. Used in SASUKE 14 & 15.
- Spinning Log/ Log Dangle (Burasagari Maruta)
- The competitor must cross a horizontal log that freely rotates around a central axis parallel to the course. The log is about 3 meters long and 20 cm in diameter. Used in SASUKE 1 & 2
- Log Slope (Maruta Zaka)
- A modification of the Spinning Log, the log is now on an incline of about 15°, and the exit ground is placed above the log. It is also positioned like a platform rather than a balance beam and requires an additional climb to a platform leading to the next obstacle. Used in SASUKE 17.
- Rolling Log (Rolling Maruta/ 13th- 17th competitions: Sandan Rolling Maruta)
- The competitor must straddle and cling to a log 40 centimeters (15.75 in) in diameter before kicking the ground to begin its roll down a 15° decline. Starting from the 13th competition, two drops were added to the supporting rails in order to jar the competitor and make it harder to continue straddling the log. The log is also notorious for coming off the tracks or halting its spin midway. Used in SASUKE 3-12, 25, Sandan used in 13-17.
- Log Grip
- The competitor must hold onto a vertical log with their arms and legs while it slides down a track with two large drops to the next platform. The log contains small indentations to provide some grip. The track is similar to the one previously used for the Rolling Log, but the drops are bigger and the track is longer. In addition, the drops are closer together, almost eliminating a chance to recover from the previous drop. Used in SASUKE 18-25, 29
Circle Hammer
Vaguely similar to the second stage's Metal Spin, the competitor must grab onto a rope that's suspended from a circular frame that's angled downward and land on a platform at the end of the track. SASUKE 22
Exactly the Maruta Nobori in reverse, the competitor must jump over a large gap. This is the only obstacle in the 1st competition not to have an original name (except in the actual Japanese version, where it switched names with the Log Drop, originally known in Japanese as Maruta Kudari with the Rapid Descent as the Taki Kudari) and was considered the first "Ninja Killer" by G4. SASUKE 1-4
- Rapid Descent (Taki Kudari/ Maruta Kudari)
- Balance Bridge/ Shaking Bridge (Yureru Hashi/ 11th competition: Balance Bridge)
- The Balance Bridge is a large board that freely rotates along an axis parallel to the course. Along with this, there is an piece along the axis that protrudes perpendicular to the bridge.. When the Balance Bridge was reused in the 11th competition, the axis was further to the left, the protruding piece went along the whole board, and there was a second protruding piece added perpendicular to the first on the right side halfway across the obstacle. Yureru Hashi: SASUKE 1-7 Balance Bridge: SASUKE 11
- Big Boulder (Odama)
- The competitor must jump onto a very large boulder-like sphere floating in water and leap across to the other side. SASUKE 8&9
- Dance Bridge (Daasu Bridge, Daasu = Dozen)
- The competitor must traverse a bridge made of 12 individual boards that each spin individually on three lengthwise axes, and then jump to the next platform. SASUKE 10
- Plank Bridge (Ipponbashi)
- The entrant must jump off a piece of wood similar to a gangplank to the other side. The board is un-anchored, and falls as the contestant runs across it. SASUKE 12
- Bridge of Blades (Cross Bridge)
- Like the other bridges, the Cross Bridge rotates freely around a central lengthwise axis. It has four sections, two on each side, with each section 45° from horizontal. SASUKE 13-17
- Pole Maze
- The competitor must grab a pole leaning against the first platform, and swing to the other side. The pole is anchored in the middle of the water pit, and the top of the pole must be guided through a track above. In the 19th Competition, the maze was lengthened and changed to make the obstacle harder to navigate. SASUKE 18-21
- Circle Slider
- The competitor must jump from a springboard and grab onto a large hoop on a long declining track that they must slide across. At the end, the hoop hits a large object on the top of the track, and the competitor must use the momentum built up on the descent to swing to a platform. SASUKE 17 & 25
Jump Hang → Rope Hang, Jump Hang Kai (Modified Jump Hang)
The competitor must leap forward off a trampoline to grasp the underside of a declining cargo net, then either climb over or underneath it, taking care not to touch the water below the obstacle if they choose the latter. In the 13th Competition, instead of the cargo net, there were many vertically hanging ropes to grab onto (Rope Hang). In SASUKE RISING, the Jump Hang returned again as the Jump Hang Kai. This time the competitor must grab on to the right net of the two parallel nets, then cross in the same format as the Net Bridge. Net: SASUKE 5-12, 14-17, 25 Ropes: SASUKE 13 Kai: RISING & 29
- Jumping Spider
- A combination of the Jump Hang and the Spider Walk from the Second Stage, the competitor must jump from a trampoline into a shaft of parallel walls that they must traverse by wedging themselves in between and crawling through. In the 19th Competition, the platform before the trampoline was shortened, making the competitor jump diagonally forward, instead of simply jumping up to the walls. SASUKE 18-24, 26 & 27
- Bungee Bridge
- The competitor must cross a bridge of 5 pieces with a gap between each. The pieces are made of many thin strips of a stretchy material so they provide little support and very unstable ground. SASUKE 18
- Rope Reverse
- The competitor must take a rope and swing off the side of a high platform. When the rope swings back, the competitor must swing and jump onto another platform below. There is a bungee line that limits the rope's movement. SASUKE 16
- Reverse Fly
- The competitor must jump into a large vertical trampoline, slightly angled, and then land back on a platform adjacent to the one they jumped from. A wall divides the two platforms. SASUKE 16
- Crooked Wall (Neshireta Kabe)
- The competitor must run up a twisted, concave wall and jump off the side to grab a rope that then descends and leaves the competitor onto the path to the next obstacle. The wall is curved more on one side than the other. The rope is called the Seesaw Rope. SASUKE 13-15
- Halfpipe Attack
- In a fashion quite similar to the Crooked Wall, the competitor must run up across a vertical half-pipe. Then, they must make a leap from the half-pipe about halfway through to reach a rope to swing themselves onto a narrow landing pad. A deceptively simple obstacle, many have grasped the rope successfully only to botch the landing. SASUKE 19-24, 26 & 27
- Hill Climb (1st-4th competition)/ Wicked Wall (Sosoritatsu Kabe)
- The competitor must climb a large wall of similar height to the Warped Wall, but flat and at a 60° angle.
- Warped Wall (Soritastu Kabe), Ni Ren Soritatsu Kabe (Double Warped Wall)
- The competitor must scale a concave quarter-pipe by running up and grabbing the top of the wall. From the 5th to the 17th tournaments, the wall was 5 meters (16 ft 4.85 in) high. In the 19th tournament, the height was raised to 5 meters and 20 centimeters (17ft). Starting in the 13th competition, for contestants under the age of 13 and over the age of 50, as well as female contestants, a portion of the wall could be taken off of the top, making the wall about a foot shorter. In SASUKE RISING, the Warped Wall is doubled with the first wall being the original height and the second wall being the equivelent height of the Shin-SASUKE version. Height 1: SASUKE 5-17, Ni Ren: RISING & 29
- Great Wall
- A combination of the Warped Wall and the Crooked Wall, the Great Wall is taller than the Warped Wall, but also adds a rope hanging over the edge for contestants to grab and climb over with. SASUKE 18
- Flying Chute
- The competitor must slide down a giant chute and then grab onto a horizontal rope suspended some distance away from the chute. They must then transfer from that rope to a cargo net directly under the chute, and then to the path behind the net. In the 19th competition the rope was placed higher and further away from the chute, making it much more difficult. However, in the 20th tournament, the rope was lowered and replaced with a thicker one. SASUKE 18-21
- Slider Jump
- Basically a combination of two previous obstacles, the Stick Slider and Jump Hang, the competitor must slide down a track while hanging from a pipe. When at the end of the track, the competitor must jump from the pipe and grab onto a cargo net and either climb over or under the net. SASUKE 22-24
- Tarzan Rope
- The competitor must cross a series of 4 elastic, vertically hanging ropes to the Rope Climb. This was often referred to as the "path to the rope climb". GTV's version cuts the rope climb symbol after this obstacle. SASUKE 10-12
Subduction Zone/ Mountain Climb (Free Climbing into Kabe Nobori)
- The competitor must climb a wall with hand- and footholds to reach the buzzer at the top. The first section of the wall is on a conveyor belt that moves slowly downwards as the contestants climb. Used in SASUKE 1 and 2.
- Tarzan Jump into Rope Climb
- The competitor must take a rope and swing to a wall, then climb up the wall with the rope to press the buzzer before time expires. In the 10th-12th competitions the rope rested against the finish tower, so the contestants were required to traverse the Tarzan Rope to reach the obstacle. SASUKE 3-9, 13-17
- Tarzan Jump → Final Climb (Tarzan Jump into Rope Ladder)
- The competitor must take a rope and swing to a vertical cargo net, then climb up the net and cross a short bridge to press the buzzer before time expires. SASUKE 18- Note: In SASUKE 18, G4 incorrectly listed these two obstacles as the Tarzan Rope.
- Step Slider
- Competitors basically transversed the Quintuple Step then swung on a rope to the platform. Used in SASUKE 26 and 27.
- Twelve Timbers (Jyunidantobi)
- Competitors had to jump across 12 "pieces of wood" all set at different angles. Used as 1st obstacle. SASUKE 23 & 24
- Rolling Escargot
- Most likely a cousin of the Rolling Maruta, the Rolling Escargot requires competitors to step on to a large disk with two handholds and two footholds, find a grip, and roll down a track to the platform. During it's debut in SASUKE 26, it alone took out around half the competitors in Stage 1. To this day, it remains notorious for taking out top competitors. SASUKE 26-
- Giant Swing
- 1st Variation; tournament 26: competitors bounced on a springboard, grabbed a trapeze, and let go on the other side onto a Jump Hang net.
- 2nd Variation; used in tournament 27: same as 26, but used as third obstacle, whereas 26's version was 7th obstacle, and instead of the net, they now have to jump on to a slanted platform and then sideways.
- Hazard Swing
- The competitor jumped onto a swing, built up momentum while standing up, and jumped off. SASUKE 26
- Spinning Bridge (Spin Bridge)
