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Super Moon
Posted by: John in General, Jefferson City Montana, Jesus, Photos, tags: Jefferson City Montana, Super Moon, The heavens declare His gloryTonight was a Super Moon, the largest moon of the year. My daughter Katie and I had some fun with the telescope and took some pictures of it. Here is one of them. The heavens declare His glory! -John


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Cape York - The "Lakelands", Starting sol 2703 |
Cape York - The "Lakelands", Starting sol 2703 |
Sep 1 2011, 04:30 PM
Senior Member Group: Moderator Posts: 4276 Joined: 19-April 05 From: .br at .es Member No.: 253 |
Bye bye, Tisdale. It's time to move on.
Next target? Philosilicates. ----- Edited on Sep 16 2011. This thread is dedicated to the exploration of Cape York, starting on sol 2703 when Opportunity left the "rocky garden" and started moving towards Chester Lake. |
Sep 8 2011, 02:57 AM
Senior Member Group: Members Posts: 3736 Joined: 17-January 05 Member No.: 152 |
I love the crazy lustre of the bedrock in the latest pancams - Chester Lake perhaps?
http://qt.exploratorium.edu/mars/opportuni...7M1.JPG?sol2709 How much information does the lustre give the geologically minded here about the rock? Can't wait to see this in colour... |
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subset: commoncrawl


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The wittily deconstructive (or merely annoying, depending on your point of view) pianist Matthew Bourne goes all English-pastoral in this largely lovely solo suite.
There's a bit of mad plinky-plonk, but otherwise Bourne uses space and consonance to create a series of meditations on mood and place, exemplified by the beautiful "Infinitude". He overdubs cello to produce string-section accompaniment, and ends with Chaplin's "Smile". "Etude Psychotique" is the one to avoid.


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Now Foods Organic Golden Flax Seeds, 1 lb, NOW Foods
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Now Foods Organic Golden Flax Seeds contains between 24-38% total fibers. Whether brown or golden in color, Now Foods Organic Flax seeds are from the same genus and species called Linum usitatissimum. Flax seeds are thought to have originated in the ancient Middle East during biblical times. They are an important source of polyunsatured fatty acids, including Omega-3, plus Magnesium, Zinc and dietary fiber. Flax oil from flax seeds is the richest known source of linolenic acid. Flax Oil contains protein, mucilage, phytosterols and lignans, which are naturally included at 100 times the level of the next best source, wheat bran.
According to the Flax Council of Canada, these northern grown plants are grown in different soil conditions and produce seeds with small differences in nutritional value. The Golden variety may have slightly higher fat as well as higher fiber content. Many customers have also remarked on the milder flavor of the Golden variety, which is usually preferred for bread making and other baked goods.
Of the 38-42% total naturally occurring fat in Flax seed, an average of 18% is Omega 3 in the form of Alpha Linolenic acid. Contrary to what is found in most seeds, Alpha Linolenic acid is the predominant unsaturated fatty acid found in Flax seed. Linoleic acid, which belongs to the Omega 6 family, is the predominant unsaturated fatty acid in most other seeds like safflower, sunflower, corn and sesame.
The Golden variety contains up to 8 grams of fiber per two tablespoon serving. These seeds contain a healthy blend of both crude and soluble fiber. Flax seed are not only a rich source of Omega 3 fatty acids and fiber, but also contain up to 23% protein. These marvelous seeds have also been researched to be the richest source of Plant Lignans known.
Lignans, otherwise known as Secoisolariciresinol diglycoside (SDG), are pharmacologically active plant compounds that have been studied to provide immune support. Flax contains up to 100 times the quantity of lignans as the next richest source, which is wheat bran.
In addition to the tests performed to assure freshness and the nutritional values described in the information above, every batch of NOW's Certified Organic Flax seeds is tested for microbiological safety. The typical range of analyses includes testing for standard plate count, yeast and molds, E coli, salmonella and heavy metals to ensure that only the best Organic Flax seeds bear the NOW Foods label.
NOW's Mission The NOW mission is - To provide value in products and services that empower people to lead healthier lives. NOW Foods is an award-winning and highly respected manufacturer of vitamins, minerals, dietary supplements and natural foods.
In 1948, with the natural food and supplement industry in its infancy, entrepreneur Paul Richard paid $900 for the purchase of Fearn Soya Foods—a Chicago based manufacturer of grain and legume-based products. This began a six-decade legacy of providing health-seeking consumers with high-quality, affordable nutrition products.
History of NOW In 1968, NOW Foods was founded under the belief that good health was not a luxury available only to the wealthy. For the past forty years, NOW has made it their life's work to offer health food and nutritional supplements of the highest quality, at prices that are fair and affordable to all those who seek them. Today, NOW Foods is one of the top-selling brands in health foods stores, an award-winning manufacturer, a respected advocate of the natural product industry, and a leader in the fields of nutritional science and methods development. And while NOW has grown considerably over:" ":
Customer Focused and Information Driven - NOW believes that their products, services, and the decisions they make should be primarily influenced by the desires and needs of NOW customers. The decisions that NOW makes should be based on accurate information and therefore NOW places a high value on knowledge and learning within their organization. Quality and Value Oriented - Acting in the best interest of NOW customers, NOW endeavors to produce the highest quality products at competitive prices. NOW's first priority is to maintain quality where it counts the most – in the products. NOW's exceptional cost-conscious team of employees then focuses their energies on driving costs down. Nurturing this competency of value drives NOW's ability to provide high quality products at the very best prices. Natural is Better - NOW is convinced that natural products are better than their synthetic counterparts and produce better results in human health. Therefore, wherever possible, NOW strives to provide products that contain natural ingredients because they are better for their customers.
