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Description & Rating
Dinner Lady | Mango Tart Liquid | Liquid 50 ml | 0mg
Ingredients, safety instructions & FAQ
Dinner Lady | Mango Tart Liquid | Liquid 50 ml | 0mg
Description & Rating Dinner Lady | Mango Tart Liquid | Liquid 50 ml | 0mg
Country of originEngland (GB)
TasteMango, cake, sweet
Reifezeit2-3 Tage
Best before24 Monate
Bottle60 ml Glas Pipettenflasche
Contents1 x 50 ml Mango Tart Liquid 10 ml Shot nicht im Lieferumfang enthalten - bitte separat bestellen
One you don't have to resist anymore! Get the Mango Tart from Dinner Lady before it's too late!
<with the 3mg variant is Mango Tart by Dinner Lady as DIY Liquid supplied! included in delivery bottle with 50ml nicotine-free concentrate and a 10ml shot with 18mg. The Shot is simply tipped into the bottle with the concentrate . This variant is called Shake and Vape. The bottle must be well protected after the addition of the shot so that the Liquid and Shot mix.You only need to choose between nicotine free or a nicotine level of 3 mg.
Ingredients, safety instructions & FAQ Dinner Lady | Mango Tart Liquid | Liquid 50 ml | 0mg
Safety instructions – e-liquids
Risks of nicotine
Please be aware that nicotine is an addictive neurotoxin. Due to vascular changes, it can lead to severe cardiovascular diseases and even premature death. Nicotine has also a negative effect on potency. During pregnancy, nicotine must be avoided. It can cause severe damages to the unborn or even kill it. Please notice that taking the pill increases the risk of thrombosis and pulmonary embolism caused by nicotine.
Age over 18
E-Liquids may only be used by persons over 18 years of age. Keep liquids out of reach of children and animals. If accidental contact or ingestions should occur, consult a doctor immediately and present the product.
Not for consumption
The use of this product is at your own risk. Liquids are not intended for eating and drinking and should not have contact with food. In case of accidental contact, food is no longer edible. In case of eye or skin contact, rinse immediately with clear water and seek medical advice if symptoms persist.
The liquids contain the potential allergen propylene glycol. If you are allergic to propylene glycol (PG), the PG containing products should not be used. If you suffer from allergic symptoms like breathing difficulties, cough, rash etc., during vaping, discontinue use immediately. A medical examination is advisable.
Store your liquids in their original packaging in a cool, dry and dark place. Do not use the product after the expiration date or if visible physical changes, such as turbidity, deposition or layer decay, occur.
Ingredients - eLiquidsDepending on the product, our eLiquids may contain the following substances.
[E422] (VG) Glycerin (vegetable glycerin).
glycerin also occurs in: Cosmetics and animal feed.
[E1518] Glycerol triacetate is also called triacetin.
triacetin also occurs in: Chewing gum
[E1519] - Benzyl alcohol
Benzyl alcohol also occurs in: Jasmine flower oil, clove oil and other cosmetics.
[E1520] (PG) propylene glycol is also called 1,2-propanediol.
Propylene glycol also occurs in: Hygienic products and cosmetics
Ethanol is produced in fruits and juices as a natural product of alcoholic fermentation.
FAQ - eLiquids
Which e-liquid is the right one for me?
We offer a great variety of different liquids. The choice of an e-liquid depends on personal preferences and situations in which one would like to vape. Whether you prefer sweet or fruit liquids or love menthol or tobacco tastes, we have the right one for every taste.
What do the e-liquids consist of?
Basically, the e-liquids consist of propylene glycol, glycerin, food flavors and optionally nicotine. The flavoring is the ingredient responsible for the individual taste of each liquid.
How can I tell the liquid tank is going to be empty?
If the tank is at the end, less vapor is produced is produced and the taste fades. A burnt taste as well as a dry hit may occur. You should then fill the tank again. Make sure you never vape an empty e-cigarette!
Which nicotine strength is right for me?
This question can only be answered individually. Depending on your (former) smoking habits, you can adjust the nicotine level of your e-cig to match that of your tobacco cigarettes. The nicotine content is indicated in mg/ ml. Strong smokers often use 18 mg/ ml, whereas occasional smokers use 6mg/ ml.
How do I store the e-liquids?
Keep the e-liquids out of the reach of children and animals. Store the e-liquid in a cool, dry and dark place. Sun exposure can lead to changes such as flavor fading.
Are e-liquids healthier than smoking?
It's healthiest to neither smoke nor vape. But, unlike conventional tobacco cigarettes, vaping does not produce any harmful substances, as various studies have shown. Pregnant or breastfeeding women and people with cardiovascular diseases should not smoke or vape.


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Template:Cub Scout Monthly Themes/2009/April
From MeritBadgeDotOrg
April 2009 BSA Theme - Jurassic Pack
"Explore the land before time! Imagine living in a time when dinosaurs roamed the Earth. What have paleontologists learned about the great beasts that roamed the Earth millions of years ago? Did any dinosaurs live where you do now? Find out what they ate, where they lived, and how they moved. What could we learn of these creatures that lived so long ago? Make a model of a dinosaur or visit a museum where dinosaur fossils can be seen. Make your own "dinosaur footprints" or "fossils" in plaster. Take a "dinosaur" scavenger hike by going on a hike and looking for things that might have been found during the Jurassic era. This would be a great time to work on the Geology belt loop and pin." - Program Helps
Character Connection:
Monthly Program Resources:
Belt Loops and Pins:
Webelos Activity Badges:
Theme-related activities:

subset: commoncrawl


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Model: pro185
Brand: Keihin
- Status: In stock 21
Technical parameters
Amount cc
Delivery time
Suitable for models
Country of production
The price is for
Delivery on Moscow fixed - 20 dollar
Shipping to MO and Russia:
Up to 30 kg - EMS Russia - 5 dollar for 1 kg
After 30 kg - Business line - 7 dollar for 1 kg
* The price is not a public offer and is indicative only. The final cost you will see in your account after order processing by Manager.
The weight of the goods is specified in the packaging and according to the requirements of the carrier.
Dear customers, the delivery time on the website is approximate. We try to speed up the process of delivery of the goods you bought as much as possible.


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Transform your photos into one-of-a-kind, hand painted masterpieces!
Image Size
The image is near the edges of the product but doesn't cover the entire product. Some of the background color may appear around the outside edges of the image.
Background Color
Decorate your bathroom and dry yourself off with our luxuriously soft bath towels and hand towels. Our towels are made from brushed microfiber with a 100% cotton back for extra absorption. The top of the towel has the image printed on it, and the back is white cotton. Available in three different sizes: hand towel, bath towel, and bath sheet.
Care Instructions
Machine wash cold and tumble dry with low heat.
Ships Within
1 - 2 business days
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Average Rating (4.26 Stars):
Jane Benton
April 18th, 2019
Interesting cloud formation that resembles Falkor, the Luckdragon in the Neverending Story, over the Kamnik Alps at sunset, Slovenia.
I am a travel writer and photographer from the UK. My photography was born from my desire to travel to exotic countries. A four-month journey around Mexico then filled me with the desire to capture the wonderful life and scenery that had filled my eyes and fuelled my imagination. So I decided to invest in my first SLR and start to learn how to take better photos. The rest, as they say, is history.
Our return policy is very simple:
If you're not happy with a purchase that you made on FineArtAmerica.com, for any reason, you can return it to us within 30 days of the order date. As soon as it arrives, we'll issue a full refund for the entire purchase price. Please note - Fine Art America does not reimburse the outgoing or return shipping charges unless the return is due to a defect in quality.
Fine Art America sells thousands of pieces of artwork each month - all with a 100% money-back guarantee. We take great pride in the fact that hundreds of thousands of artists have chosen Fine Art America to fulfill their orders, and we look forward to helping you select your next piece!
All bath sheets ship from our production facility within 1 - 2 business days of your order.


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Decorating Pies with Pastry Cutouts
Pastry cutouts are a fast, festive way to dress up plain single-crust pies. To make cutouts, roll out dough to 1/8-inch thickness. Cut out with 1/2- or 1-inch cookie cutters of desired shape. If desired, score designs on cutouts with sharp knife. Bake cutouts on an ungreased baking sheet at 400° for 6-8 minutes or until golden brown. Remove to a wire rack to cool. Arrange cutouts over the cooled filling on the baked pie. Cutouts can also be used on double-crust pies. Brush the bottom of each unbaked cutout with water and place on top of an unbaked pie. Press lightly to secure. Bake pie according to the recipe.
© 2019 RDA Enthusiast Brands, LLC