- For this obstacle, competitors run across four spinning balls. This is virtually identical to Viking: The Ultimate Obstacle Course's Cannonball. SASUKE 27 & RISING
- Dome Steps
- Used as the first obstacle of the 25th tournament, this was the same as the Sextuple Step however, the steps were curved.
- Bridge Jump
- Competitors must keep their balance as they run across five swings that shake when stepped on to a rope. SASUKE 25
- Long Jump
Second Stage obstaclesEdit
- Spider Walk (1st-4th competitons: Spider Walk into Ugokukabe into Spider Climb)
- There have been four different versions of this obstacle to date. In the first four competitions, it was the first and longest obstacle, sometimes taking as much as half of the allotted time. The obstacle required the competitor to traverse the space between two parallel walls without touching the ground. A segment in the middle moved up and down, usually requiring a shift in direction. Later, it was shortened to five large sets of panels, each of which moved independently of the others. In the version used from the 7th to the 17th Competition, the competitor had to travel up, across, and down two parallel walls in an upside-down "U" shape. The two versions used in the 1st-6th tournaments ended at a pole referred to as the "Fireman's Pole". A can of adhesive spray is available at the start of the obstacle. Bare hands must be used or the contestant will be disqualified (See SASUKEpedia article, Yamada Katsumi's Glove Disqualification). In SASUKE RISING, the obstacle is just the Spider Walk portion of the Jumping Spider.
Note: In the 1st-3rd competitions, throughout the entire obstacle there were only mats to fall on. In the 4th competition, the first half was water, and the second half was padded with mats. From the 5th-17th competitions, the area under the whole obstacle was filled with water.
Note #2: The Spider Walk used in the first 4 tournaments had an ascending portion that is known as the "Spider Climb", however, this area is not related to the "Spider Climb" that was found in the 5th-17th competitions' Final Stage.
- Tackle Machine
- The competitor must push a 50kg weight down a tunnel to reach the exit to the next obstacle. (110 pounds) SASUKE 5
- Ledge Walk (Narrow)
- The competitor must cross two sections of ledge on a wall, with water below. The second section has two short strips sticking out of the wall at about knee height to increase the difficulty. SASUKE 6
- Chain Reaction
- The competitor must ride two perpendicular zip-lines over a pit of water, switching between them in midair. Each zip-line has a chain hanging from it by a single point. Competitors must grasp the chain on the first zip-line, ride to where the first chain slams into the scaffold, then switch to the next chain in midair, and ride the second zip-line to the end of the obstacle. During the switch, competitors may kick off a nearby solid wall. The first swing is 9.5 meters, and the second is 7.5 meters. Competitors are required to wear gloves (for safety reasons) when holding the chains, which they must discard prior to reaching the Spider Walk. SASUKE 7-17
- Downhill Jump
- The competitor must slide down a track standing on an snowboard-like object, and then jump to a rope on a track, which then swings towards a mat which the competitor must jump onto. Kunoichi's Super Jump is similar to this. In the 19th Competition, G4 incorrectly dubbed this obstacle as the Super Jump. The angle of this track has been variable in each tournament; the slope was gentlest was in the 18th tournament, increased in the 19th and 20th, and reduced in the 21st. SASUKE 18-24
- Brick Climb
- The competitor must climb a wall with bricks protruding from it. The wall is approximately 3.5 meters high. SASUKE 7-17
Note: TBS does not officially consider this to be an obstacle, but rather, part of the path to the Spider Walk.
- Salmon Ladder → Stick Slider
- The competitor must grab a bar which is resting on two parallel walls. The walls have seven sets of notches for the bar to rest on, with the gap between the last two sets larger than the previous ones. The bar is not bound to the wall in any way. Once the competitor's feet leave the mat, the landing mat from the Downhill Jump is taken away. The competitor must use his momentum to climb, raising the bar from notch to notch. After reaching the final notch, he must land the bar onto two declining tracks in a "V" shape. Finally, he must drop from the bar onto a mat below. In the 21st Competition, the bar was longer, and the Stick Slider was angled less steeply. Small weights were also added to both ends of the bar to prevent the bar from falling off the Stick Slider, but this arguably also increased the difficulty of the Salmon Ladder. In the 24th competition, the Unstable Bridge moved from 4th position to 3rd, therefore retiring the Stick Slider. In SASUKE 20, due to a malfunction on the tracks, the right track got stuck for Okuyama Yoshiyuki and Levi Meeuwenberg; Okuyama fell victim to this while Levi managed to push the right side of the bar quickly to keep the bar going. Salmon Ladder: SASUKE 18-24 Stick Slider: SASUKE 18-23
- Hammer Dodge (Goren Hammer)
- The competitor must walk across a thin plank, avoiding the 5 large hammers swinging back and forth. In some competitions, the competitor was disqualified for coming into contact with the hammers in any way, while in others, the competitor just had to complete the obstacle without falling. SASUKE 1-9
- Balance Tank
- The competitor must balance atop a large rolling barrel and ride the barrel to a platform across a distance of 5.4 meters. It was replaced by the Delta Bridge in the 16th tournament, but brought back in the following tournament. In SASUKE 24, the Balance Tank was brought back, but this time the barrel would stop early, forcing the competitors to jump to a rope, then climb up. SASUKE 10-15, 17, 24-27
- Grip Hang (Delta Bridge)
- The competitor must hang onto two outward-facing ledges and cross a small gap. SASUKE 16
- Net Bridge
- The competitor must climb across a cargo net to reach the next platform. SASUKE 18
- Sky Walk (Skywalk)
- Little is known about this obstacle since no competitor has had the chance to attempt it. It appears, from a similar obstacle in the SASUKE 21 trials, known as the "Power Hanger", that the only difference from the Cliff Hanger that is has is that the traveling direction is opposite and that the competitor's feet can touch the wall. SASUKE 19
- Swing Ladder
- A set of monkey bars must be crossed by the competitors. The monkey bars are set on a tilting mount on the scaffolding above, and swing substantially when competitors traverse it. It is most likely recycled from KUNOICHI's "Climbing Bars". SASUKE 20-22
- Reverse Conveyor Belt (Gyakuso Conveyor)
- The competitor must crawl though a small tunnel with a conveyor belt going the opposite direction. It is 90cm wide and 6.3 meters long. SASUKE 1-13
- Metal Spin
- An array of chains dangle from a horizontal wheel that freely spins, resembling a chandelier, over a water hazard. The competitor must jump to grasp one of the chains, spinning the wheel to the other side. Starting in the 16th competition, the chains were replaced with plastic bungee chains, requiring a strong grip to prevent the chains from slipping out of the competitors' hands. SASUKE 14-27
- Wall Lifting
- The competitor must lift three heavy walls and cross under them to advance. this obstacle has been in 26 out of 28 seasons, (all except the 18th, where the Shoulder Walk was used, and RISING, where it was replaced with the Passing Wall). Initially, the walls were 20kg (44 pounds), 30kg (66 pounds), 40kg (88 pounds). Later, they were increased to 30kg, (66 pounds) 40kg (88 pounds), and 50kg (110 pounds). It was replaced by the Shoulder Walk in the 18th competition, but then returned in the next competition, where it was shown that the walls were changed from steel to wood. In the 21st competition, the walls were raised slightly off the ground to prevent injury. SASUKE 1-17, 19-27
- Shoulder Walk
- The competitor must cross two bridges carrying a bar on his shoulders that has two weighted chambers hanging from each end of the bar, weighing 40kg (88 pounds) in total. The bridges have a small gap between them, and the second bridge is offset to the left. SASUKE 18
- Slider Drop
- Competitors jump to a Pipe Slider, which once grabbed onto seems to move forward by itself, then after a short time there is a drop. SASUKE 25-27
- Double Salmon Ladder
- As always, competitors go up a series of notches, but once finished, they must turn themselves around, swing to another set, then move up again. Always followed by the Unstable Bridge. SASUKE 25-27
- Unstable Bridge Version 1
- Two planks that competitors move across using their hands. The first plank is supported by four chains in all corners. After crossing the first plank, competitors jump to the second plank, which is supported by two chains in the middle, so it pivots left and right. SASUKE 23-27
- Cross Slider
- An obstacle where competitiors had to slide down the track using only two planks and their hands. RISING
- Swap Salmon Ladder
- See SASUKEpedia article Salmon Ladder section 5 Swap Salmon Ladder (SASUKE 28- Present)
- Unstable Bridge Version 2
- This is the original version of the obstacle, however the second plank is removed. SASUKE RISING
- Backstream
- SASUKE's only swimming obstacle. competitors swim through a tank of water with jets pushing them to either side to slow them down. SASUKE RISING
- Passing Wall
- In this obstacle, the competitor lifts up a 66 pound wall using two handholds, pushes apart a second wall, and lifts up a third 110 lb. wall to complete SASUKE RISING's Second Stage.
Third Stage obstaclesEdit
- Pillar Path (Pole Bridge)
- The competitor must walk across a path of unstable columns. First obstacle, SASUKE 1 & 2
- Super Vault (Pole Jump)
- The competitor must vault over a body of water with an un-anchored pole. Kunoichi's Super Vault is virtually identical to this obstacle. 1st, SASUKE 1&2
- Propeller Bars (Propeller Untei)
- The competitor must cross a series of 3 horizontal, slowly-spinning bars anchored to the top of the course.
- 2nd, SASUKE 1-4, 1st, SASUKE 5-8- SASUKE 1-8
- Eye of the Needle (Hariyama)
- The competitor must cross a patch of large, thin, flexible poles that protrude up from the ground, by using arms and legs. It was used only in the 1st competition as the last obstacle (3rd obstacle) of the 3rd stage. It was also the only obstacle that never had a symbol on G4 and to never be on Mt. Midoriyama.
- Rumbling Dice
- A box frame made of two steel squares connected by four monkey bars, one at each corner and about 30cm apart from each other, which is placed on two bars that traverse a 5m water pit, this obstacle must be overcome by rolling the box frame across the pit by grabbing the top monkey bar in front and pulling it down repeatedly. 1st, SASUKE 9-15, RISING
- Arm Rings