NOW Science NOW's experienced professional and technical staff formulates their products to be of the highest quality. NOW has a group of biochemists, chemists, nutritionists, and food technologists who review current science and nutritional parameters, and formulate our products to be effective for the intended use. NOW's structure/function claims are based on science for active ingredients, and on nutritional science for nutritional content. Serving sizes are based on doses from clinical studies and other published data. NOW's contemporary formulas are designed to meet the health and wellness needs of today's consumers. NOW uses ingredients that have been tested for effectiveness in clinical trials and laboratory studies. The heart of NOW science is third party independent research. NOW investigates and review clinical studies and other lab studies conducted on their ingredients and their formulas. Best science is used to support best formulations which lead to best quality. NOW products are constantly being tested in clinical trials conducted at top universities and research centers around the country and in various parts of the world. NOW products are being tested to determine such things as effectiveness for joint support, quality of life for cancer patients, cardiovascular support, and athletic endurance. Effective products mean health and wellness benefits, which mean quality.
GMP Quality Assured NOW's GMP certification covers standard operating procedures, employee training, product specifications, expiration dating, vendor certifications and much more. Standard operating procedures include sampling and testing incoming materials according to NOW Foods specifications, inspecting manufacturing processes, and testing finished products to specifications. Tests include organoleptic evaluation (human senses such as sight, taste, smell), physical testing of tablets and capsules, chemical identity of ingredients, potency and contamination testing by the company's in-house state-of-the-art analytical testing lab, as well as microbiological testing by NOW Foods' in-house rapid analysis microbiological lab. Now Foods Organic Golden Flax Seeds 1 lb
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Now that all the systems have been assembled without any hitches, the contestants would go through the longest and most testing phase. This challenge required them to install the operating system provided, Microsoft's Windows Vista and all the necessary drivers and utilities.
1 hour and 30 minutes were given for all contestants to try to tweak and overclock their systems to the best of their abilities. While doing so, they had to keep in mind that stability was as important as performance and power efficiency could suffer from extreme overclocking. Additionally, contestants were also ranked according to the time taken for this section, so time was of the essence. In short, this was the most crucial part of the Iron Tech challenge for the contestants.
While all the contestants were concentrating on their rigs, there were also other happenings at the competition venue. For those interested in the hardware used for Iron Tech, all they had to do was drop by the MSI booth besides the stage and they could check that out in detail. There were also MSI motherboards and graphic cards sold at a discount at certain periods of the day, known as 'Golden Hours'.
If you were not shopping for any PC components, there was still the MSI giveaways up for grabs. Any member of the audience could participate by answering a simple question from the emcee. They could also attempt to guess the winner for Iron Tech 2008 and stand a chance to win a MSI motherboard.
Meanwhile, the contestants were using all the available time to tweak and optimize their systems. Even as we passed the 1 hour mark, no contestants had declared themselves satisfied with their system tweaks and it was not till another 9 - 10 minutes later before the Thai duo, Rangsee Triwongyoi and Thirdsak Phokha finished their tweaks and officially handed their systems over to the marshals. Most contestants took almost the full 1 hour 30 minutes to complete.
Like the rigging segment, contestants were awarded points depending on how fast they finished this section, ranging from 10 to 100. Rekky and Gil Navarro however encountered some issues during setup and were unable to finish the system setup and tweaking within the time allocated. Although they were given extra time to finish, they received no points from this segment. Do note that similar to the rigging phase, the system setup and tweaking section will account for 10% of the final score. Hence, at this moment, the contestants had just finished 20% of the competition.
Contestant | Setup Time | Points Awarded |
Rangsee Traiwongyoi | 1 hr 9 mins | 100 |
Thirdsak Phokha | 1 hr 10 mins | 90 |
Chen Tianyi | 1 hr 21 mins | 80 |
Alva Jonathan | 1 hr 22 mins | 70 |
Jeremiah Ong | 1 hr 24 mins | 60 |
Alex Tan | 1 hr 29 mins 0 secs | 50 |
Ng Teng Liang | 1 hr 29 mins 23 secs | 40 |
Ronaldo Bejarin | 1 hr 30 mins | 30 |
Rekky | Did not complete in time | 0 |
Gil Navarro | Did not complete in time | 0 |
5 things to consider when you buy home broadband plans


text:
Halo: Reach Question and Answers :
yoshi114 |
Elite armorIn the campaign there are orange elites. How can you use that armor for matchmaking. I have seen ppl that have used it, i am wondering how to get this armor |
GreekPoseido n |
Special typeThe orange elites are a special type called officers. There armor can only be unlocked by |
arbynthechie f |
.Considering you've seen other people use it, it's clearly impossible to get. |
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text:
The Childs family is deeply indebted to Arlean Lenhart Childs for the untiring efforts she has given to honor our family with this recorded story of our heritage and personal lives. Arlean has traveled from Massachusetts to southern California and scores of places in between in research. She has spent countless hundreds of hours gathering, from the internet, courthouses and historical societies, sifting and compiling many boxes of information in order to unlock the mysteries of our glorious past. She has skillfully woven together the intricate details of a heritage of which every member of the Childs family can be justly proud.