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This web site is optimized for the latest Firefox, Chrome, Internet Explorer, Safari, Opera and operating systems MAC OS X and Windows. If you wish to enjoy full site features, we suggest to upgrade your browser:
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This web site is optimized for the latest Firefox, Chrome, Internet Explorer, Safari, Opera and operating systems MAC OS X and Windows.
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GO-Gulf is a premium quality web design company based in Dubai. Established in 2005. GO-Gulf holds a firm reputation as one of the top 5 web agencies in the region specializes in Corporate Web Application Development, Web Design, Corporate Identity and SEO. The company prides itself on providing clear, unique and fair engagement policies, and the promise that you will see results with its swift approach.
Dubai web design & web development – custom web design and development based on a user oriented strategy that is geared to generate more profit for you. 24 hours support to ensure maximum returns on your investment.VIEW SERVICES
Dubai e-commerce: give your business an edge with customized and scalable e-solution. We also specialize in corporate Intranet and extranet software development. International development standards with lifetime technical support.VIEW SERVICES
Dubai SEO, online marketing and logo designing- A-Z service solutions to boost your brand reputation- clean and effective Dubai corporate identity, advisory services for startups, creative writing and search engine optimization.VIEW SERVICES
GO-Gulf – Web Design Dubai creates specifically tailored projects, primarily for corporations, to showcase your business and preserve your professional image while efficiently marketing your expertise and services. Improving your online presence is what we do in order to bring you profit.
Under the European Management of Karel Zeman, GO-Gulf is operating from its offices in Dubai, Shanghai, Qatar, Singapore and Saudi Arabia. Our international team of Competent Web Experts have transformed over 500 projects of clients from over 25 countries.
GO-Gulf has highly intelligent clients who understand the value of money as a best investment and realize the full potential of having business open 24/7 across the globe.
Are you looking for an International Web designing and Development company that will build unique and engaging profit making tools for your business? If so, GO-Gulf is the company for you.
Local or Global Corporations, Governments or Top Brands, we can energize every type of business.
Packages that fit any investment plan, transparent, unique and fair pricing policy for you.
24/7 assistance for you; enquire and receive a detailed proposal outlining time and cost estimates within 24 hours.
Direct contact with a developer throughout your project development plus 1 year free technical support!


text: hi ya odd... i didnt see/find any e1000 driver in my rh-7.3 installs its not on becker's site ( sycld ) either due to license issue i did download the e1000 driver from intel and it does recognize my pwla8390MT pro1000 card but it doesnt ping the outside ip#... ( *pout* ) ... ( put it aside for a week or two since than ... ) have fun alvin google search: "intel e1000" ( e1000-4.3.2.tar.gz ) http://downloadfinder.intel.com/scripts-df/Detail_Desc.asp?ProductID=415&DwnldID=2897 On 23 Aug 2002, Dean Johnson wrote: > On Thu, 2002-08-22 at 12:36, Mark Hahn wrote: > > > and TFTP ), but the machine I am trying to install has a very new Intel > > > motherboard, w/ dual onboard Gigabit NICs. This adapter requires the > > > latest Intel e1000 driver, so I have to build it into the initrd ( the > > > modules are contained w/in a gzipped cpio archive w/in the initrd image > > > > I'm running 2.4.20-pre2 or 5 on my dual/xeon/gigabit machine; > > the driver that's in those kernels is a cleaned up version of Intel's, > > I think. it certainly seems to work well, and seems to be recommended. > > > > The stock Redhat 7.3 versions of e1000 seem to work just fine and we > have been beating on them alot as of late. >


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Health & Fitness
Anderson Athletic and Recreation Complex »
The complex houses an aquatic center, arena, field house, fitness facilities, aerobics rooms, locker rooms, Athletic Department offices and the Health and Human Performance Department.
Counseling and Psychological Services »
Contributing to a healthy campus learning environment by providing psychological services to all who work, train, and study at the university.
Disability Resources »
Enabling students with disabilities to develop their independence and self-advocacy skills to the fullest extent.
Health Services »
Your first stop when you are feeling ill or in need of a routine appointment. Our staff is committed to partnering with you in making informed health care decisions.
McCarthy Gym »
Learn more about the McCarthy Gym and the variety of services it has to offer.
Wellness Center »
The Wellness Center is dedicated to assisting students, staff, and faculty in developing healthy lifestyle choices and promoting behaviors that result in enhanced wellbeing.


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paulDAt brauchte ein neues Website Design und hat einen Wettbewerb auf 99designs gestartet.
Aus 16 Designs von 6 Designern wurde eine Gewinner gewählt.
Convert visitors to upload an image and buy a canvas transfer or plak mount in 3 steps.
Okay, what is this site all about? Let me quickly tell you.
Not unlike others you may have seen already on the net.
Step one, upload a photo you like.
Step 2, choose the final output size.
Step 3, choose the output medium you want (canvas or plak).
We offer 2 medium; canvas and plak mounts (hard board). We want a home page that is able to get people to see examples of what we do, and to upload a photo.
Design should take advantage of whitespace, be left anchored versus centered. Need the following navigation:
Home, How it Works, Prices, Faq, Contact Us.
Some of our competitors are:
canvasondemand dot com, canvaspress dot com, personalcanvasart dot com (we also do large murals like these guys).
To see an explanation of each of the styles see below. Also see http://www.artgalore.ca/giclee-photo-canvas.php
Canvas Transfers:
canvasgallery wrap (1.75" deep)
wrap edge (3/4" deep)
gallery wrap (1.75" deep)
Plak Mounts:
includes:plak mounts
flush mounts
float mounts
matted mounts
We don't want the same look as artgalore.ca. It has to be unique to pixtoart.com. Different pictures on samples would be great. The customer base will be a USA audience, priced in USA dollars.
We will use google checkout and Paypal as payment options on the site. Require .psd only. However, if you will convert to html let us know, and if there is a fee.
A separate logo contest will also be posted.
- Item 1...
- Item 1...


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Shame: Girl Gets Dragged & Abused For Celebrating Valentines Day In India!
IBN reports "New Delhi: The nation saw shocking pictures of moral policing from the same cops who were expected to check such incidents on Valentines Day. This sub-inspector publicly beat up a couple in Haryana's Jind and even dragged the girl to the police station by her hair. Later, on reaching the police station he could not figure out what charges to press, so he meted out more punishment. The cop has now been suspended. "
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.


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Annemarie Segaric needed a new logo design and created a contest on 99designs.
A winner was selected from 125 designs submitted by 33 freelance designers.
Annemarie Segaric, "Be the Real You" http://www.thecareerchanger.com, http://www.segaric.com
I show women who are on a path of self-growth who are empowered to leave their corporate jobs how to live their life's passion. I'm also the author of Step into the Right Career, 107 Tips to Change Your Life While Still Paying the Bills. You can check it out on Amazon at http://www.amazon.com/Step-Right-Ca…91071X/ref. I would like the logo to have a fun, funky yet polished feel. I am my brand so it needs to reflect me. You can check out my personality on youtube: http://www.youtube.com/watch?v=krith0T3wn4
My target audience:
-spiritual but not religious
-high achievers
-loves Oprah
-doesn't feel like she belongs, something is "off" in her job, relationships, life
-self-growth is very important to her
-thinks in her heart she should be an entreprenuer
-household income is 6 figures
-is fun, a little goofy maybe
-very creative
-a leader, not a follower!
I am creating a training program helping women break free of Corporate America so they can live their life's purpose. The title of the program is "Leave Your Job and Live Your Life" This is actually a part of a complete rebranding I am doing where I used to go by The Career Changer but now I want to brand myself by my name, Annemarie Segaric, with the tag line "Be the Real You". Then "Leave Your Job and Live Your Life" is the first program I am creating under Annemarie Segaric, "Be the Real You". I actually need a logo for Annemarie Segaric, "Be the Real You" AND "Leave Your Job and Live Your Life" with the latter being the higher priority. The "Leave Your Job and Live Your Life" program is going to be a powerpoint tutorial using camtasia to turn into a video with my voice over it. I plan on packaging it in a DVD case. What I need is a logo to go with "Leave Your Job and Live Your Life" that I can use on all the slides.
Find out how a design contest works or learn more about our logo design services.


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Science Friday® is produced by the Science Friday Initiative, a 501(c)(3) nonprofit organization.
Science Friday® and SciFri® are registered service marks of Science Friday, Inc. Site design by Pentagram; engineering by Mediapolis.
|Sure, the math teacher said this stuff was important -- but why? We'll talk with Jennifer Ouellette, author of "The Calculus Diaries: How Math Can Help You Lose Weight, Win in Vegas, and Survive a Zombie Apocalypse," about using math in everyday life.


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Meet Irina, a singer and musician from Honolulu, Hawaii and winner of American Eagle Outfitters Project Live Your Life. Follow her on Instagram and Pinterest to learn more about what inspires her to be unique.
You're from Ecuador and Hawaii. Tell us about both!
Ecuador And hawaii are so different but so amazing in their own ways. In both places I grew up on the beach because my dad is a surfer!
What are your favorite things about each place?
Almost all of my family lives in Ecuador. When I get to go home I love just being with my family , I love all the food the music and family parties! In Hawaii I love the ocean and all the hidden places on the island I get explore with my best friends.
You like to sing and play guitar. When did you start?
I started back in 7th grade. My dad has always played and then he started teaching me how to play.
Who inspires you to sing/write?
All the people who support me and believe in me, all my YouTube subscribers and all the comments I get when I perform.
If you could perform with any musician, who would it be and why?
SOJA, just because they are one of my favorite bands and are so amazing live. I will forever remember going to their concert.
What was the hardest part about leaning the guitar?
Picking and bar chords! Your hand get so sore and you get so frustrated, but once you get it down it's worth it!