- The competitor hangs from two rings on different-shaped sliding horizontal poles and must negotiate several separate rises and dips on each track. A longer version of the Arm Rings was used as an immediate successor to the Salmon Ladder in the Northwest and Southwest regional Finals in American Ninja Warrior 4. 1st, SASUKE 16-24, 8th, ANW 4 Northwest & Southwest Regional Finals
- Chain Swing (Hang Move)
- The competitor must cross a series of 6 hanging chains about 2.5m long, each of which has a wooden foothold at the bottom. 3rd, SASUKE 2&3
- Arm Bike
- On this obstacle, the competitor must use his arms to propel himself across the gap, pedaling in a way similar to how feet pedal on a bicycle. This obstacle was used from the 4th Competition until the 8th as the third obstacle, and then returned in the 18th Competition as an immediate successor to the Arm Rings, with no platform to rest on between them. After this, it returned once again as the first obstacle of tournament 27's Stage 3.
- Body Prop
- Much like the Spider Walk, the competitor must traverse an expanse of two walls that are 5 meters long. However, the walls are further apart, so he must position both hands on one side and both feet on the other. Along the way there are gaps in both walls, requiring the competitor to alter his hand and foot positioning as necessary. 2nd, SASUKE 5-17
- Lamp Grasper
- The competitor crosses a pool of water by grabbing onto a series of 14 small glowing blue spheres attached to the scaffolding above.
Kudari Lamp Grasper/ Globe Grasp
- A modification of the "Lamp Grasper" obstacle. In this version of the obstacle, the scaffolding is slightly declined, requiring the competitor to reach downward to each successive sphere.
- Curtain Cling
- The competitor must grapple across a hanging curtain 5.4 meters wide to reach the other side. The curtain is about 3m (9 ft 10.11 in) in height.
- Curtain Swing
- Four small curtains 1 meter (3 ft 3.37 in) long are hung diagonally, and the bottom of each is within arm's reach. The entrant must swing from one to the next to get across.
- Devil Steps
- This obstacle is a set of ascending and descending stairs, but instead of walking across over them, the challenger must climb under the steps to reach the next obstacle.
- Cliffhanger
- The competitor must traverse three narrow ledges only large enough to be supported by the fingertips (1 inch wide). Since its introduction in the 4th tournament, there have been six different variations.
- The original obstacle had the three ledges at the same height, all the same length at 1.2m (3 ft 11.24 in) each, with 15cm (5.91 in) gaps between them. (Cliffhanger Straight Version)
- In the following competition, the third ledge was raised 30cm (11.81 in). (Cliffhanger Drop Out Section)
- For the 9th competition to the 17th, the first ledge was lengthened to about 2.4m (7 ft 10.48 in), the second ledge was raised to the original height of the third, and the third was lowered 45cm. (17.71in) (Altered Cliffhanger)
- For the 18th competition, the second ledge was shortened to about 77cm (30.31 in) and inclined to an angle of about 12°, making the gap between the second and third bars 1m (3 ft 3.37 in) horizontally. As a small compensation for the added difficulty, the first half of the last bar is larger, making it slightly easier to grab onto after the jump. Since the 19th competition, a diagonal sheet of metal has been added to prevent grabbing the top of the third ledge, as Makoto Nagano did in the 18th competition. (Shin-Cliffhanger)
- Starting in the 25th tournament, the Ultimate Cliffhanger was added. This is the most grueling addition to Stage 3 yet. It consists of six bars, two drops, and one of the bars being half an inch long. In tournament 26, the third bar is raised slightly.
- In SASUKE RISING, the Crazy Cliffhanger was revealed. this was seemingly an easier version of the Altered Cliffhanger, except for the fact that after clearing the third bar, the competitor had to flip himself around to get to one final ledge.
- Jumping Bars
- Competitors must jump a series of bars, each one about 5 feet in front of and 1 foot below the previous one. In the 16th tournament, the first bar was positioned further away from the resting platform to allow competitors to have more leg room when gathering up momentum. The number of bars were also reduced from 6 to 4. Since the 18th tournament, the first bar was positioned still further from the platform, necessitating competitors to jump to the first bar.
- Climbing Bars
- Competitors must climb across an inclined set of monkey bars. Since its introduction it has been preceded by the Jumping Bars, and the two drain what little stamina the competitor has left. In the 18th competition the ladder was made shorter to make room for the Spider Flip.
- Ascending Climb (Sending Climber/ Hang Climbing)
- Replacing the Climbing Bars in the 19th competition, it is an acutely angled wall scattered with modern wall climbing artifacts. It is positioned between the Jumping Bars and the Spider Flip with no resting platforms. In the 19-20 Sasuke's this obstacle was called the Sending Climber. In the 21st competition, Ascending Climb was revised to Hang Climbing, with different wall climbing artifacts.
- Devil's Swing (Devil Balanco)
- Competitors must swing from a trapeze bar suspended from the scaffolding and to the Pipe Slider. There is a risk of getting the suspension chains stuck on the green rest bar behind the obstacle, and also a risk of grabbing the Pipe Slider, only to release it and have the pipe roll away on the track.
- Pipe Slider
- Introduced in the 2nd tournament and used until the 17th, this obstacle is historically the last obstacle on the course. The entrant must hang from a pipe and, by undulating his body, move the pipe across a track to the other side. There have been two versions of this obstacle. In the earlier version, there would be two sections, the first continuing in the same direction as rest of stage three, and the second perpendicular to the rest of the stage, with a resting bar in between. From the 4th competition on, competitors were required to swing off the pipe to the finish mat, due to the addition of a gap between the end of the track to the finishing mat. In the 14th competition, the first track was eliminated and replaced with the Jumping Bars and Climbing Bars. Once the competitor reached the green bar, he was required to use the Devil's Swing to reach the Pipe Slider track, and slide down to the end. The gap between the Pipe Slider and the finishing mat was also increased by another 2 ft. To date, 13 competitors have failed at this final gap.
- Spider Flip
- This obstacle replaces the Devil's Swing in the 18th competition. It was taken from the "Heartbreaker" on Viking: The Ultimate Obstacle Course. A ledge, much like an I-beam girder where there is a lip to hold onto on either side, must be climbed from underneath. At the end of the first ledge, there is another ledge, aligned perpendicular to the first, that must also be scaled. Once the competitor has done this successfully, he may rest on a small foothold before jumping backwards 2 meters to land onto another setup symmetrical to the first. He then must climb back down and across to the resting bar before the Gliding Ring. The Competitor must not hit a metal beam or he will be disqualified.
- Gliding Ring/Final Ring
- This obstacle replaced the Pipe Slider in the 18th competition. Its appearance is similar to the Circle Slider, a first stage obstacle from Sasuke 17. However, the track is shorter and the ring is smaller. Its function is similar to the Pipe Slider, where the competitor needs to push the ring to the end position and swing off the ring over a fairly large gap onto the finishing platform to reach the final stage. There is only one track holding the ring, and the ring's final position also seems to be at the same height as the gap, making the jump needed for success quite difficult. In the 21st Competition, this obstacle was more similar to the Pipe Slider, requiring competitors to force the ring down the track. This was changed in the 22nd Competition to make it more similar to the Circle Slider, where the ring moves down the track by itself.
Note: In the 21st competition, the gap between the ring and the finish pad was announced as being 1 meter in length. However, it is very likely that the gap is in fact larger than this, and it has been suggested that 1 meter was an estimate by the announcer in lieu of the precise measurements.
Roulette Wheel (Roulette Cylinder)
Comprised of a cylinder with eight pegs sticking out out. Competitors grab the peg in front of them to move the wheel forward, like the Rumbling Dice.
Doorknob Grasper
Competitors grab onto four doorknobs, which could swing in either direction.
Floating Boards
Five boards that seem to "float," competitors pull themselves onto the side of each board, much like tournament 1's "Eye of the Needle," and tournament 18's "Curtain Swing." The fifth board was lowered slightly from the others.
Cycle Road (Cycling Road)
This obstacle replaced the Floating Boards in tournament 26.
Flying Bar
Competitors leap a bar across a series of hanging platforms. Used as final obstacle in tournaments 25 and 26 and second obstacle in tournament 27.
Jumping Ring
Competitors hang from a series of 2 rings that swing as they attempt to move across them.
Chain Saw (Chain See-Saw)
Consisting of two hanging rope ladders and two sets of two hanging chains, competitors would transition from the second (and last) Jumping Ring over to the first rope ladder, then would proceed to grab the first set of chains on the other side of the rope ladder, begin swinging by only their hands, time when to let go to jump to the next set, and move into the second rope ladder.
Bungee Rope Climb
In a fashion similar to the Rope Junction, this obstacle is comprised of three ropes suspended by bungee cords.
- Each rope was shorter than the last.
- This always followed either the Swing Circle or Chain See-Saw.
- It appears in tournament 25-27.
Bar Glider
So far only appearing as the last obstacle in tournament 27, it's basically one set of the Pipe Slider, however, there is a rise halfway through.
Swing Circle
Pretty much the same as the Jumping Ring, except with 4 rings.
Iron Paddler
Final Stage Obstacle Edit
Final Rope
A rope that is 50 ft in tournaments 1-4 ,in the 5th(up until SASUKE 17) Competition the rope was shortened to make room for the Spider Climb.
Spider Climb
Competitors must climb a 40 ft Spider Climb to reach the next part. If a competitor does not complete it in under 15 seconds the walls will slide apart making it harder to traverse ,and finally impossible if not cleared sooner.
Heavenly Ladder
Replacing the Spider Climb in the 18th Competition it consists of 40 ft of steel. It was changed to rope starting in the 21st Competition.
Replacing the Final Rope in the 18th competition it consists of a stretching rope making the Bungee Theory Logical. The rope is no longer cut if a competitor fails due to the Heavenly Ladder being put into place.