Our author tells the story of a family who, generally, were deeply religious, industrious, patriotic, leaders, promoters, and men and women of vision. She has traced our surname back to the 4th century, in the Norse legend, Iliad of the North. She traces our history from the year 1081 which included merchants and bankers, doctors, presidents of the United States, and ministers of the Gospel. One of our ancestors was one fourth owner of the Mayflower. Another relative Sir John Child was a Civic and Military ruler, Governor of Bombay and Calcutta, India, and the commander of all the land and naval forces of England in the East. Another relative, Sir Josiah Child our ancestral line, was a merchant, political economist and philanthropist. He was the president of East India Company. His observation concerning trade and interest on money contained ideas far in advance of his day and generation. Sir Frances Child, was a banker, goldsmith and Sociologist, founder of the banking firm of Child & Co. during the sixteen hundreds, in England. Other ancestors are: Samuel F. B. Morse the inventor of the telegraph and Eli Whitney inventor of the cotton gin; George Herbert Walker Bush, President of the United States and his son George W. Bush, President of the United State; Frank W. Childs, inventor and entrepreneur; Norman C. Childs, Sr. minister, Bible scholar and author of religious literature; Norman C. Childs, Jr. nationally known orator and author of religious books.
In this volume Arlean carries us along a line of deeply patriotic individuals, for example, twenty two of the fifty-seven minutemen, who gave their lives for their country at the battle of Lexington, MA in 1775 bore the surname of Child. They were our ancestors. Eight of those twenty-two were killed in the battle. She reveals the hidden relationship that the family must have had with Jacob Guy, founder of our beloved home town Guys Mills, PA. She tells of the one hundred and sixty-four years, and seven generations, of history of the Childs family in the Guys Mills area. She gives us an account of one of Guys Mills' leading citizens, a man who, although an invalid for many years, operated from his bed a most ingenious medley of businesses and became the most prominent business man in the area. This man, my father, Frank W Childs sold his products all across the United States. Finally she tells of Bryson Nathanael Childs and Gabriel Clyde Childs, the last males to carry on the family name of the descendants of 1780 Isaac Childs and Bryson's and Gabriel's three cousins: Sarah, Leanna and Matthew Rowlette.
On behalf of my sister and our families I again express our deep appreciation for the years of toil Arlean has put into the writing of this book, The Childs Story.
Your loving and devoted husband,
Norman C. Childs, Sr


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» Dryer won't heat |
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Dryer won't heat
Model Number: DG710 Brand: Maytag Age: More than 10 years
The burner does not ignite every time the ignitor glows. It seems to work okay the first time it lights, but on subsequent tries, the ignitor will glow, but there is no gas to light. I have checked several things: 1) I checked to vent for obstructions. I disconnected the vent tube from the wall, and the air flow from the blower is strong. I left it disconnected while doing the rest of my testing. I removed the lint cover and the cover on the blower motor to inspect the air flow spaces, and they all are clear. 2) I checked the sensors on the burner tube. When I disconnect them, they read zero ohms. 3) I checked three sensors near the blower motor. Two of them read zero ohms. One of them is open circuit. The settings of the machine are dryness set to "dry", temperature set to "regular", and the dial is set to regular. I wish I new what each of the sensors does. I could probably make a better guess what the problem is and what to replace. The problem seems to be temperature related. If I turn the machine off for a few minutes and then try again, then it will light the first time, run about four minutes, and then it won't light after that, even when the ignitor is glowing. The ignitor glows again about a minute after the flame shuts off. Does anyone have any suggestions? Thanks Related Models Last edited by lobo93065 : 01-17-2010 at 12:51 PM. |
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More information
I know this is a tough one, but I have some more information (I don't usually give up quickly). I decided to look at the voltage going to the burner assembly in order to see how the voltage changes as the ignitor and flame cycle on and off.
There are two wires going to the burner assembly. In the burner assembly, there are the coils that operate the gas valves, the ignitor, a flame temperature sensor, and a thermostat. The thermostat is actually in series with the rest of the burner other parts. So I looked at the voltage going to the rest of the parts. This is a Maytag dryer, so this means I looked at the voltage across the two pins of a big connector right next to the gas valves. When I start the dryer, the voltage goes to 120 volts (AC). Then the ignitor goes on and the voltage goes to 118 volts. A little voltage drop is probably reasonable while the ignitor is on. Then the fire starts, the ignitor goes off, and the voltage goes back to 120 volts. The fire goes off and the voltage stays at 120 volts. Then the ignitor goes on, the voltage drops to 118 volts. Then the ignitor goes off and the voltage goes back to 120 volts. No fire any more. this cycles over and over until I turn the dryer off. So I figure the problem is on the burner side, since the voltage is not switched off by a thermostat or the controller. The voltage stays on and something in the burner side is turning the flame off and keeping it off. I have to wait awhile (for everything to cool off, I guess) before I can repeat this. |
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« back to Power Tools, Hardware and Accessories forum
Forum topic by UKCat | posted 12-01-2012 01:34 AM | 1820 views | 1 time favorited | 56 replies |