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mustheartdogs needed a new logo design and created a contest on 99designs.
A winner was selected from 99 designs submitted by 29 freelance designers.
We need something simple, clean looking with either a heart, a dog, just the head, or paw print or both on the logo.
Use your imagination.
The winner of this job will also have the chance to help us in the future on other design jobs.... We always have design work that needs to be done! :)
We want a logo designed for our website, that will catch the attention of singles or those with an interest in meeting other dog lovers.
- simple colours, that contrast and stand out.
- tag line: sit, stay and date
- style: clean, clear, simple, professional
- design: use one or a combination of any of the following: dog silhouette, paw print, heart, dog dish, bone, leash...we are open to ideas :)
- generic image
- websites we DO NOT like the logos of:
- http://www.mustlovepets.com/
- http://www.fitnesscouples.com/
- http://www.datemypet.com/
Find out how a design contest works or learn more about our logo design services.


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Follow RFF News on your cell phone. Text follow rff to 40404 you will receive txt messages with RFF News
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CBS Consumer Products announced that six TV shows will get video game treatment within the next year: "Survivor," "The Amazing Race," "Criminal Minds," "Diagnosis Murder," "Ghost Whisperer" and "Hollywood Squares.""Diagnosis Murder" ... really? It's been off the air since 2001. Is this for retirement-home-based PC gamers, perhaps? Why not "Murder She Wrote" on Wii? Or an edition of "Rock Band" with "Dr. Quinn Medicine Woman"?There's been plenty of fine videogames based on movies ("Star Wars," "GoldenEye," "LOTR"...). But has their ever been a great one based off a TV show? I'm not saying their has not been. I just can't think of one and I'm honestly curious. Because it seems to me that since TV shows are less male-teen targeted and have less costly action than their more expensive Hollywood counterparts that the finances and creative would combine to inherently make it a low-end product. So why ever buy one?Details from the release:The Amazing Race (Ludia Inc.)Get ready for around-the-world competition with the video game based on the eight-time Emmy® award-winning television series The Amazing Race where team players split up in pairs for a remarkable journey across exotic locations in a race against time. Players will face frantic challenges and tasks as they navigate through detours, roadblocks and other unpredictable game elements from the show. Working together strategically throughout the game is essential as each team tries to discover hidden clues that are crucial to getting them to the Pit Stop first -- and one step closer to ultimate victory at the check-in mat. This video game will be launched throughout North America across multiple platforms in tandem with the show's 16th season.source: http://www.thrfeed.com/2009/11/survivor-race-criminal-minds-becoming-video-games.html
YAY! Please let them return to Africa... <3Though I think they'll revisit Costa Rica for the infamous coffee bean Roadblock
I agree with The Schnauzers. It would be foolish for CBS to go against the 2010 Winter Olympics. This is the first time in decades that the Olympics are going to be mostly live in U.S. time zones. The biggest ratings for Olympics are in the early evening through about 11pm. So CBS is going to try to compete against that. I don't think so. I think the start date for telecasts of AR16 will be March 7.On a related note. NBC is televising these Olympics so I expect Zach Behr, AR3 winner, will be there working for NBC.
I'm not sure one can assume that editing goes on right up to the premiere date or beyond it for every season. And the amount of time needed varies with the number of episodes, the number of filming days and the number of legs. The more there is of any of these factors, the more editing time is required. I'm not sure that the amount of time needed to edit an 11- or 12-episode season is the same as a 13- or 14-episode season.I for one think the premiere date will be later than February 14th, if for no other reason than it won't get the season finale into the May sweeps period. I think a 13-plus episode isn't going to happen.In addition, I still think CBS will avoid placing TAR during the Winter Olympics. Many fall series are taking breaks from airing new episodes from before Christmas until March for that reason.
The Oscars are on March 7 - so that date is probably out too - which takes us to March 14 which probably fits better with the final finale being at the end of May - assuming a 12 week season.
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California Department of Transportation
November 10, 2010
District 5 - Santa Barbara, San Luis Obispo, Monterey, San Benito and Santa Cruz Counties
Jim Shivers or Colin Jones
(805) 549-3237 or (805) 549-3189
Caltrans awards contract for second phase of Highway46 East widening
PASO ROBLES – Caltrans today announced that Papich Construction of Pismo Beach has been awarded a $54.1 million contract to widen a five-mile section of Highway 46 East from Geneseo Road to Almond Drive. The project, which will improve safety on the busy route, is funded primarily ($49.7 million) by Proposition 1B, a $19.9 billion transportation bond championed by Governor Arnold Schwarzenegger and approved by voters in 2006.
"Proposition 1B is paying for vital transportation projects all over California," said Governor Schwarzenegger. "Investing in our infrastructure is strengthening our economy and creating jobs when we need them most."
The new contract is for the second phase of a project that is widening Highway 46 East from two to four lanes. Papich Construction is also the contractor for the first phase, which is widening five miles of the highway between Airport Road and Geneseo Road. Construction on the second phase will begin early next year, after the first phase is completed.
"Highway 46 is an important transportation route, linking the Central Valley and the Central Coast. Widening it will improve safety for thousands of commuters and tourists,
and California's agricultural industry who rely on this highway," said Caltrans Director Cindy McKim.
"I am very pleased that our company has been awarded this very important project which will stimulate the local economy and create jobs in San Luis Obispo County," said Papich Construction Company President Jason Papich.
Since its passage, Caltrans and the California Transportation Commission have allocated nearly $6 billion in Proposition 1B funds to improve California's transportation system.
Caltrans reminds motorists that 'we're here to get you there.'
For traffic updates on other state highways in San Luis Obispo County, motorists can call Caltrans District 5 Public Affairs at 805-549-3318 or can visit the District 5 website at: http://www.dot.ca.gov/dist05/maint/road/upslo.htm
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So this is a catch-up post, updating and extending some previous stories here, and with a few new short items worthy of note.
When I wrote my Commentary magazine cover story in October on how liberals were abusing the legacy of Ronald Reagan (especially the gross distortion that "Reagan raised taxes" as a predicate for Obama's design to raise income taxes today), a friend remarked to me that I'd be correcting the Reagan record until I was in the 80s. Alas, this appears to be the case. The latest offender is the WaPo's Ezra Klein, who on MSNBC piled on Rep. Eric Cantor, who, to be sure, didn't respond very well to Lesley Stahl on 60 Minutes when she presented the usual canard that "Reagan compromised and raised taxes. So let's go to the tape again, from my Commentary article:
Reagan never budged an inch [on income taxes], then or in the rest of his presidency. And his stubbornness was the cause of outrage so universal among liberals that they deafened themselves to the populist appeal of Reagan's supply-side policies—so much so that Walter Mondale came to believe it was a sensible strategy to tell the American people in his 1984 acceptance speech at the Democratic National Convention that he was going to raise their taxes.
Reagan's adamancy extended into his second term, when even Republicans like Sen. Robert Dole said publicly that Mondale had been correct and that Reagan would be forced to agree to higher tax rates. Instead, early in 1985, Reagan invoked Clint Eastwood's brand-new sound bite when he declared that members of Congress "seem to be in full-scale retreat from spending cuts and are talking about raising people's taxes again. Well, let them be forewarned: I have my veto pen drawn and ready for any tax increase that Congress might even think of sending up. And I have only one thing to say to the tax increasers: 'Go ahead, make my day.'"
His determination was surely strengthened by the fact that the "balanced approach" he had advocated in the 1982 budget deal had never come to pass. TEFRA was designed to bring about $3 in spending cuts for every $1 in new revenue, which meant that, on paper, it advanced Reagan's goal of shrinking the federal government. In practice, the results of TEFRA were almost exactly the opposite. While the tax increases were real, Congress never delivered on the spending cuts. By one calculation, the 1982 budget deal actually resulted in $1.14 of new spending for each extra tax dollar. Obama and today's liberals have responded with incredulity to the Republicans' refusal to take a 3-for-1 cuts-to-taxes deal (or a 10-to-1 deal, as was posed hypothetically to the GOP presidential field in an Iowa debate). Some of us have seen this movie before, and we know how it ends.
All of these details, especially the crucial distinction between kinds of taxes, are airbrushed out of the liberal account today.
Second, regarding my post yesterday criticizing Romney's stubbornness about the individual mandate in his Massachusetts health care plan, commenter John Burke wrote in to object:
Obviously, Obamacare's individual mandate precipitates a Constitutional question about the limits of governmental power (which is why the issue in now pending before the Supreme Court) — but it is an issue about the limits of FEDERAL governmental power. There is not a shadow of doubt that the 50 sovereign states can do whatever they wish, provided their state constitutions permit it and the federal constitution does not bar it. This is the essence of the 10th Amendment.
There is a lot of baloney being pushed under the guise of "Constitutional conservatism."
The distinction between federal and state police powers is a reasonable point to make, and one which I discussed with the Romney confidante but left out of yesterday's post. And while I agree that there is more constitutional latitude for the states to impose a mandate, I am not sure that is necessarily the end of the argument, and certainly doesn't justify calling the argument "baloney."
Let's do a simple thought experiment. If the 50 states individually imposed something that we agree the federal government could not impose, does that mean it would be without any problems whatsoever? Beyond the merely formal restrictions of the Commerce Clause on the reach of government power, is there no principled objection beyond the black-and-white text of state constitutions to this kind of reach by the government? Mr. Burke says there is "not a shadow of doubt that the 50 sovereign states can do whatever they wish," but I doubt that if the 13th Amendment had been written more narrowly to apply only to the federal government he would think that any of the 50 states could re-impose slavery. Surely the police power of state governments is not unlimited.
The broader argument over the individual mandate is less about the jurisprudence of the Commerce Clause than it is about the fundamental question of the limits of government power at any level. Put more directly, is an individual mandate at any level compatible with a free society? It was once thought so by some conservatives (e.g. Newt and the Heritage Foundation in the 1990s, and Romney in 2003). And it is worth keeping in mind that the practical alternative to the individual mandate is higher taxes to pay for free riders. So it's not an open-and-shut question. It is unfortunate in some ways (and perhaps a mistake in the long run) that this issue is being rendered as a Supreme Court case, rather than seeing the objection to the mandate as an objection to the reach of government itself. Paul Rahe's extended reflections on this point are a good place to start.
Finally, who knew that the rescue for Arizona's terrible housing market would come from . . . North Dakota oil workers! Fossil fuels: is there anything they can't do?