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Manila, April 21 : A top Philippine official on Friday made a one-day trip to the disputed Spratly Islands in the South China Sea.
Defence Secretary Delfin Lorenzana travelled to the island Filipinos call Pag-asa, part of the Spratly Islands, emphasising the country's military commitment over the contested waters.
Armed Forces spokesperson Brig. Gen. Restituto Padilla told Efe news that the visit was "to conduct a routine inspection and support the approximately 200 Filipino civilians living on the island".
China, which claims the entire Spratly chain, issued several radio alerts to the C-130, warning it was "flying over their supposed air control area", Padilla said.
"We did not answer because we were flying over our own territory," he remarked, referring to the nine islands currently controlled by Manila.
The trip was aimed at strengthening the Philippines' claim to Pag-asa, as Padilla mentioned the possibility of developing and extending the concrete airstrip on the islet.
Friday's trip was made following President Rodrigo Duterte's order to deploy the Armed Forces of the Philippines (AFP) to occupy all islands of the Philippines in the South China Sea to bolster the country's claims.
On April 6, Duterte vowed he would personally travel to the Spratly and raise the Philippine flag there -- but less than a week later, he retracted his statement.
Other countries, including the Philippines, Malaysia, Brunei and Taiwan also claim total or partial sovereignty over the Spratly Islands.