I found a 5HP Foley Belsaw 12" planer and it is supposedly in good shape. He is asking $400 for it and said I can run some wood through it to see how it does. It's about an 1 hour drive and I haven't seen it. I asked him what model it is and how old it was and I'm still waiting for a reply. If its in decent shape is it worth $400? Would I be better off with a new bench top planer? |
56 replies so far
#1 posted 12-01-2012 01:40 AM |
I own one of these machines and it is unusual to find one with 5HP. I believe they were built originally with 3HP 220V single phase. If it is standing upright and runs smoothly it is worth every bit of $400. Check for any accessories that may have been overlooked, molding knives, guides, extra planer knives, etc. -- Dan Krager, Olney IL http://www.kragerwoodworking.weebly.com If you think you left something on and don't return to check it, it will be on. |
#2 posted 12-01-2012 01:44 AM |
I own one of those also but had no idea of the value. I will say a friend looked at mine and said he used to own one of them. He upgraded his to a 5 hp. He and a friend shared it and the friend had it at his home when he got sick and died. My friend mentioned to the widow that the tool was his. She sold it anyway. You are not in the Houston area are you? LOL |
#3 posted 12-01-2012 01:44 AM |
He did say that he checked and replacement knives run $35 to $40 and the ones on the at least need to be sharpened and probably replaced. |
#4 posted 12-01-2012 01:49 AM |
Lol Grandpa. I'm in Ky. |
#5 posted 12-01-2012 02:01 AM |
I had a Craftsman 12 planer that was built by Foley Belsaw. It was a 5hp, 220volt single phase. It was a real work horse that I used for 20 years before I sold it. I used it in my business so it was used a lot. Nothing unusual to run 100+ bd ft. at a time. The only thing I ever had to do was replaced the infeed and outfeed rollers a couple times over the years. (Sears still handles the parts, or at least they did about 4 years ago). I sold mine for $300 and that was probably too cheap, because it sold immediately. -- John @ http://www.thehuffordfurnituregroup.com |
#6 posted 12-01-2012 02:06 AM |
I have a Belsaw and I really like it. It will deliver more dimensional consistency in boards Chip collection isn't its best feature. I have mine as You can get a lot of different moulding knives I see them for sale used in my area for $200 and $400 is a fair price. |
#7 posted 12-01-2012 02:07 AM |
I also own one and they were 3 HP normally, but I upgraded to the 5 HP model with the saw attachment. Belsaw is still in business without the Foley name and they no longer do the locksmith and tool sharpening products. I bought a new set of blades 2 years ago and they were $55.00 then. The saw blade is an 11/8" arbor and when I got mine carbide was not a choice but mine is 25 years old and I have not replaced the blade and don't use that feather. Use the planner several times a week and it walks through Pecan (very hard like Hickory of which it is in the family). Yes, it came with 3 sets of moulding cutters and infeed guides but outfeed guides are extra. It needs a 3/4" table riser for moulding, so he may have made one for it and will throw it in as well as the out feed guides. The owner's Manual is available on line. Their current model is now a 15" machine v.s. the 121/4" of yesteryear. A strong great machine. A little tedious to set the infeed and out feed rollers for smooth operation, but once set they stay put. The owner's manual provides the near perfect settings. -- Russell Pitner Hixson, TN 37343 firstname.lastname@example.com |
#8 posted 12-01-2012 02:33 AM |
Seems like a good buy if it's good shape. -- http://artisticwoodstudio.com Custom furniture |
#9 posted 12-01-2012 02:46 AM |
I have one that's still a 3hp. Major workhorse. Heads are expensive….like VERY expensive. But, if you are doing production work, it would be worth it. Heads are too high for hobby work…that's my opinion -- Gary, DeKalb Texas only 4 miles from the mill |
#10 posted 12-01-2012 03:15 AM |
He said its going to need new blades which sounds like another $50 or so. And it will probably cost $50 in gas to go get it, so probably about $500 all together. I don't mind paying that much for a planer, but is that going to be better than getting like a dewalt $735 for about the same price? I like the idea of it being a floor model, although floor space is at a premium right now. |
#11 posted 12-01-2012 03:23 AM |
That planer and the dewalt are light years apart. Go get it ! |
#12 posted 12-01-2012 03:52 AM |
Offer him $350 since it needs new blades. It's still worth the $400 plus blades, but it won't hurt to offer less. -- John @ http://www.thehuffordfurnituregroup.com |
#13 posted 12-01-2012 05:50 AM |
I am going to call and talk to him tomorrow and get a little more info. It sound like these are pretty good planets from what everyone is saying. Just kind of nervous buying this and not knowing much about it. I was thinking at least something new had a warranty. If the rollers are bad would that be a deal breaker for you? Would they be fairly cheap to replace? |
#14 posted 12-01-2012 01:59 PM |
+1 cabmaker and +1 huff. I almost bought a second one just to avoid change over time. Don't get a light weight planer like the portables. This machine is as critical to any shop as a table saw, so you don't want to compromise any more than the Belsaw already is. You will appreciate its mass. -- Dan Krager, Olney IL http://www.kragerwoodworking.weebly.com If you think you left something on and don't return to check it, it will be on. |
#15 posted 12-01-2012 02:12 PM |
+1 Dan, I would not be afraid of that machine if it's in any kind of shape at all. -- John @ http://www.thehuffordfurnituregroup.com |
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I need to create a social network for Natural Hair.
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I need to create a Facebook for hair with some elements from Pinterest (to pin their favorite styles) and Instagram (for the profile banner to constantly rotate through their images). I will provide a few wire frames. Below is a list of things that the site will need to have.