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Following introductory remarks by Foundation board president John Krueger, citing the library trustees, Friends of the Library, and the Foundation board, and a wonderful dinner, library director Claudine Perrault thanked the Foundation and Friends for all the support they provide to the library, and thus the community. Perrault observed, "The library succeeds because of the work of people who want to make a difference. So while it is true that libraries serve communities, it is also true that it takes a community to create a great library." Then it was my turn.
As the library's volunteer coordinator, it was my pleasure, and honor, to introduce Mac Smith as Volunteer of the Year. Mac and his trusty sidekick, Frank Thompson, a previous Volunteer of the Year himself, are the library's handymen. Mac and Frank have built countertops, installed cabinets, fixed broken chairs and put up shelving.
After some appreciative -and humorous - remarks by Mac, it was time for featured speaker, author Nancy Atherton. Atherton is the best-selling author of the Aunt Dimity series of "cozy" mysteries, a latter day recreation of nineteenth century mystery novels, featuring Lori Shepherd, solver of mysteries, assisted by her deceased "aunt" Dimity.
Let me tell you, with Nancy Atherton, what you see is what you get.
Atherton said she never dreamed of being a writer. She came from a literary, story-telling family, so story-telling was quite natural for her. Besides, as a child, while already writing stories, she didn't think of herself as an author because she thought that all authors were dead. ("Louisa May Alcott was dead; Charles Dickens was dead....") Then, in her mid-thirties, in the middle of the night she sat up with the first line of what became her first book, "Aunt Dimity's Death," running through her head. From there she became obsessed with writing. It took getting her first three books published before she could get her obsession with writing under control. But she loves to write. Getting published is secondary. The public's craving of the Aunt Dimity novels shows that her publisher, Penguin, understands her talent, and her salability. Atherton says she loves working with her editor and her agent. Revising her writing is all part of the joy of writing.
And it was a joy hearing her speak with such enthusiasm of her writing -and of libraries. Thank you Library Foundation, for treating us to such an entertaining speaker. And thank you to our other local partner Macdonald Bookshop, for bringing copies of the Aunt Dimity series to the dinner for library (and literature) lovers to enjoy.


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The Rev. Dr. Prentice Kinser III, B.A., M.B.A., M.Div., D.Min., CPC, NBCCH, is Executive Director and Pastoral Counselor for the Blue Ridge Pastoral Counseling Centers, Inc. (BRPCC), is an ordained minister (Episcopal priest), has received a Doctor of Ministry degree in pastoral counseling and psychotherapy, is certified as a Pastoral Counselor and Fellow of the American Association of Pastoral Counselors, is an Adjunct Faculty member at J. Sargeant Reynolds Community College, and is a National Board Certified Clinical Hypnotherapist, a Certified Trainer of Clinical Hypnotherapy, a husband, a father of three children, and a grandfather of three grandchildren.
Dr. Kinser leads Vestry retreats, spiritual growth classes, stop smoking, weight loss, and performance enhancement programs.
All of these positive benefits can be used to greatly enhance spiritual practices, deepen meditation and prayer, control stress, assist in physical, spiritual and emotional healing, and, in general, assist individuals to find greater wholeness and happiness in life.
"Hypnosis and Pastoral Hypnotherapy" is a portion of Dr. Prentice Kinser, III's doctoral thesis presented in June, 1997 at Garrett-Evangelical Theological Seminary. Many psychological and physical factors, acting reciprocally through the image-producing faculties of the mind induce the perceptual response called hypnosis.
The capacity to enter into hypnosis is as natural a phenomenon as sleep, but it is distinctly different from sleep. Hypnosis has been described as "a state of consciousness involving an extension of concentration combined with a susceptibility to suggestion occurring during physiological relaxation."(1) Another definition I find useful is: "Hypnosis is a process which produces relaxation, distraction of the conscious mind, heightened suggestibility and increased awareness, allowing access to the subconscious mind, through the imagination. It also produces the ability to experience thoughts and images as real."(2)
My own approach to hypnosis, pastoral hypnotherapy, and treatment comes out of my training and experience in using the therapeutic insights and writings of Milton H. Erickson, M.D. (19011980). From that perspective, hypnosis can be seen as an altered psychological state "generally characterized by certain physiological attributes (e.g., relaxed muscle tone, reduced blood pressure, slowed breath rate), by an enhanced receptivity to suggestion, and by an increased access to unconscious feelings, ideas, and memories (Erickson, 1989)."(3)
It is important to remember that hypnosis does not have to involve the stereotypic rituals of swinging pendulums, watches or crystal balls, or that it is a fixed internal state. "Clinical" hypnosis and "pastoral" hypnotherapy do imply a clinical or pastoral setting, with the focus more on the process of communication and therapeutic outcome, rather than on the hypnotic state involved.
Clearly, hypnosis is an altered state of consciousness, i.e., it is different from normal waking consciousness. However, it is believed that all people go in and out of hypnosis on a regular basis.
Many people have experienced a type of hypnotic state while driving a car and become unconscious of the fact that they are still driving. As they come out of the hypnotic state, they suddenly realize they do not remember what has happened for the past several minutes. It is as though an unconscious part of the mind was able to drive the car, avoid danger, speed up and slow down as necessary, while the conscious mind went off on a brief vacation thinking about something else. A hypnotic state may be experienced in the movies or while watching TV when people become so involved that they actually cry about a picture that has been projected onto a screen. At one level of their minds they know the picture is fiction. On another level, their minds move voluntarily into the imagination in which there is a suspension of reality testing and an acceptance of what is happening on the screen as real.
Likewise, when people experience hypnosis, they often simply allow their bodies to relax and their minds to focus attention on the words they hear, and the various images they may represent in their minds. As Erickson observed, this is not hypersuggestible mind control but a very natural process that allows clients to more easily reach goals or objectives they have chosen for themselves. With proper motivation, the client moves naturally and easily into a comfortable hypnotic state. This is a safe process in the hands of a trained Hypnotherapist.
In summary, hypnosis, when utilized by trained and competent practitioners, can be a natural, comfortable and helpful process of communication, during which clients and/or parishioners may experience increased attention to suggestions, profound concentration, heightened recall of memories and access to state-dependent memories, greater image-producing abilities, and increased ability to form new habit patterns.
1. David Fox, "Mind/Body, Brain/Soul: Halakhic Explorations of Hypnotic Trance Phenomena," Journal of Psychology and Judaism, Vol. 16, No.2 (Summer 1992), p. 97.
2. A.M. Krasner, The Wizard Within (Santa Ana: American Board of Hypnotherapy Press, 1991), p.2.
3. John H. Edgette, Psy.D., and Janet Sasson Edgette, Psy. D., The Handbook of Hypnotic Phenomena in Psychotherapy (New York: Brunner/Mazel, Inc., 1995), pp. 3-4.
4. Edgette and Edgette, p. 4, quoting J.K. Zeig "Therapeutic patterns of Ericksonian influence on communication" in J. K. Zeig (Ed) The Evolution of Psychotherapy (New York: Brunner/Mazel, Inc, 1987) pp. 392-412).