text:
Isekai KenkokukiSun,Aug 19,2018
Isekai Kenkokuki chapter 5
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Isekai Kenkokuki manga summary: A protagonist reborn in another world.Apparently he had been reincarnated as an abandoned child.Before his eyes were abandoned children like him.In order to survive, he led them into farming.Little by little, orphans gathered, and upon hearing rumors of a village, others began to migrate.The group that had been nothing but children had become a village before anyone realized.And then various countries in the surroundings started to have an eye on it…This is the epic tale of the man who would later be known as the Divine Emperor.


text:
Here's one thing every leader must know. People want to know that their contributions matter.
But recognition efforts often fail when the following happens:
When a team member is either overwhelmed with their work or underwhelmed, it can lead to a low level of engagement. In other words, responsibility level has to be in line with competency and potential.
Here are a few other thoughts to "gauge" the level of engagement with your team members.


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the chicago soul cd was a collection of tracks from chess records.
After hearing some marlena shaw, etta james, little milton etc i want to hear more :)
Any recommendations for starting my soul collection then?Thanks
― Mr Monket (apn99), Monday, 22 November 2004 11:21 (thirteen years ago) Permalink
good single-artist albums: Aretha, I Never Loved a Man the Way I Love YouOtis, Otis Blue and Dictionary of Soulnearly anything by Al Green on Hi; hits comps and boxes are nice too but the albums are extremely good; start w/Call Me and The Belle Album and I'm Still in Love with YouSam Cooke, Portrait of a Legend 1951-1964The Very Best of Sam & Dave (Rhino)--Rhino's single-disc "very best of" comps are stellar ways in; I also like the Joe Tex and Rufus Thomas discsthe Gamble & Huff Philly International box is a bit much but still a major sentimental favorite of mineThe Spinners, A One of a Kind Love Affair: Anthology, two discs, all good-to-great; first disc is PRIMO, the first half of it is one of my favorite sequences of music ever, hearing them evolve from doo-wop chancers to Motown second-stringers to aborted stylists to the Philly soul machine is utterly thrilling, and Philippe Wynne is one of the great eccentric soul singers, awesome somewhat pinched voice and unbelievable ad libber (this comp has some cutting-room-floor stuff that's fantastic), tragic end. Wynne was one of the inspirations for Mingus's dad in J. Lethem's Fortress of Solitude, incidentally.The Birth of Soul Vol. 1-3 (Ace)
― Matos W.K. (M Matos), Monday, 22 November 2004 12:02 (thirteen years ago) Permalink
if yr digging the psych-soul on the Soul Jazz comp, go for some early Funkadelic. Maggot Brain and the Music for Your Mother comp are excellent places to start.
― Matos W.K. (M Matos), Monday, 22 November 2004 12:05 (thirteen years ago) Permalink
― briania (briania), Monday, 22 November 2004 12:10 (thirteen years ago) Permalink
in the late '90s a good 2cd aladdin records comp came out, which is worth searching out, and around the same time i remember a great little milton collection (also 2cds, iirc) being released.
― lauren (laurenp), Monday, 22 November 2004 12:12 (thirteen years ago) Permalink
If you are interested in (mainly) later Stax stuff, HMV have got a lot of it on special offer at the moment.
Kent do some nice Chess Soul compilations catering to the Northern Soul market.
― PJ Miller (PJ Miller), Monday, 22 November 2004 12:30 (thirteen years ago) Permalink
― laticsmon (laticsmon), Tuesday, 23 November 2004 17:36 (thirteen years ago) Permalink
RIP Andrew Love, saxophonist with the Memphis Horns.
― Dancing with Mr. T (Tarfumes The Escape Goat), Saturday, 14 April 2012 12:35 (six years ago) Permalink
Oh no, RIP.
― i just believe in memes (James Redd and the Blecchs), Saturday, 14 April 2012 12:43 (six years ago) Permalink
RIP. An unbelievable body of work (Memphis Horns' credits at Allmusic run four pages).
― Brad C., Saturday, 14 April 2012 13:08 (six years ago) Permalink
Quite a career. Here's his hometown obit:
― curmudgeon, Saturday, 14 April 2012 13:24 (six years ago) Permalink
Mr. Pitts' use of the wah-wah effect pedal on "Shaft" resonated for several generations. His work would be sampled by numerous hip-hop and rap acts over the years including Dr. Dre and the Beastie Boys, among others.
Around 2007 Pitts played at some Ponderosa Stomp gigs in New Orleans and in NYC
― curmudgeon, Thursday, 3 May 2012 15:54 (six years ago) Permalink
someone posted this on a Yahoo soul group email:
will be doing our annual "Soulsville" radio feature – six hours of nothing but Stax artists, this Saturday, April 27, noon-6 p.m. EDT from the Stax Museum of American Soul Music. Can listen online at www.wrtcfm.com. Lots of interviews and CD giveaways.
― curmudgeon, Thursday, 25 April 2013 13:17 (five years ago) Permalink
Phil Chess 1921-2016http://www.nytimes.com/2016/10/20/arts/music/phil-chess-dead.html
― o. nate, Friday, 21 October 2016 00:13 (one year ago) Permalink
― Sketches by T-Boz (James Redd and the Blecchs), Friday, 21 October 2016 00:15 (one year ago) Permalink
So the Chess brothers were good guys for putting out records and getting them widely distributed (of artists who otherwise might not have that access); but bad guys because they didn't always pay the artists enough....
― curmudgeon, Friday, 21 October 2016 16:57 (one year ago) Permalink
Over the years, the Chess brothers were accused more than once of taking financial advantage of their artists, and there were lawsuits, usually settled confidentially. Some Chess artists said their compensation was more often like an allowance than like a salary.
But there were many instances of apparently genuine friendship: Chuck Berry sometimes stayed overnight at Phil's house, sharing a room with his son, Terry, and musicians attended the Chess sons' bar mitzvahs.
The Chess brothers may have been motivated more by financial considerations than by artistic ones. But virtually no one disputes that they helped document some of America's most important vernacular music.
― curmudgeon, Friday, 21 October 2016 17:00 (one year ago) Permalink


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Date published: 2017-02-03


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My Daily Readings 3.95 includes all of the features and improvements of version 3.90 plus improved weight entry making the program more suitable for international use. A delete database utility has also been added making it easier to delete unused or unneeded databases from your system.
Major features include: Supports multiple users. Unlimited readings per day, every 15 minutes if you like. Tracks both systolic and diastolic blood pressure. Tracks blood sugar in mg/dl or mmol/l formats. Tracks weight in pounds or kilograms. 32 bar and line graphs to help you and your doctor track your progress. Aromatically sorts readings by date and time no matter how they are entered. Print by date range feature for both the standard report and insulin injection log. Print summary pages only for the standard report. Includes a comments area. Large easy-to-read windows. A fully integrated help system. A PDF version of the help file included. Backup and restore utilities to protect your data. File conversion utilities for previous users. A database repair utility. Database compaction utilities. Database deletion utility. User configurable insulin injection sites and names databases to aid in data entry. Fully formatted reports.
Anyone using My Daily Readings V3.00 or higher or any version of My Daily Metric Readings can transfer their existing databases to My Daily Readings 3.95 by using the database conversion utilities included. Databases created in any version of My Daily Readings that has spo2 and temperature readings do not require any conversion.
See the readme1st.txt file for specific loading instructions.