Website Goals:
1. Custom Design
a. Clean layout, similar to flat design but still modern looking, dynamic, responsive and professional
2. Easy navigation, user friendly
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Tailed frog
Tailed frogs | |
Scientific classification | |
Kingdom: | Animalia |
Phylum: | Chordata |
Class: | Amphibia |
Order: | Anura |
Suborder: | Archaeobatrachia |
Family: | Ascaphidae Fejérváry, 1923 |
Genus: | Ascaphus Stejneger, 1899 |
Species | |
Distribution of Ascaphidae (in black) |
The tailed frogs are two species of frogs in the genus Ascaphus,[1] the only taxon in the family Ascaphidae /æˈskæfᵻdiː/.[2] The "tail" in the name is actually an extension of the male cloaca. The tail is one of two distinctive anatomical features adapting the species to life in fast-flowing streams. These are the only North American frog species that reproduce by internal fertilization.[3]
Its scientific names means 'without a spade', from the privative prefix a- and the Ancient Greek skaphís (σκαφίς, 'spade, shovel'), referring to the metatarsal spade, which these frogs do not have.[4][5]
Until 2001, the genus was believed to be monotypic, the single species being the tailed frog (Ascaphus truei Stejneger, 1899). However, in that year, Nielson, Lohman, and Sullivan published evidence that promoted the Rocky Mountain tailed frog (Ascaphus montanus) from a subspecies to its own species.[6] Since then, the former species has been formally called coastal tailed frog.
General morphology[edit]
The existence of the visible "tail" appendage makes this frog family distinct from all other frogs. Thus, its wider classification is difficult. It is usually classified in the Archaeobatrachia suborder of ancient frogs, though some say it should be a sister to all other frogs. The "tail" is found only in males, and is actually part of the cloaca, used to insert sperm into the female during mating. This anatomical feature improves breeding success by minimizing loss of sperm in the turbulent, fast-flowing streams inhabited by this species. Thus, the tailed frogs exhibit internal fertilisation, rather than the external fertilisation found in other frogs.[7]
These frogs are primitive in having a greater number of vertebrae than other frogs, in lacking the ability to vocalise, and in possessing free ribs. They are small 2.5 to 5.0 cm (0.98 to 1.97 in) and are found in steep, fast-flowing streams in Montana, Idaho, Washington, Oregon, and northern California in the northwest United States, and southeastern British Columbia.
The tailed frogs share certain characteristics with the Leiopelma, a genus of primitive frogs native to New Zealand, with which they may be phylogenetic sister taxa. The prehistoric Vieraella belongs to the tailed frog family.
General habitat[edit]
The habitat of the tailed frog is cold, fast-moving streams with cobblestone bottoms. They are mostly aquatic, but adults may emerge during cool, wet conditions to forage terrestrially. Breeding season lasts from May through September, and females deposit their eggs in strings under rocks in fast-moving streams. Larvae take one to four years to metamorphose in the cool, fast-moving mountain streams.
Adults forage primarily terrestrially along stream banks, but also occasionally feed underwater. A wide variety of food items is taken, including both aquatic and terrestrial larval and adult insects, other arthropods (especially spiders), and snails. Tadpoles consume small quantities of filamentous green algae and desmids. Large quantities of conifer pollen are consumed seasonally by tadpoles.
During the day, adults seek cover under submerged substrates in the stream, or occasionally under similar surface objects close to the stream. Individuals have also been found in crevices in spray-drenched cliff walls near waterfalls. During winter, individuals are less active, especially inland, and appear to retreat beneath large logs and boulders. Tadpoles require cool streams with smooth-surfaced stones with a minimum diameter of 55 mm (2.2 in). Tadpoles probably spend most of their time attached to such substrates by a large oral sucker. The large, sucker-like mouth parts of the tadpoles are a second distinctive feature of the species, enabling survival in turbulent water unsuitable for other frogs. They prefer turbulent water to smooth, swiftly flowing water.
- ^ Frost, Darrel R. (2013). "Ascaphus Stejneger, 1899". Amphibian Species of the World 5.6, an Online Reference. American Museum of Natural History. Retrieved 7 July 2013.
- ^ Frost, Darrel R. (2013). "Ascaphidae Fejérváry, 1923". Amphibian Species of the World 5.6, an Online Reference. American Museum of Natural History. Retrieved 7 July 2013.
- ^ http://www.greendiamond.com/environment/wildlife.asp
- ^ σκαφίς. Liddell, Henry George; Scott, Robert; A Greek–English Lexicon at the Perseus Project
- ^ Dodd, C. Kenneth (2013). Frogs of the United States and Canada. 1. The Johns Hopkins University Press. p. 20. ISBN 978-1-4214-0633-6.
- ^ Nielson, M.; Lohman, K.; Sullivan, J. (2001). "Phylogeography of the tailed frog (Ascaphus truei): Implications for the biogeography of the Pacific Northwest" (PDF). Evolution. 55 (1): 147–160. doi:10.1111/j.0014-3820.2001.tb01280.x. PMID 11263735.
- ^ Zweifel, Richard G. (1998). Cogger, H.G.; Zweifel, R.G., eds. Encyclopedia of Reptiles and Amphibians. San Diego: Academic Press. pp. 84–85. ISBN 0-12-178560-2.
- Gissi, Carmela; Diego San Mauro; Graziano Pesole; Rafael Zardoya (February 2006). "Mitochondrial phylogeny of Anura (Amphibia): A case study of congruent phylogenetic reconstruction using amino acid and nucleotide characters". Gene. 366 (2): 228–237. doi:10.1016/j.gene.2005.07.034. PMID 16307849.
- Roelants, Kim; Franky Bossuyt (February 2005). "Archaeobatrachian paraphyly and pangaean diversification of crown-group frogs". Systematic Biology. 54 (1): 111–126. doi:10.1080/10635150590905894. PMID 15805014.
- San Mauro, Diego; Miguel Vences; Marina Alcobendas; Rafael Zardoya; Axel Meyer (May 2005). "Initial diversification of living amphibians predated the breakup of Pangaea" (PDF). American Naturalist. 165 (5): 590–599. doi:10.1086/429523. PMID 15795855.