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|29th October 2011
Junior Member
Join Date: July 2009
Posts: 27
Katrina van Tassel: Disney's curvy heroine
With Halloween soon upon us, there is no better time to be introduced to one of the loveliest characters Disney has ever created: Katrina van Tassel.
The famous Washington Irving tale The Legend of Sleepy Hollow was animated by Disney in 1949, and released as a double feature under the title The Adventures of Ichabod and Mr. Toad. Later, The Legend of Sleepy Hollow was re-released as a separate short film that often played on the television program The Wonderful World of Disney at Halloween. The storys delightfully spooky elements, including carved pumpkins, haunted forests and the terrifying Headless Horseman, perfectly suit it to this time of year.
The shining star of the film, however, is the incredibly beautiful Katrina van Tassel the closest Disney has ever come to depicting a plus-size Princess.
The description of Katrina in Irvings original tale, which can be seen accompanying Justine Legaults entry on the Judgment of Paris very own Survey page, is an intoxicating account of her charms:
When viewing Disneys visual representation of Katrina, one can plainly see that she is faithful to the voluptuous spirit of Irvings original character.
Though she may somewhat resemble Disneys Cinderella, the later princess cannot ever hope to match Katrinas womanly physicality. Buxom and voluptuous, there is undeniable weight in her figure. Her bust is full, with plump arms and legs, and soft, rounded hands. Her face is visibly fuller than that of any other Disney heroine, indicating that she was explicitly designed to be curvaceous. The narration testifies to this, quoting Irvings original text at her first appearance: ...plump as a partridge, ripe, melting, and rosy-cheeked.
She possesses the fair features of a fairy-tale princess: golden hair, blue eyes, and a rosy complexion shaded by a parasol, one of the most traditionally ladylike of accessories. Her soft facial structure is wonderfully doll-like, with full, sensual rose-pink lips and wide eyes framed by fluttering lashes. Katrina has all the hallmarks of timeless beauty.
Katrinas romantic attire enhances her feminine charms. Delicate pink, cut low over the bosom, and baring her plump arms, one can hardly imagine anything better suited to the coquettish temptress. The plentiful fabric of her full skirt swishes and sways about her as she coyly gathers the fabric in her hand, lifting it slightly to reveal the briefest glimpse of rounded calves. Though not overtly, vulgarly provocative, Katrinas feminine allure is undeniably sensual, due in no small part to her shapely figure.
A particularly inspired design element is the gathered overskirt elegantly shaped to resemble pink flower petals fanning out from Katrinas waist. It is as if Katrina herself is a blossoming flower, a quintessential symbol of femininity, her voluptuous curves harmonious with the enchanting beauty of nature. She is the most perfectly formed blossom imaginable, with all others seeming sad and wilted in comparison with her exquisite beauty.
Understandably, one may initially feel dismay at the sight of Katrinas exaggeratedly tiny waist, so unnaturally constrained in comparison with the rest of her full-blown curves. One need not despair, however; upon further reflection, an excuse can be made for this stylised design aspect. Due to the nature of the costume, it is certain that Katrina is wearing a corset underneath her lovely dress, artificially restraining her waist. It is easy to imagine, then, that once freed of the corsets tight embrace, her waist would be as soft and naturally full as the rest of her plump figure. The idea is reminiscent of the well-known photograph of Edwardian beauty Lillian Russell attractively unlaced, with the full beauty of her figure in view. It adds an exciting tension to her character; Katrina can hardly keep her curves in check, her bountiful beauty only tamed with aggressive corseting. The almost dangerous quality of her figure, coupled with the fact that the true extent of her curves are left to the imagination of the viewer, make her positively thrilling.
Upon her first appearance, Katrina is shown enrapturing all men who set eyes upon her. Not a single one can resist her as she displays her beauty. All eyes point towards her, utterly transfixed.
Once you have met that little coquette Katrina, you wont forget Katrina, read the lyrics of her theme song, a sweet little ballad performed by Bing Crosby. It is an apt descriptor of her character: Katrina is unashamedly flirtatious, confident in her allure and a lover of male attention. This mesmerising coquetry effortlessly ensnares the hearts of protagonist Ichabod Crane and his rival Brom Bones, beginning the main conflict of the story as the two men vie for her attention. In the above image, she flashes a coy sidelong glance at Ichabod, and this simple gesture is enough to engrave her goddesslike image in his mind.
Katrina, my love, who could resist your grace, your charm? sighs Ichabod as her beauty floods his love-fuelled fantasies. To him, and all others who fall prey to her wiles, she is an ideal of loveliness matched by no other, a goddess to be idolised and cherished.
Rightfully, she is depicted as being treated like the goddess she truly is. Lines of suitors bearing lavish gifts queue up for the merest glimpse of her, eager for her to bestow even the tiniest favour upon them.
The well-known cliché of laying down ones coat so a lady may pass over a puddle is employed here. The truly gentlemanly manner in which Katrina is treated is more evidence of the traditionally feminine identity she inhabits, in a world where gender relations are natural and respectful.
The aforementioned piles of gifts are fought for, first by Ichabod:
...and then by Brom:
...as the two men compete over who can spoil her, adore her and worship her more, in accordance with her delightful vanity. Indeed, with her indulgent, minx-like qualities, Katrina is veritably the embodiment of the Victorian vixen archetype previously discussed on this forum. Katrina will kiss and run, to her a romance is fun, as stated by her theme songs lyrics, indicating her passionate zest for life and love. She is reminiscent of an animated Ginevra Fanshawe, right down to the "plump, and pink, and flaxen attributes" of her appearance. Encouragingly, there is no moralising applied to her vixenish characteristics. She may be Disneys equivalent of Scarlett OHara, but she is never condemned for her flirtatious teasing. No element of malice enters her character; she never desires to hurt or manipulate, but only to enjoy and encourage the abundant attention given to her beauty. It is fortunate that in creating Katrinas character, Disney decided to simply delight in the aesthetic appeal of a tempting goddess of ravishing, plump femininity.
Katrinas facial expressions are frequently fascinating. Below, she adopts a thoughtful demeanour with a marvellously girlish gesture of a finger lightly touching her pouted lips. She evokes a 1950s pin-up photograph, splendidly accentuating her charms.
Next, we see a wistful, dreamy expression gracing Katrinas fair features. As she holds a bouquet of flowers against her delicate cheek, one wonders what romantic dreams she is indulging in. The yellow blossoms complement her natural beauty, her eyes half-lidded in indolent pleasure as the floral perfume wafts about her. The bouquet is especially fitting considering the flower-petal motif in her design, enhancing Katrinas quintessential femininity.
In a fascinating still image, Katrinas one and only departure from her usual sweetness is captured. The Victorian vixen within her breaks free momentarily, betraying her spoiled vanity. After an impressive display of gifts from Ichabod, she turns to rival suitor Brom, and seems to be asking, Why havent you satisfied my every whim yet? Can you outdo the lavish worship of your rivals?" She is pouty and petulant, yet her full-figured beauty turns this into a thrillingly appealing emotion. Both the characters in the film and the viewer cannot help but feel that her gorgeous perfection entitles her to whatever she wishes for, that her every desire should be immediately satisfied. Prove that your love for me is genuine, she seems to demand.
Later in the film, an evening soiree reveals Katrinas penchant for one of the most feminine arts: dance. Never relenting in her coquetry, she dances with each of the two rivals in turn, displaying her feminine comeliness through the artistry of her movements. Though her figure visually implies heaviness and weight, she moves as if she were light as a feather, delicate as a butterfly.
The above screenshot offers a dizzying view of her ample décolletage. In this scene, her hair is uncovered and adorned with an adorable blue bow. A black ribbon is tied around her soft, fleshy neck, and the sleeves of her dress are now sheer, offering a tantalising view of her plump upper arms (which are as beautiful as those of Katherine Roll).
Still images cannot capture the gracefulness of Katrinas animation. To fully appreciate her, one must watch her in action. She bats her eyelashes coquettishly, twirling and dancing with balletic poise, blowing gentle kisses at her flocks of admirers. She walks as if she were gliding, her languid gestures exuding femininity.
The film can be viewed on YouTube, in four parts, linked below. To gain the complete effect, watch it after nightfall, in a darkened room. (Katrinas first appearance is at 6:45 in Part 1.)
Ordinarily, YouTube commentary is painful to read, and the comments accompanying The Legend of Sleepy Hollow are no exception. The differing views of Katrina revealed in the comments, however, are actually quite revealing. Opinions of her vary from "most gorgeous toon ever" to some calling her "chubby." This is, in fact, encouraging: it confirms the fact that she is curvy enough to be somewhat confronting to those who usually cannot reconcile "full-figured" with "beautiful princess". She is visibly plump enough to be noticeable, but the favourable comments about her prove that she's also undeniably attractive. Katrina is the animated embodiment of what this site has previously called the paradox of the plus-size model. Modern culture presents plus-size and beautiful as mutually exclusive. Katrina, by nature of her very existence, destroys this false conditioning, prompting the public to break free of their thin-supremacist indoctrination and recognise Katrina as a plump, curvaceous goddess, an ideal of beauty.
And indeed, by the end of the film, Katrina appears to have blossomed even more as she is briefly shown in wedding attire. Perhaps her delight at finally becoming the bride of her beloved prompted her to celebrate by indulging her appetite, thus improving upon her already perfect beauty.
Though many call for a plus-size Disney Princess to join the official Princess line-up, the ideal full-figured heroine already exists in the form of Katrina van Tassel. Perfectly plump, traditionally feminine, and exuding seductive charm, Katrina is an archetype of the plus-size goddess in animated form. The story of The Legend of Sleepy Hollow frames her as symbolic of the power of femininity and true beauty, making this delightful little film an honourable tribute to timeless beauty.