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At the end of a grueling day of catacomb searching our Adventurers make camp in the aforementioned druidic nest. As they search the well-made, though spartan, furniture in the home they discover a number of puzzling artifacts. They find a simply bound book written in a script that Jaquil expertly reveals to be code. They also find an alchemist's table. There is no experiment on the table, nor any other clue as to what this anonymous druid would seek to do. [Omzal finds a bright blue potion and takes a swig. Side effects as yet unknown.]
Further investigation of the druid's home leads to the discovery of a narrow antechamber. The chamber is narrow, short, and featureless except for its unfathomably high ceiling.
As the night draws on the lady Adventurers take watch. Roscoe busies himself deciphering the coded book half through the night, but only manages to crack a few words of no import. Omzal falls into a near instant sleep complete with ground-shaking snoring. On the final watch Jaquil hears a rumbling high-pitched screech from above. She wakes the party and they trace the noise to the antechamber.
From behind the antechamber door appears an angry Rothilium (see character page). He is channeling magic and threatening to smite our Adventurers where they stand for their audacity in trespassing into his home and into the catacombs. Our Adventurers somehow manage to convince him to spare their lives—but not without first perplexing him with their ability to speak Ancient Elvish (Druid!Hermione) and revealing their relationships Nicosenye and Ironside.
These relationships, our Adventurers find later, are dangerous subjects in Rothilium's company.
Rothilium takes our Adventurers up the magic elevator (the source of the rumbling and noise) where he claims they will meet with his siblings. He does nothing to assuage their feelings of discomfort or peril, rather continuously threatens easy violence against them. Long moments into the elevator ride, when it is clear that Omzal will not be getting the desired chuckle out of Rothilium and Druid!Hermoine will not be allowed to make deeper study of the runes below their feet, everything becomes suddenly still. Silent. Gray.
A sweating Nicosenye appears, arms outstretched with great effort as though he is a struggling to pull a ship from the vast maw of the sea. He speaks with our Adventurers between the planes. He warns them not to trust their ears and not to hasten their deaths at the hands of the "siblings". He vanishes and reality continues as though it has not been interrupted.
At the top of the elevator our Adventurers find themselves in a glen. The sounds of nature replace the mechanic echoes of the elevator. The surrounding wood is verdant, though unfamiliar. Rothilium blindfolds the party and leads them for an hour until they come to the edge of Calrunia, into the druidic wood. His siblings-two elven women and an elven man- stand before them. The siblings explain the severity of the Adventurer's transgression in entering the catacombs and the absurdity of their quest to find the sword.
The siblings vow to spare our Adventurers' lives if, and only if, they report back the whereabouts of Nicosenye. The saffron monk apparently acts as quite a thorn in their collective sides, and accordingly must be dealt with. The siblings reveal their anti-human sentiments as well as their plan to restore balance to nature.
Ever in a hurry to incur self-inflicted misfortune, Omzal steps forward to the siblings and pledges to "do whatever they want" if he may be dismissed from their presence. Internally smirking, one of the siblings takes his hand and marks it with an elven tree—a sign that Omzal is sworn carry out his words to them. Havoc accomplished, the party is allowed to leave.
Jaquil, Sezim, and Omzal head to a bar to pursue drink, games, and gold. Meanwhile Roscoe and Druid!Hermione head to the library to further investigate the charter between the siblings and Calrunia, the codes, and the sword.


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The exhibition opened at the Adamson-Eric Museum is born in collaboration with the Art Museum of Estonia and the Art Society Pallas.
It focuses on the formation of the Art Society Pallas hundred years ago and their activities until Konrad Mägi's death, including the restoration of the society thirty years ago.
The name of Pallas sounds very familiar in the Estonian cultural history, but there is a shortage of deeper knowledge about it. Yet, in the development of our spiritual and emotional culture, this society that was born with the Republic of Estonia, has played a primary role. In addition to artists, Pallas also brought together people from other areas: writers, architects, art historians and supporters. In 1919 the society established an art school, which became our first institution of higher education in the field of fine arts, which raised the art education to the same level as it was in Europe. The society organized a large number of exhibitions and initiated the foundation of Tartu Art Museum before the forced liquidation in 1940.
The exhibition pays special attention to the ten people who signed the first statute of the Art Society Pallas in Tartu on January 21, 1918: Aleksander Tassa, Konrad Mägi, Auguste Pärn, Alma Johanson (Koskel), Johannes Einsild, Voldemar Kangro-Pool, Klara (Claire) Holst , Marie Reisik, Mart Pukits and Ado Vabbe. Some of them were already known and are known to date, others were unknown or were active in another field. The eleventh one in focus is Friedebert Tuglas, whose signature for unknown reasons is not in the statute, but who was still actively participating in the establishing of the society.
From the times of restoration of Pallas, the exhibition focuses on six artists and personalities: Ann Audova, Linda Kits-Mägi, Karin Luts, Alfred Kongo, Eduard Rüga and Voldemar Vaga. The birth and rebirth of Pallas and people who participated in it are presented mainly through works of art, in conjunction with lights and shades and color solutions, in order to make visible the strength and the time-tested character of the Pallas school.
Curators: Ülle Kruus, Enn Lillemets
Designer: Inga Heamägi
Educational programmes: Liisi Selg
Opening of the exhibition: 25.01.2018 at 5 p.m.


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Enjoy some sunshine
You can cut your risk of heart disease by a massive 40% just by getting your RDA of vitamin D, found Danish researchers. If the British weather's not obliging, eat a portion of oily fish daily.
Put meat on the menu
Flesh is not the arterial enemy we once thought. Carnosine, a nutrient in meat, protects your ticker by lengthening your telomeres (parts of your DNA that shorten with age). Just make sure your recommended 300g a day is lean.
Swap cocaine for veg
You dont have to be a hardened addict for coke to impact your heart: snorting once a month is enough to do damage. New research from the University of Sydney found that even 'casual' users had significant hardening of the arteries a precursor of heart attacks and stroke. The good news is that if you quit now, and eat more nitrate-rich veg (such as beetroot), you can reverse the ill effects.


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Yesterday, a video sneak peek of Nicki Minaj and Meek Mill's GQ photoshoot surfaced, which showed the couple in a steamy backseat scene, that led to them arriving at an event.
The magazine is unveiling more pics from the shoot, as well as their interview. In the rappers' first spread together, they pose in pieces from Balmain, Dior, Louis Vuitton, Saint Laurent, Ami, and Givenchy.
During their sit-down, they open up about their relationship – whether they consider it normal, and misconceptions surrounding it. Nicki reveals that she loves kissing Meek, and adds: "I love the way his lips feel." The "Monster" rapper shares what he likes about his girlfriend, and Nicki talks her VMA tweet.
Read highlights below..
On how normal is their relationship:
Meek Mill: Very un-normal. It still ain't normal. You think so?
Nicki: I definitely think we have a normal relationship off-camera. We're like any other couple in the hood. We're growing as a couple and as people and as human beings, but we still have our careers. And I think probably the only thing that makes it un-normal is that we're both successful artists, and that's probably not normal. But other than that, our feelings are very normal. Like, if I were to speak to a hundred girls right now about what they go through with their boyfriend, we'd probably have stuff in common.
Nicki on kissing Meek:
Actually I love kissing him. My favorite thing about Meek is kissing him, which is weird. Just now I was like 'damn, you've been asking can I kiss you a lot now,' and it's contagious because I used to be always asking him to kiss him when we first started talking. I love kissing him. I love the way his lips feel.
Meek, when Nicki asks what he likes about her:
That you was a hustler. That you were doing your thing. A lot of people coming up. People don't really have a girlfriend that's doing more than them or the same thing. I like girls that hustle. She a boss. She's pretty as fuck. Bad as shit. Ambitious. What else do you want?
On misconceptions about their relationship:
Nicki: Together, I think one of the biggest misconceptions at the beginning was that people thought that me and him just popped up out of the blue and were just in a relationship. We were friends for a very long time and he was someone that I was able to really confide in. Nothing that we do is for TV. My decision to be public about my relationship came before I even met Meek. I was in another relationship and I said after I drop my third album that I don't care anymore what people think. I'm going to be vocal about who I'm with. It just so happens that I'm with a new guy. When I came in the business, you couldn't tell people you were in a relationship, because record company and management said that doesn't make you appealing to men. So don't tell people you're in a relationship. So after you do that for ten years it becomes something you feel like you have to do. It's difficult to break out of that box. So I just vowed to myself, 'look, I'm about to put out a new album, I don't care anymore.' It just so happens I'm in a new relationship but I was planning on doing that before I was with Meek, because now it's to the point where it's different. The music industry is so different. People don't care if you're in a relationship, but in the beginning it wasn't like that. Take Janet Jackson. People didn't know she was married for nine years or something like that. It was a taboo thing in the beginning. I didn't want to hide that side of my life anymore.
Meek: That we were faking. That was crazy to me. I've never been known for stunts in public that make me look better, you know what I'm saying?
Nicki on tweeting after her VMA snub:
I'm very happy I tweeted about the VMAs, because 'Anaconda' had too much of a cultural impact to not be up. When these pop girls have a moment like that, they get nominated for every award, and they win it. And I was happy that people spoke out for me. People used their voices in the media to say this is true. Taylor Swift called and we're good now. She didn't see the bigger picture. We talked. We got over it. She called me and spoke about it, and I told her, I would never come at you. We're doing so well now collectively. And I want to thank God and my fans. And his fans. We don't have to do anything to anyone for any bogus reasons.
Read more from the couple at GQ.