- Excerpt from Zeiner et al. 1988 describing tailed frogs
External links[edit]
Wikimedia Commons has media related to Ascaphidae. |
Data related to Leiopelmatidae at Wikispecies


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Posts tagged 'video'
This Is (Part of) America
This Is Not America: Protest, Resistance, Poetics, on view now at the ASU Art Museum, gives a startlingly fresh look at the intersection of art and social change through allowing works to converse with one another. Curated by Julio César Morales, with assistance from ASU College of Liberal Arts and Sciences graduate student Indira Garcia, the three-part exhibition pairs works from the museum's collection with those of emerging and established artists in a sort of "question and answer" format.
Part 1, on view now through Nov. 9, 2013, marries a painting by Cuban collective Los Carpinteros with an animated video by contemporary Seattle-based artist Paul Rucker, in an effort to "explore the power dynamics and political implications of oppression," according to Morales.
"The exhibition title takes a cue from Alfredo Jaar's seminal 1987 public art video intervention at Times Square in New York City, A Logo for America, a three-part video animation that plays off the notions of 'America' and its relationship to citizenship, homeland and borders," says Morales.
On the east wall of the gallery hangs Dominar Bestias/How to Dominate Beasts, the watercolor painting by Los Carpinteros, whose name "derives from the historical term for skilled slave laborers," according to Morales. Within the painting we are shown a number of household objects, such as dressers and chairs, shackled to a fence that corrals them, as though they were animals in a paddock. It is unclear whether they are being chained to the fence so that they do not escape, or whether it is the fence that is tied down to these material goods. One begins to wonder who or what is being dominated, and, beyond that, who or what the beasts are.
Across the darkened gallery is Paul Rucker's video piece Proliferation, projected on the wall opposite the painting. Rucker was inspired to create the piece while at a "prison issues" residency at the Blue Mountain Center in the Adirondacks, when he discovered a series of maps created by researcher Rose Heyer that showed the growth of the United States prison system over time. Rucker, a musician as well as visual artist, created the durational piece from the maps and also composed the original score.
"A word that can refer to healing of a wound through rapid growth of new cells, Proliferation explores the evolution of prisons in the United States through an animated series of colored dots indicating location and number of prisons from 1778-2005," says Morales. "The incarcerated are a relatively invisible aspect of American society… [but] the United States leads the world in the number of people behind bars."
To Rucker's score, each new prison appears on the projection as a dot of color, starting first as green specks and escalating in intensity into brilliant red and orange flashes. While viewing "Proliferation," one is struck by how quickly the outline of the United States is formed, beginning first with New England, but quickly springing across the map to the West Coast. The colored dots, illuminated against a black background, echo other, similar maps, such as those illustrating light pollution from major cities, or urban sprawl.
As the piece goes on, the green dots begin to merge, turning yellow, and the music takes on a more ominous tone. The dots appear in faster succession, sprawling across the map, until there is no one section that is free of color. They evolve from isolated flashes of yellow into orange and then red masses, joining together with sharp, jolting regularity, like explosions. One feels like a cat, mesmerized, watching a laser dart around a wall. But with this feeling of not being able to look away, to stop chasing the flashes of light, the music suggest something darker, a sinking feeling in the pit of one's stomach. This is not a game. This is serious.
The two pieces, poised opposite each other in the Americas Gallery on the second floor of the museum, both face off against one another and speak to each other. Their conversation occurs in the space between, where the viewer is invited to sit, to pace and to contemplate.
–Juno Schaser , Public Relations Intern
Part 1 of This Is Not America will close on Nov. 9, 2013, with Part 2 on view Nov. 16 2013 – March 15, 2014, and Part 3, co-curated with ASU MFA students, up from March 22 – June 6, 2014.
Artists include Facundo Arganaraz, Sandow Birk, Los Carpinteros, Juan Capristan, Enrique Chagoya, Binh Danh, Kota Ezawa, Eamon Ore-Giron, George Grosz, Ana Teresa Fernandez, Jon Haddock, Alfredo Jaar, Michael Lucero, Carrie Marill, Sanaz Mazinani, Ranu Mukherjee, Georgia O'Keeffe, Gina Osterloh, Raymond Pettibon, Michele Pred, Ken Price, Jerome Reyes, Paul Rucker, Rene Francisco Rodriguez, Fernando Rodriguez, Lorna Simpson and Adriana Varejão.
Let there be light — and dark: "Turn off the Sun" at the ASU Art Museum
Each piece in the exhibition Turn off the Sun, on view at the ASU Art Museum through Sept. 7, packs tremendous heat, power and impact. Drawn from La Colección Jumex in Mexico City, an incredible private contemporary art collection of about 2,600 works, Turn off the Sun displays two dozen of these searingly honest and beautiful pieces. This is only the second time that any of the Jumex collection has been shown in the United States.
The exhibition title did not come about from a concentrated brainstorm though, but rather from joking about the weather. During Jumex director Patrick Charpenel and curator Michel Blancsubé's site visit to the ASU Art Museum in the summer of 2012, the two started an ongoing joke about how someone needs to "turn off the sun." When curator Julio César Morales joined the staff in the fall and heard it, he pointed out how that's not necessarily a joke—that's a great name.
"When I heard this phrase, I thought it was a brilliant title, and the more it was discussed by myself and Heather Sealy Lineberry, the more we thought the title really connected with artworks in the exhibition and addressed ideas of site, adaptability and physical displacement," Morales said.