|29th October 2011
Senior Member
Join Date: July 2005
Posts: 517
Re: Katrina van Tassel: Disney's curvy heroine
Oh my goodness, Tamika, thank you for this wonderful post. I enjoy your contributions to the forum very much, from your information about Lolita fashions to your fascinating thread about Yang Guifei. But of all your essays, this is my favourite.
The post is very timely. I remember watching "The Legend of Sleepy Hollow" on The Wonderful World of Disney's Hallowe'en specials every year, when I was a child. The Headless Horseman was, for me, the most splendidly frightening Disney character outside of Fantasia. But I had completely forgotten how lovely Katrina was.
Your descriptions are ravishingly poetic. I especially adore the account of Katrina's wardrobe:
That's so true. Katrina really does seem like a flower in full bloom, with hordes of bees in her orbit.
I also appreciate your pointing out that only figure-compression is keeping Katrina's body from exhibiting its actual plus-size proportions at the waist. This is a very sensual description:
It makes sense that in the nobler era of the past, the time period in which Irving's tale is set -- an age when full-figured beauty was the acknowledged ideal of femininity -- a goddess like Katrina would indulge herself freely and allow her curves to blossom, knowing that it would only increase her allure. In watching the film, I was struck by how she has a charming touch of self-indulgence about her (craving the attention of many admirers, one suitor not being enough for her), so why would she ever deny herself any delicacies?
I'm really torn, now, as to which is the prettiest Disney heroine -- Princess Aurora from Sleeping Beauty, or Katrina van Tassel. Aurora has such radiant, long, golden hair, but Katrina definitely has a much more generous figure. Given that the depiction of her artificially constricted middle does not represent the actual fullness of her waist, there's no question that Katrina qualifies as legitimately plus-size. A few more screen caps which I found online further testify to this.
Her arms are visibly full, as Tamika identifies.
Her face is soft and round, much more so than any other Disney heroine.
I adore this picture of Katrina literally as the centre of attention.
This is another rare moment in which Katrina exhibits a touch of that pouty petulance that Tamika mentioned. She still looks adorable, and her arms are visibly fleshy, testifying to the genuien opulence of her physique.
In her gown for the dance, she reminds me of Anita Ekberg. Katrina clearly knows how to dress for her figure and loves accentuating her voluptuousness. The hairstyle, with the ribbons, is adorable.
I'm glad that the film is on YouTube, but that version unfortunately cuts out a song, and YouTube quality is always limited. I found the movie online and plan to order it. It will be wonderful to have this one-and-only example of a plus-size Disney princess (because crowned or not, Katrina is a princess, if ever there was one).
For the DVD of The Adventures of Ichabod and Mr. Toad at Amazon: click here.
|30th October 2011
Senior Member
Join Date: January 2010
Posts: 188
Katrina van Tassel - the plus-size Disney princess
I love this discussion. Thank you to Tamika for her amazing post. Katrina has instantly become my favourite animated character.
People have been calling for a "plus-size Disney princess" for years, little knowing that one already exists. In fact, in this thread on the forum, I myself posted a graphic that I found online of a proposed plus-size Disney princess, which someone had created as fan art. But when you compare their facial features and arms, Katrina -- the real Disney character -- is actually fuller-figured than the fan-art proposal. She's more beautiful too.
In fact, it's a melancholy thought that not only could Washington Irving describe Katrina as being "plump" and "universally famed for her beauty" in the 19th century, but as recently as 1949, when this film was made, Disney could still do likewise, not only depicting a "plump" character, but even calling her that in the narration, still using the word "plump" a term of praise, and still expecting (rightly) that the audience would recognize Katrina as being drop-dead gorgeous.
We have fallen so far as a culture, even from the time that this film was made. As recently as 1949, Disney could create a de facto "plus-size princess" in designing Katrina, simply because that was recognized as the ideal shape of feminine attractiveness. The full-figured Katrina didn't represent "a different kind of beauty" to the animators. She was beauty itself. Period.
This is the most important point in Tamika's post:
Exactly. It's when people realize that they need to reconcile these two reactions that they are compelled to acknowledge the existence, and even the superiority, of plus-size beauty. When they discover that Katrina is "chubby" and the "most gorgeous toon ever," they are forced to reject anti-plus media brainwashing. Ultimately, they are even compelled to come to the stunning realization that Katrina is the "most gorgeous toon ever" partly because she is "chubby" (by anorexic modern standards), and that's when the real enlightenment begins and the timeless ideal is restored.
I also think Katrina looks ravishing in this image, which showcases her big, china-blue, doll-like eyes and voluptuous curves.
This is so sweet as to be like a dream, with Katrina, "herself a blossoming flower" (as Tamika writes), taking in the scent of a full-blown rose.
And when I viewed this shot in the film, I immediately thought of Shannon Marie and her famous over-the-shoulder Mode image.
Katrina is very much like Shannon, Kelsey, Katherine Roll, and the other loveliest Judgment of Paris favourites. And since she does resemble these ideal full-figured models so closely, she really must be considered the one, true, plus-size Disney princess.
|31st October 2011
Senior Member
Join Date: June 2011
Posts: 105
Re: Katrina van Tassel: Disney's curvy heroine
Tamika's lyrical description of Katrina is like something out of a storybook. I adore every sensual word:
Not only is it wonderful for young girls, who admire Disney princesses so much, to be exposed to such a visibly curvaceous female heroine, but the way in which Katrina is revered by everyone in the film for her beauty is just as important. Katrina is placed in a context where the adoration of her full-figured beauty is the central feature of the story. In seeing this worship of Katrina, curvy girls can recognize that they can and should feel beautiful in their full figures. Katrina's example teaches them that beauty is their friend, not their enemy, and that it is something they already possess. It's all in how they present themselves.
I wish Katrina were better known. Even with less exposure than other Disney heroines, she has still attracted a great deal of attention among young girls, as expressed in things like fan art. I'll share some of the lovely examples I've found.
A ravishing online signature of Katrina. The fullness of her figure is evident, especially in the arms and bust.
More signature graphics.
I especially admire this graphic (found here). It reminds me of a painting by Alphonse Mucha. It also causes me to reflect that while it is true that Katrina's gowns give her the appearance of a full-blown flower (as Tamika states), Katrina's design also somewhat echoes a partridge ("plump as a partridge"), with the slip underneath her dress having a fringe that's reminiscent of feathers. The way she walks, during the picnic scene, also creates the partridge impression.
These are so pretty (discovered here).
Disney sells at least three bits of memorabilia related to Katrina, in the form of pins and shields.
Also, in at least one case, that of a "Disney Princess calendar from Japan," Katrina is included among the Disney princesses. Her figure isn't quite rendered as generously as it is in the movie, but nevertheless, as the image illustrates, the question of who is the loveliest princess definitely comes down to Aurora vs. Katrina. Aurora has the long, golden hair, but Katrina has the rounder face and fuller figure.
As a matter of fact, one bit of fan art I found cleverly inserts Katrina in a still from Snow White. At last, Katrina is with the kind of suitor she deserves, a true prince! And I wouldn't put it past the coquettish Katrina to capture the heart of Prince Charming, stealing him away from Snow White...
Oh, and this is Disney a production cell I found. Katrina's arms are rendered attractively full.
The influence of Disney princesses on young girls is tremendous. How I wish that Katrina were better known. Imagine if Disney sold an actual Katrina doll! If they did, then she would be the quasi "plus-size Barbie" that we have all been waiting for. Were it not for the unfortunately constricted waist, Katrina would be an ideal image for young girls to encounter, both in her soft, rounded appearance and in the way her full figure is adored by everyone in the movie.
Last edited by HSG : 28th December 2011 at 13:30. Reason: Image URL updated
|31st October 2011
Senior Member
Join Date: January 2011
Posts: 155
Re: Katrina van Tassel: Disney's curvy heroine
First, allow me to say how much I enjoy Disney's The Legend of Sleepy Hollow, and how much I prefer it to the disappointing live-action version by Tim Burton of a few years ago. The Disney film is remarkably faithful to Irving's story, and in the final pulse-pounding Headless Horseman sequence it's actually marvellously spooky, especially for younger viewers. A perfect Hallowe'en treat.
I agree with Emily, who mentioned that Tamika's descriptions of Katrina and her wardrobe are seductively pro-curvy and thus worthy of her subject:
I especially appreciate the reference to her lovely "rounded calves." For me, of all her figure features, those are what particularly demonstrate that Katrina really does have a plus-size physique, because her calves are shown bare -- if only briefly glimpsed -- and they do look attractively untoned and full.
Also, Tamika's point that Katrina is "sensual" but not "vulgar" is crucial. For all that she is flirtatious, she is also virtuous, as the song "Katrina" indicates. Like the best Disney songs, it helps tell the story and provides important information about the character that isn't available otherwise. The lyrics are:
The lyric that I've bolded indicates that Katrina actually sets clear boundaries, that by comparison other girls will let guys go further ("do more") with them, take liberties, but Katrina preserves her virtue and will only allow a chaste kiss. Only when Katrina and Brom Bones wed she she indulge in a passionate display of love -- so passionate that it astonishes even him. She actually waits for marriage. This is another reason why she is a good heroine for young girls to discover.
By the way, someone pointed out to me a nice fan page devoted to the film. It's a older page, but still worth a look:
|31st October 2011
Senior Member
Join Date: August 2005
Posts: 587
Re: Katrina van Tassel: Disney's curvy heroine
I finally discovered where everyone has been finding the lovely screencaps of Katrina. Click on the images to view them full size. They're in reverse order, so going through the five pages' worth of caps is like viewing the film in reverse.