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Want more from Genius Kitchen?
Watch on your Apple TV, Roku, or Fire TV and your iOS, Fire, or Android device.Learn More
America's Test Kitchen Slow Cooker Weeknight Beef Chili
Chef's Note
"This comes from the America's Test Kitchen book called Slow Cooker Revolution.I made a few changes because of what I had on hand and it tasted amazing!So flavorful without a lot of heat,not much heat actually,which is how I like it.So this is my version of their recipe,made to suit what I had on hand and the tastes I like."
READY IN:6hrs
Ingredients Nutrition
- 2 slices white bread, torn into quarters
- 1⁄4 cup whole milk
- 2 lbs ground beef
- 1⁄2 teaspoon salt
- 1⁄2 teaspoon pepper
- 3 tablespoons vegetable oil
- 3 onions, minced
- 1⁄2 tablespoon chili powder
- 1 (8 ounce) can tomato paste
- 6 garlic cloves, minced
- 2 teaspoons taco seasoning
- 1 teaspoon dried oregano
- 1 (28 ounce) can diced tomatoes
- 2 (15 ounce) cans red kidney beans, drained and rinsed
- 1 (15 ounce) can mushrooms
- 1 cup green pepper, chopped
- 3 tablespoons soy sauce
- 1 tablespoon brown sugar
- Mash bread and milk into paste in large bowl using fork.Mix in ground beef,1/2 tsp salt and 1/2 tsp pepper.
- Heat oil in 12 inch skillet over medium high heat until shimmering.Add onions,chili powder,tomato paste,garlic,taco seasoning,oregano,green peppers,mushrooms and cook until onions are softened and lightly browned 8-10 minutes.
- Stir in beef mixture,1 pound at a time and cook,breaking up any large pieces with wooden spoon until no longer pink about 3 minutes per pound.Stir in remaining tomato paste,scraping any browned bits;transfer to slow cooker.
- Stir in diced tomatoes,with its juice,beans,soy sauce and brown sugar into slow cooker.Cover and cook until beef is tender,6-8 hours on low or 5 hours on high.
- This can also be made in a dutch oven or large pot and kept at a low simmer for 4-5 hours.
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Dolphins are still being held captive in traveling circuses, forced to perform and treated inhumanely despite Forestry Minister Zulkifli Hasan vowing last year to close down the popular sideshows.
The dolphins are captured illegally, with traders and circus owners continuing to defy the law, and little is being done to stop them, activists say.
Femke den Haas, founding director of the Jakarta Animal Aid Network (JAAN), says that after years of fighting for the end of the travelling dolphin shows, she does not have much hope for Indonesia's protected species, with the country "heading in the wrong direction" in terms of wildlife protection and those in charge failing to carry out their duties.
"I feel very frustrated and angry because this shows clearly that Indonesian wildlife is doomed to survive under this management," she said.
The intelligent sea creatures are forced to perform in front of crowds multiple times a day, doing tricks like jumping through rings of fire. They are often under-fed and treated without necessary care and kept in unsuitable chlorinated pools, which can leave them blind.
The wild mammals are dragged around the country in inappropriate transport, with some perishing due to insufficient care and neglect.
Wild dolphins are protected from capture under Indonesian law, but loopholes have been exploited, with circuses claiming the dolphins have been taken from the wild because of injuries after becoming entangled in nets and needing medical attention, which leaves them unable to be released back into the wild.
Fishermen who capture and sell the dolphins to the circuses can make good money, but JAAN has found they can also be reluctant sellers.
"Their coordinator clearly stated on film that he feels horrible about doing this, as the dolphins 'cry like babies' and are just like humans," JAAN staff said in a report.
"But the circus pays big money for the dolphins, and that is why he captured dolphins for them."
Den Haas said local forestry officials were violating the ministry's own laws, which state that dolphins cannot be captured in the first place. But once they are caught, officials give approval for them to be moved, despite the legalities. Without a permit to move the dolphins, the circuses would not be able to travel.
"The only reason they do it is because there is big money involved with the dolphin circus," den Haas said.
In August last year, Forestry Minister Zulkifli declared an end to the circuses through an official letter, and circus owners agreed to stop the shows.
Despite the rhetoric, little has changed. The circuses continue. Den Haas said the ministry never followed up and the shows moved to different locations with approved permits. She said the minister had told her it was now out of his hands and that he had done his part by ordering their closure.
"The circus is still happening and the capture of dolphins is also still happening, and when we reported back to the minister saying, look the circus is still happening, and we also proved about the capture of dolphins from the wild, the minister stated he already prohibited the circus and it was no longer his duty to follow up," she said.
Despite once being called a hero by renowned dolphin campaigner Richard O'Barry, the minister has washed his hands of the issue and deferred it to the police.
Den Haas said going to the police "was ridiculous" because JAAN representatives would have to travel to wherever a circus was performing on a given day and report it there, then follow it to wherever it moved next; while the ministry had the power to stop the shows and free the dolphins.
She said she was frustrated by the lack of action, but could not see a change in the near future as long as those benefiting commercially from the captured dolphins were also involved in monitoring the protection of the species.
She said she believed the ministry had lost credibility by not enforcing its policy and because local officials continued to issue travel permits for the dolphins even though the minister ordered a halt to the permits.
Den Haas added that the ministry was "relying on the wrong people."
She strongly criticized the Indonesian Zoo Association, or PKBSI, which is responsible for ensuring animal welfare in Indonesian animal parks, saying that some of its members had potential conflicts of interest with commercial interests in trading and exploiting the wildlife in their care for financial gain.
"They have no interest fixing the problems," she said.
Until a completely independent group with knowledge about wildlife, but with no commercial interest, is established to oversee and enforce regulations and laws, den Haas said, the ministry will continue to damage its reputation and fail to protect the country's wildlife.
A rehabilitation center was set up under a 2010 memorandum of understanding, which declared JAAN and the Forest Ministry would protect, save and rehabilitate captured dolphins.
Yet the center still sits eerily empty, waiting for the dolphins that have never been rescued from the circuses to reclaim their place in the sea.