ASU Art Museum senior curator and associate director Heather Sealy Lineberry said the museum staff became interested in the social and political implications of brining the contemporary art collection from Mexico to Arizona and how the content of the work would shift just by the very nature of having it here.
The artworks address several types of issues between Mexico and the United States, among them borders, landscape, lines, labor, politics, economics, faith and awareness.
One example is "Cuando La Fe Mueve Montañas" ("When Faith Moves Mountains") by Francis Alÿs, a conceptual performance artist. In the multimedia installation, the artist has a group of people move a mountain with shovels to create a line, like a curious border. Another is "Security Fence" by Liza Lou, which explores dark psychological spaces of violence and confinement. Santiago Sierra's artwork "3000 holes of 180 x 50 x 50 cm each" is a triptych of three photographs and a performance piece that he created while in southern Spain, looking across to North Africa where many immigrants come into Spain. On video Sierra highlights matters of struggle and immigration by showing the 3,000 shoveled holes, mostly dug by Senegalese and Moroccan day workers over the course of a month with a Spanish foreman overseeing the labor.
"These three pieces pulled at our imagination and were tremendous anchors for what we wanted to do with the exhibition," Lineberry said.
In an interview with San Francisco Arts Quarterly, Blancsubé also explained, "I generally don't choose a theme and then look for artworks to sustain or feed it… I am seduced by artworks and imagine funny games between them. The theme or the discourse comes after or during the construction, and in a way it is suggested by the artworks themselves."
Along with the choosing of the exhibition title, another unexpected aspect of Turn off the Sun is that there are no labels next to the pieces. Instead, there is printed material at the entrance of every gallery space that includes technical information, biographies and further text about the artistic process of all the artworks. This allows people who want to make their own relationships with the work to have that possibility. With each exhibition, the museum experiments with how to provide information for the visitor, and different kinds of exhibitions warrant different information systems.
Blancsubé said the information related to the artworks is accessible for curious visitors, "but not having plaques plugged on the wall near the artworks allows visitors to have a first approach of the artworks on their own without receiving from the beginning glasses that oriented their viewing."
"We thought the design and artworks look so clean and beautifully installed that labels would interrupt the artwork itself," Morales said. "I was more interested in the audience having a visceral experience of the work and engaging with it without any other materials to distract from that experience."
Though some visitors are more comfortable with text panels, many are pleasantly surprised and enjoy the practice of making their own connections with the works.
Lineberry said she sees people relating to the artworks and broadening their thoughts about the border: "I think a lot of people are coming away with a pretty amazing experience of the works individually and the process of piecing them together as a narrative in their minds."
–Mary Grace Richardson
Images, from top: "Overpass," by Jeff Wall; "Cuando La Fe Mueve Montañas" ("When Faith Moves Mountains"), by Francis Alÿs; "Security Fence," by Liza Lou, and "3000 holes of 180 x 50 x 50 cm each," by Santiago Sierra. All photos by Craig Smith.
Recent NY Times article recognizes social practice art – something we know a thing or two about!
Last week in The New York Times, Randy Kennedy, arts writer, took a look at something the ASU Art Museum has been thinking about for many years: socially engaged practice.
In an article entitled "Outside the Citadel, Social Practice Art Is Intended to Nurture," Kennedy examines the history and current exploration of social practice, whose "practitioners freely blur the lines among object making, performance, political activism, community organizing, environmentalism and investigative journalism, creating a deeply participatory art that often flourishes outside the gallery and museum system."
"Leading museums have largely ignored it," Kennedy writes, "But many smaller art institutions see it as a new frontier for a movement whose roots stretch back to the 1960s but has picked up fervor through Occupy Wall Street and the rise of social activism among young artists." He highlighted museums such as the Hammer Museum, the Walker Art Center, and the Queens Museum of Art, all of which are working to extend their reach in the socially engaged practice sphere.
ASU Art Museum has been focused on socially engaged practice for more than 5 years, with the launch of our Social Studies initiative in 2007, which provides opportunities for artists working in various media to interact creatively and collaboratively with students, other artists, and faculty and community members. The social interaction of the museum-as-artist's-studio setting encourages participants to explore new avenues of creativity and ultimately enhance their understanding of their world and each other.
The museum has hosted several social practice artists to date as part of the Social Studies initiative, including Jarbas Lopes, Anila Rubiku, Jillian MacDonald, Gregory Sale, Jennifer Nelson and Julianne Swartz, among others. In 2012, the museum launched a new social practice speaker series as part of the Socially Engaged Practice Initiative at the Herberger Institute for Design and the Arts, and welcomed artist and dancer Elizabeth Johnson as the new Coordinator for Socially Engaged Practice for the Herberger Institute for Design and the Arts. Johnson is building a socially engaged practice certificate/focus at HIDA, and is housed at the ASU Art Museum because of the museum's work in this area.
If you're curious about the history of the museum's dedication to socially-engaged practice, take a look back at some of our blog posts showcasing the art and artists we've had the pleasure of working with: https://asuartmuseum.wordpress.com/category/social-studies-collaborative-projects/
For Kennedy's full New York Times piece, visit: http://www.nytimes.com/2013/03/24/arts/design/outside-the-citadel-social-practice-art-is-intended-to-nurture.html
–Juno Schaser, PR Intern
Penny for your thoughts: ASU Art Museum Spring 2013 Season Opening Reception
On Friday, Feb. 8 we celebrated the season opening for our spring shows: Cu29: Mining for You, a collaboration between Matthew Moore (Phoenix) and Clare Patey (London); Traces of Japanese Life: Selections from the Melikian Collection; and, at the Ceramics Research Center, Born of Fire: The Pottery of Margaret Tafoya and a companion show, Re: Generation: A Survey of Margaret Tafoya's Descendants. We also said farewell to artist-in-residence Miguel Palma, from Portugal, whose exhibition Trajectory closed Feb. 9.