Also, something that's wonderful about the film is that Katrina is not shown being resented by any of the unattractive girls in the village. There are no shrews or jealous homelier girls trying to undermine her. This too teaches young girls an important lesson: that feminine beauty part of the loveliness of the world. It is something to be celebrated, like a gift for music, or a talent for painting, or a lovely meadow. One shouldn't resent it, but celebrate it and adore that it exists, because a Katrina makes the world a more beautiful place by her presence in it.
I also adore the look of the town itself. It's the perfect colonial setting, the American equivalent of Nürnberg in Wagner's opera Die Meistersinger von Nürnberg - an organic community.
|5th November 2011
Senior Member
Join Date: August 2005
Posts: 352
Re: Katrina van Tassel: Disney's curvy heroine
Here's a little extra for everyone who loves this film. I found a YouTube upload of an episode of long-running television series The Wonderful World of Disney built around the Legend of Sleepy Hollow movie.
No, it's not the famous Hallowe'en special, which we all remember, but rather an episode focussed on the author of the tale:,Washington Irving.
The first two portions of the program, which I've posted here, present a 16-minute Disney short about the life of Irving. It's actually a rather enjoyable little film, giving an idyllic picture of life in the early days of the U.S., with many interesting scenes of Irving's visit to Europe.
It's wonderful to see Walt Disney himself introducing the program. If there was ever a legitimately great American, one who has enriched the cultural life of the broad mass of humanity, it's Mr. Disney. He helped European-Americans reconnect with their forgotten, Old World cultural roots, and his legacy continues to fill children's minds with magic and wonder.
At the 6-minute mark of the second video, the actual Legend of Sleepy Hollow movie begins, at which point it's better to watch the links that Tamika provided, as they show the film with much truer colours and superior clarity.
By the way, Irving's actual tale of The Legend of Sleepy Hollow is wonderfully written. It's both an excitingly spooky story and a sincere pleasure to read, and is rightly considered the first great classic of American literature. It's brief too, more a longer short story or a novella than a novel.
For a very affordable paperback edition, click here.
|31st December 2011
Join Date: July 2005
Posts: 1,784
Re: Katrina van Tassel: Disney's curvy heroine
One of the reasons why the Disney adaptation of The Legend of Sleepy Hollow is so effective is because it is remarkably faithful to Washington Irving's original tale.
Hollywood has ever been notorious for inverting the moral and philosophical values of whatever literary work it adapts, imposing slave morality in place of master morality--a noxious practice that is even more prevalent today than it was decades ago. However, in 1949, at the time that The Adventures of Ichabod and Mr. Toad was released, the Disney studio was still consciously outside the Hollywood structure, practically constituting an anti-Hollywood alternative to the entertainment establishment. Every Disney film was very much the brainchild of Walt Disney himself, who paid no obeisance to the movie industry's dominant ideology ("Hollywoodism"), which is why, to this day, movie-industry ideologues view Walt with as much suspicion as the public adores him and his creations.
Disney's adaptation of The Legend of Sleepy Hollow is exceptional even among the studio's already singular output. Given that this film was not based on a fairy-tale source but on a work of high literature, the Disney animators were freed from the moral imperatives of storytelling for young children and preserved the adult sensibilities of Irving's work, albeit relayed in the entertaining visual manner that is the Disney hallmark.
Perhaps the most remarkable aspect of The Legend of Sleepy Hollow--both the Irving tale and Disney's adaptation--is how harmoniously it blends depictions of the Sublime and the Beautiful. In the Disney film, Katrina is as much an archetypal embodiment of Beauty as the Headless Horseman is a perfect realization of the Sublime, specifically in the Gothic horror vein that the Romantics favoured.
Pairing the Dutch enchantress with the demonic rider is as vivid a study in Beautiful/Sublime contrast as . . . well . . . as it would be to meet Sophie Sheppard one day and then to stand before the nightmarish, apocalyptic paintings of John Martin the next.
Irving's description of Sleepy Hollow situates his tale within the Gothic Romantic genre:
The "High German doctor" to which the text refers is undoubtedly the necromancer Dr. Faust, who notoriously made a pact with the devil for infernal power. The "night-mare," on the other hand, is exactly what its name implies--a demonic mare (horse) that haunts the world by night. Its most famous incarnation, for the Romantics, was as the steed of the ghostly rider in Gottfried August Bürger's seminal horror ballad "Leonore," which veritably instigated the entire tradition of horror Romanticism on the European continent. Here is Horace Vernet's memorable 1839 painting of Bürger's skeletal rider on his night mare, a mount quite identical to the steed that the Headless Horseman rides in Irving's tale and in the Disney film.
Irving's account of the Headless Horseman is quite vivid, equalling anything in Poe or Stoker:
The image of a spectral rider on a demonic horse and his nocturnal career references a motif that long predates Bürger: the famous "wild hunt" of Wotan (Odin), the supreme god of Norse mythology, who was fabled to gallop across the skies atop his mount, Slepnir. With the advent of Christianity, Wotan, like all of the other pagan deities, became reinterpreted as a sinister devil, and his "wild hunt" was reconfigured as a parade of the demonic host.
Interestingly, although Irving's tale strongly suggests that the Headless Horseman is simply Brom Bones in disguise, the Disney adaptation leaves the Horseman's identity, whether physical or supernatural, entirely ambiguous, offering equal support for both interpretations.
Irving portrays Ichabod's first sight of the Horseman in a suitably eerie manner:
By contrast, Irving's narrator describes Katrina in the most ravishing terms. In addition to the succulent passage that Tamika quotes in her post, deeming the Dutch beauty "plump as a partridge; ripe and melting and rosy-cheeked as one of her father's peaches," the text twice refers to her as the "blooming Katrina," which carries with it a beguiling idea of increasing beauty, implying that her figure is steadily blossoming into a fuller size.
Irving also tantalizingly underscores Katrina's deliciously flirtatious and excitingly spoiled qualities:
Irving traces the origins of her bewitching selfishness to her pampered upbringing, establishing her as the original, spoiled "daddy's girl":
In another reference to the character's distinctively plus-size beauty, Irving highlights the "dimpled hand of Katrina van Tassel"--and pretty, plump hands with dimples at the knuckles are, as we have often pointed out on this forum, unique characteristics of genuinely full-figured goddesses.
Furthermore, those who wish to think of Katrina as a de facto Disney princess, though not formally crowned, can be buoyed by Irving's poetic reference to the van Tassel farm:
Thus, given that Katrina resides in an estate likened to a castle, and that Irving repeatedly refers to her as a "Dutch heiress," Katrina is clearly meant to personify a princess in all but formal rank.
One of the most telling indications that Disney's adaptation is free of Hollywoodist slave morality and preserves the Shakespearean neutrality of the original tale is that in the Disney film, just as in Irving's story, Ichabod Crane is no hero, nor is he even altogether sympathetic, while Brom Bones is no villain, and may even be a more likable character than Ichabod.
Moreover, when Irving refers to Brom, he associates him with Classical figures such as Hercules and Achilles:
Given that Katrina, in her physical description, appetitive nature, and flirtatious personality, is an embodiment of Classical feminine beauty, a latter-day Helen of Troy (she who also inspired a love triangle, the most notorious and consequential in the history of the world), Irving clearly means for Katrina and Brom to embody the respective Classical ideals of femininity and masculinity.
Ichabod, on the other hand, is very much a flawed figure. His love for Katrina, while undoubtedly genuine, is tied up with his material avarice for her father's wealth, in a manner not unlike Shylock's conflated love of both his daughter and his money ("My daughter! O my ducats! O my daughter!"). This materialism taints Crane's character, while Brom, for all of his boisterousness, is not shown to be as materially inclined.
Furthermore, the text describes the town of Sleepy Hollow, and the surrounding countryside, in terms of abundance and plenty, of which Katrina's blossoming figure is a prominent feature. Ichabod, on the other hand, is shown to be a rootless outsider, an interloper, a discordant element in this harmonious environment:
Many commentators on the Disney adaptation marvel at how Crane eats and eats yet never gains a pound. This is a direct adaptation from Irving, and is not complimentary to Ichabod. Given the textual comparison of the schoolmaster to "the genius of famine" ("genius" meaning "spirit" in this context), Crane is "the spirit of famine," a figure of folklore so notorious that it constitutes one of the Four Horseman of the Apocalypse. By extension, the phenomenon of Crane's endless yet unproductive consumption is a reference to the prophesy of famine in Egypt recounted in Genesis, 41:17-21:
The locality of Sleepy Hollow, with its abundance and plenty, is like the "fatfleshed and well-favoured" cattle in the biblical narrative, while Ichabod is the "poor and very ill favoured and leanfleshed," who, even though he endlessly consumes the bounty of the region, remains "ill favoured." He is, in a sense, a parasite, and driving him out restores harmony to the community.
The real meaning of The Legend of Sleepy Hollow is revealed if we view it through the lens of Oswald Spengler. In his story, Irving sets up a contrast between the rustic and the urban, between the country and the city, between Culture and Civilization so significant that one might think that Spengler, writing a century after Irving, had read the tale himself.
The idea of the historyless permanence of this rustic community, and how it contrasts with turbulent urban life, is precisely analogous to Spengler's comparisons of the country village and the city in The Decline of the West. Spengler writes:
The contrast between Ichabod Crane and Brom Bones enacts this clash between the cosmopolitan and the provincial, with Brom provincially "embedded in the landscape," and the cosmopolitan Crane "contradicting Nature in the lines of his silhouette," his appearance so unnatural.
Between these two personages there can only be misunderstanding and enmity:
In the tale, Brom's "sly shrewdness" sets itself against the "intelligence" of Ichabod, the "nomad." Crane's ultimate fate, after being driven out of Sleepy Hollow by the Headless Horseman, reinforces the work's urban/rustic dichotomy:
Crane's future as a lawyer--a profession associated with the rootless, urban type--cements his urban identity.
Katrina, for her part, with her "mixture of ancient and modern fashions" is perched between both, between the country and the city, between Brom and Ichabod. Ultimately, she chooses Brom, and anyone who has read Spengler would be hard pressed not to favour her choice.
But in truth, neither suitor is worthy of her, and she, the "Dutch heiress" who lives in a "castle," richly deserves a prince, if only one were available.
Gorgeous as Katrina is, we cannot let this thread go without sharing a few screencaps of our own, although the contributions by Tamika and the other commentators have already illustrated the character's full-figured beauty. The following stills validate the most sensual passage in Tamika's write-up:
Every other aspect of Katrina's physique, apart from her artificially compressed waist, discloses her lavishly indulged embonpoint.
In this image, for example, the fullness of her arms is clearly visible. Her forearms are as plump as those of a well-fed newborn, while her face is adorably round.
A second image confirms the fleshiness of her arms, as luscious as those of Katherine Roll, while she exhibits big, saucer-like, doll's eyes worthy of Kelsey Olson.
Not only do her arms reveal her zaftig figure, but so do her plump calves, which she tantalizingly displays at regular intervals, knowing that doing so will inflame her suitors' desire.
Her legs also resemble those of Katherine Roll. They have the distinctively feminine fullness that is acquired through self-indulgence and an avoidance of physical exertion. Katrina is all flesh and softness, free of unsightly "tone" and muscle.
Far more than simply an animated figure study, Katrina is a wholly convincing character. She lacks a single line of dialogue in the entire film, yet her personality is more vividly realized than that of any other Disney princess. In fact, given that she reveals herself entirely through silent actions, Katrina might well be understood in the same manner that we interpret the work of fashion models. This image, for example, speaks volumes about the character. She has just noticed Ichabod and has decided to make him her latest quarry. She exhibits a look of bemusement, a gaze that suggests coquettish mischief but incorporates a slight hint of pity, as if she were thinking, "Oh, you poor boy, if you only knew what I was about to do to you." She puffs out her magnificent bust, knowing that her voluptuousness is a significant part of her charms (as is also evident in her choice of attire). Her arms are full and fleshy, yet her hands and fingers are exquisitely delicate. She is not what some might term "big boned"; rather, she has a dainty frame, and her luscious fullness is entirely due to unchecked appetite.
This image shows a delightfully surprised Katrina, her mouth forming a pretty O, her arms especially round and full.
A moment later, she proffers Ichabod her handkerchief--a flirtatious gesture indeed, endowing him with a token of remembrance that he can treasure. Observe the doll-like roundness of her face and her kind, gentle expression. She is just a baby, looking younger than her 18 years, yet at the same time she has a power over men that is very mature and seasoned.
Consider the coquettish pleasure that Katrina takes in watching Brom Bones suffer, as she bestows her favour upon Ichabod. She may resemble an angel from a Rubens painting, but Katrina can be bad. She has a naughty side, an aspect of her character that is not at all malicious, but she takes great pleasure in having her ego stroked. In a technique that the cosmetics artists who read this forum will appreciate, the Disney animators highlight this quality by giving her a slightly darker eyeshadow than her skin tone. This hint of darkness is not usually seen, because Katrina keeps her eyes open wild and wide at most times, but when she adopts a heavily lidded gaze, her vain coquetry is revealed.
How does she get away with it? Just look at her. Any man would endure any degree of suffering to be in the company of this full-figured goddess. Note in particular her beseeching expression in the following still, a bewitching gaze so gently seductive that it could bring any man to his knees. One could endure a whole life of sadness if, just once in one's life, one were favoured with a look such as this from a goddess so lovely.
Another revealing moment shows how Katrina genuinely feels about Ichabod. She realizes that he isn't good enough for her--because in truth, no man is. (She knows it, and everyone who watches the film knows it too.) But his enthusiastic wooing amuses her. She loves the attention. She feeds off it, like a queen bee feeds off nectar. She appears especially buxom in this image, as if she had deliberately allowed her neckline to descend a few millimetres. Katrina reveals more about herself in a few scenes than most characters, real-life or animated, convey in works three times this length. Her upper arms appear luscious and full, with the fabric of her dress embracing them tightly.
Note that, as he takes his leave of her, Ichabod warmly kisses her hand--that oh-so-pretty "dimpled hand," as Irving describes it, its plumpness making it a very sensual object to kiss so passionately.
"Why have just one, when you can have more?" This is the keynote of Katrina's character. With her father holding a dance for the surrounding community, she mischievously pens an invitation for Ichabod--further to enflame Brom's jealousy, and to delight in having these suitors fighting for her favour. The pleasure that she takes in their rivalry is evident. Her bare arm appears sensually full and heavy. One can only dream of how rich her uncorseted figure might be.
Minx that she is, she signs the letter in her father's name. Also, on a somewhat pedantic note, observe that the missive provides the correct spelling of the "van Tassel" name (which many writers on the topic of this film misconstrue).
The dance gives Katrina an opportunity to show off a new gown--one which, if anything, displays her voluptuousness even more prominently than the previous dress. Again, the film allows the wardrobe choice to silently relay Katrina's character. She is proud of her physique, well aware that her buxom curves are a significant part of her appeal, and dresses to accentuate her décolletage.
The Disney animators--obviously in love with their ultra-feminine creation, Pygmalions to Katrina's Galatea--relish the opportunity that the dance gives them to depict Katrina in poses that show off her ample charms.
More significantly, from the point of view of size celebration, Katrina freely dances in such a way that her skirt frequently flies up, showing off her full, shapely legs.
Like her arms, Katrina's plump legs offer a true indication of her well-fed physique. If there was ever a character who was entirely enamoured of her own appearance, it is Katrina, living as she does in a traditional society where plus-size beauty, the natural ideal of feminine loveliness, is universally admired.
The fête is clearly Ichabod's milieu, but Brom finagles one dance with Katrina, and in another revealing moment, the Disney animators disclose a great deal about Katrina's character simply through her expression. Though she has been tormenting the lad, observe how tenderly she looks upon him, how sincerely affectionate she is. She practically blushes.
With Ichabod, on the other hand, she always wears an expression of bemusement. She has a good time with him, and loves the attention. She likes him enough to place her hand upon his. She prominently exhibits her voluptuousness, specifically to enflame his desire. However, in this pairing, she is the one in charge, while her relationship with Brom is more traditionally balanced, and her attraction runs deeper. In keeping with the modern/traditional, urban/rustic, Ichabod/Brom dichotomy, Katrina's pairing with Crane is a more modern relationship, familiar to all of us in this post-feminist day and age, where the woman is in charge and the man, romantic that he may be, is out of his league. In Katrina's relationship with Brom, however, the power is fluid, with Brom in a commanding role but Katrina using her feminine wiles to stir his heart. With signfiicant psychological insight, the film suggests that is the Brom relationship that is more exciting to Katrina, as a woman.
In the original Irving story, Katrina breaks Ichabod's heart at the dance--whether sincerely, or to up the ante of her coquetry, one may never know. However, Disney allows Katrina to express more genuine interest in Ichabod. In this moment, she glances at him with her characteristic mixture of interest and amusement. Ichabod is, to her, a delightful plaything, and in feeling this way, she means him no malice. She simply recognizes her goddesslike status in relation to him.
Indeed, Katrina cannot help laughing wholeheartedly when Ichabod is spooked by Brom's "Headless Horseman" tale. The velvet ribbon around her neck is a wickedly feminine touch, a Parisian adornment that indicates Katrina's stylishness, a side of her that is more than a "country coquette" and would be just as comfortable in a bustling metropolis--or at court--as she is in this idyllic, rustic community.
The final screencap is the most stunning of all. As numerous readers mention in the YouTube commentary, and as Tamika indicates in her post, the Dutch heiress--whom the Disney narrator even refers to as "the blooming Katrina," using Irving's own words--appears to have blossomed into a fuller size. She anticipates Princess Aurora's tendency to alternate between light-pink dresses and light-blue ones. Katrina unquestionably appears less childlike, more womanly in this scene, even more richly buxom--and she proudly selects apparel that showcases her heavy voluptuousness. She kisses Brom with such passion that even her new husband is surprised. This indicates that, for all that she has been a coquette, Katrina has nevertheless preserved her virtue, and now hungrily looks forward to the pleasures of wedded bliss. The magnificence of the Disney animation is extraordinary, down to the translucency of Katrina's veil.
Fans, understandably, keep calling for the introduction of a "plus-size Disney princess." Yet in every physical aspect except for her mercilessly corseted waist, Katrina van Tassel is as full-figured as a gorgeous plus-size model, with plump arms, lusciously heavy legs, round facial features, and a generous bust. Katrina's dresses even celebrate her generous physique.
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Here are the winners of the Panoramio monthly Contest for January 2009 edition. Those photos were uploaded in January and voted in February. The sponsor ATP (Mike Chean) will contact the winners via e-mail during the next 30 days in order to send the prizes.
First Prize of Scenery category
taken in United States by davidcmc58
First Prize of Heritage category
taken in France by Skyhunter
First Prize of Travel category
taken in Germany by Jess.Froese
First Prize of Unusual Location category
taken in Antarctica by LichtenHansen
Full list of winners


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