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KUALA LUMPUR: Deputy Home Minister Datuk Nur Jazlan Mohamed said the establishment of a special court to deal with human trafficking issues is the result of prior negotiations with former Chief Justice Tun Arifin Zakaria.
"We recognised their (the courts') limitations and now we have come up with the commitment to specifically hear and decide on human trafficking cases.
"This will help us clear many cases of human trafficking and those arrested under the Immigration Act," he said here today.
It was reported that a special court to deal with human trafficking issues would be established this year, with the first one being set up in Klang.
The pilot project would begin in May or June and similar courts would be set up in phases this year in Ipoh, Melaka, Muar , Kota Kinabalu and Balik Pulau.
The special court is aimed at disposing off human trafficking cases quickly.


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published in Volume 7, Issue 1 on April 24th, 2000
Things were going
she was a pretty girl
and we had much
in common,
we liked the same
artsy movies and the same
pretentious books.
We both were wearing
black and what's more,
she really liked my
and seemed truly impressed
when I happened to mention
I was to be published
alongside Lawrence
We talked through the night
and at about 3 a.m.
I went to the kitchen for one more
beer (my 8th
or 9th
of the evening),
and as I sat back down I looked
into her eyes and she looked
into my eyes
and said,
you don't drink this much
every night, do
I got nominated
for a Pushcart,
I replied, but it was too
The jig was up,
the ship was sunk
and everything
was done.
She said goodnight and to
close the door on the way


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Hi, everyone!
I was on a radio talk show tosay, it was sooo much fun! Odd hearing your voice on the radio though. Go to http://www.blogtalkradio.com/shabby-lane-shops and listen if you like.
I will be adding several DIY artical to my BLOG this weekend so please check back on Sunday night.
I will be linking them to my website www.sassybeachjewelrydesigns.com as well.
Thanks for your support and I hope you will go and listen to the radio talk show.
Thursday, June 28, 2012
DIY projects coming soon
Posted by Amore Artisan Boutique at 6:14 PM
2 comments:
Congrats on being in the show! :) That must have been an experience!ReplyDelete
It was a blast I had so much fun doing it!!Delete
And it is open to anyone that wants to be on the air. All you need to do is contact Catherine at http://www.shabbylaneshops.com/contact.htm you do not even need a store front or have anything to sell. Just a helpful Topic or a idea you want to share. The best part is you just call in from you home phone (or cell phone) and Catherine edits it so you sound even better on air. If you or anyone you know would like a chance to share a topic or a great tip please spread the word
sassy gail
Subscribe to: Post Comments (Atom)


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Arena looks rocky for CCRA rodeo
By Judith Pannebaker BCC Editor
Archive photo
According to CCRA's Liz Lawlis, Bandera's Memorial Weekend rodeo is getting increasingly difficult to mount due to rising costs and decreasing revenue. During a previous parade, Jesse Cardenas, 7, and Kutter Riggle, 8, rode on the Ridin' the River Cowboy Fellowship entry in the parade - one of more than 90 entries. It's hard to believe that Bandera's signature celebration, commemorating kids, patriotism, God and cowboys, might be on the ropes.
Volunteers with the Cowboy Capital Rodeo Association are having a hard time keeping the chutes opening - especially after being hit with a $3,000 rental fee for the use of Mansfield Park during Memorial Day weekend.
During the Thursday, Feb. 27, meeting of Bandera County Commissioners Court, Liz Lawlis of the CCRA came to negotiate rising park fees associated with the three-day Professional Rodeo Cowboys Association-sanctioned event. "We're not trying to circumvent Andy, but financially it's impossible to pay the fee he's requiring," she told the court. "It's never been $3,000. One year the rental fee was $300."
Mansfield Park, located just off Highway 16 North, comes under the purview of Precinct 3 Commissioner Andy Wilkerson.
Lawlis supplied commissioners with data indicating the financial impact the rodeo has had on the county for the last five years, saying, "We were the number one sales tax earner for 10 years." She said the rodeo was the only tourist-centric event that occurs in May. Weekend activities include a sanctioned cook-off, parade, a kids' rodeo, mutton bustin' and three rounds of arena action, among other activities.
However, due to de-creased sponsorships and less-than stellar weather, revenues have gone down. "It has become a struggle just to put the rodeo on," Lawlis said. "We feel we're batting our heads against the wall." When making their final decision, she asked the court to look at "the merits of what we've done and what we continue to do."
Since 2001, the CCRA Board of Directors had spent $46,000 on in-kind park renovations, which did not include contributed volunteers hours. With the addition of work hours, the tally would be closer to $200,000, Lawlis indicated. Renovations have included replacement of rough stock and timed event chutes and construction of bleachers and box seats.
"I know you'd like us to waive the (rental) fee, but I see a lot of people are making a profit on this rodeo," said Precinct 2 Commissioner Bobby Harris. "You're paying $32,000 to the rodeo contractor. If the county doesn't furnish the facility, the contractor won't make a profit."
Lawlis explained that the rodeo contractor - Stace Smith Pro Rodeos - has kept his price around $30,000 for 10 to 15 years. "This is because Bandera was one of his first rodeos," she said. "He also provides everything. Another contractor was less expensive, but we had to furnish manpower and I, for one, don't want to be cracking open a chute gate."
She continued, "This is a PRCA rodeo and we've set very high standards and I want to keep them." Lawlis noted that the Bandera rodeo had been selected as the PRCA Small Rodeo of the Year seven times and attracts visitors from Europe and the Far East annually. "We present what Bandera is all about - the Cowboy Capital of the World."
Other mandatory expenses that nibble away at profits include PRCA judges and a required on-site ambulance and veterinarian.
Precinct 1 Commissioner Bob Grimes noted that the rodeo has had a negative net income for the last five years.
Agreeing with his assessment, Lawlis said, "The last five years have not been profitable. In 2007, we had $47,000 in sponsorships and last year it was just $33,000." Additionally the rodeo has cutback on added money from $21,000 to just $10,500. "You have to offer more money to get the good cowboys here," Lawlis said. "Who wants to come to a rodeo and see every cowboy fall off a bull?"
That being said, she also noted that the CCRA offered $4,000 in scholarships last year.
"What in-kind services are you offering this year?" Harris asked.
"Just supplies not volunteer hours," Lawlis replied. "We feel it's not fair just to consider the $46,000."
"The county's only got so much money and the park budget is tough," Wilkerson said. "We have to answer to the whole county. If we give you a discount, we're obligated to give a discount to every other nonprofit."
"No other organization has put in the amount of time and sweat as we have to this park," Lawlis replied.
"Give me something, materials," Wilkerson suggested. "If you're losing money you've got to find a way to make money. Where does the cash go?"
"We don't have $3,000 or any supplies. Our contention is that we've already supplied $3,000," Lawlis rejoined.
Interjecting, Judge Richard Evans clarified that the CCRA is a nonprofit and that the $46,000 in total repairs - without factoring in volunteer time - was for 2000-2013, which amounts to $3,214 in-kind services per year. "We're not supposed to give away taxpayers' money," he added.
"We're not here to make trouble. We're just trying to continue a tradition," Lawlis said. "Just because the fee is waived, it doesn't mean improvements will stop."
Wilkerson suggested adding 50 cents to each $12 adult ticket and $6 child ticket to make up the $3,000. As an alternate plan, Lawlis suggested, "We'll just put a jar out for 'Donations to Mansfield Park.' If we get $3,000 we'll give it to you."
Coming up with a better plan, Precinct 4 Commissioner Doug King recommended CCRA be responsible for paying electric bills to the tune of $1,200 for the weekend rodeo. His motion seemed amenable to commissioners who approved it unanimously.
Apparently park improvements will continue with one project uppermost on everyone's mind. "The arena needs to be covered," Harris said. "If CCRA does it, it would be a huge value to this county."
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