Thanks to everyone who made the shows possible — to the hard-working artists, to our donors, to our magnificent staff and advisory board, and to Target and Tempe's own Cornish Pasty, for helping make it such a great party.
Coming up on March 22: The opening of Turn off the Sun: Selections from la Colección Jumex. Be there!
Photos by Matthew Corbisiero
February 14, 2013 at 11:06 pm dsussmansusser Leave a comment
Passion in motion: Elizabeth Johnson and Socially Engaged Practice at the ASU Art Museum
Above: Elizabeth Johnson, second from left, takes part in the "Mother-Daughter Distance Dance" at the ASU Art Museum on April 2, 2011, as part of Gregory Sale's exhibition It's not just black and white.
Art is active. And for those like Elizabeth Johnson, it can move them in more ways than one.
As the Coordinator for Socially Engaged Practice at the museum, Johnson uses dance in order to organize collaborations, promote dialogue, and investigate pressing issues of our time.
Part of how she does this by harnessing people's natural movement and putting shapes around questions that people then answer physically.
It's not as abstract as you might think.
"We move to communicate all the time," Johnson says. "We improvise every moment we have a conversation. We have an idea, we have a vision and we act on that vision or we don't act on that vision. I just offer ways for people to show that. It's a very fluid process."
Before accepting this position, Johnson had never worked for a museum before. Having received her BFA in Dance from Connecticut College, Johnson traveled around the world organizing community engagement events and projects, as she says, in everyone's community except her own.
Johnson explains working at the ASU Art Museum has made her rethink what a museum is — especially this museum: "I've never been a person who felt like I could concentrate with something still on the wall, as beautiful as it might be. Now that I'm in a museum, I've realized that a museum is a place that can hold ideas and is a place for the public, not just the people who know about art."
Johnson's work uses unique activities to connect with the community and have people think about artmaking and relationships formed through art. She bases her work on the idea that intangible social interactions can constitute the core of an artwork.
"That's why I'm here," she says.
When it comes to Socially Engaged Practice, Johnson explains she's not just a planner but also a practitioner of the process: "There's a lot of preparation that goes into collaborative events. I tend to set up things, but I also get involved with them. I facilitate and coordinate but I also practice and do. I get myself involved in a lot of interesting things."
Through dance, Johnson creates meaningful cross-disciplinary collaborations and builds sustainable partnerships.
"What art can do is hold complexity," she says. "And I kind of believe that when you bring your body into this, it brings out this human experience that we all have and gives us the capacity to have compassion in a way that's different than if we just read a newspaper."
Johnson is currently pursuing an MFA in Dance from ASU with her thesis focusing on exploring women and crime, a subject she became interested in after collaborating with Gregory Sale for It's not just black and white in 2011.
"It really had me think what it's like for me to be in Arizona and for me to be in a community that was my own."
Above: Elizabeth Johnson, left, and Maricopa County Sheriff's Office Deputy Chief MaryEllen Sheppard talk with girls who participated in the "Mother-Daughter Distance Dance."
Johnson considers curriculum integration the biggest and most important aspect of her job — how to create a program that trains the artists of the 21st century that gives them skills to not only hones their craft but apply it in multiple contexts.
Johnson currently instructs Socially Engaged Practice: Engagement and Community, but she is also in the process of designing a new program and curricula for a certificate in Socially Engaged Practice at the undergraduate and graduate level.
"I have a real passion for this kind of work and what happens when young people see how big art can be and how many possibilities there are," Johnson says. "The actual engagement of young people is really interesting to me. And I thrive on it, which is why I'm in a university."
Next semester she and the director of the ASU Art Museum Gordon Knox will teach the new class Socially Engaged Art, which will examine the role of the artist in society from an anthropological perspective. Knox and Johnson also plan to use the course to push students to think about how to use art to moderate conversations and assess the complexities of a given social situation.
Johnson explains she has learned more about socially engaged practice uses dance in a way to share, not perform. "You combine your experience with somebody else's and you see 'Oh, it's a more complicated picture,'" she says. "More interesting, more broad. [Working here] has definitely expanded what I know."
Johnson's intern Lindsay Henika, a senior studying Art Administration, has found her time at the museum to be an opportunity to learn about special event planning and media marketing. "It's been so great to see how the museum works from the front row," she says.
Johnson has her hand in many different projects, but her next upcoming event is At Home in the Desert: Youth Engagement and Place. The project partners the faculty and staff in ASU Herberger Institute for Design and the Arts with community-based organizations, The Boys & Girls Clubs of Metropolitan Phoenix, The Boys and Girls and Club of the East Valley, Girl Scouts—Arizona Cactus-Pine Council, and South Mountain High School.
Johnson has been working with the Girl Scouts by studying the desert and making dances about what they find. The public event will take place on Dec. 1 at the Diane and Bruce Halle Skyspace Garden on the Tempe campus at 4:30 p.m.
To learn more about what the Socially Engaged Practice community is up to, check out its blog and Facebook.
—Mary Richardson
Notes From Underground: Fall Season Opening
Guest blogger and ASU student Veronica Rascona writes about the ASU Art Museum's Fall 2012 Season Opening Reception:
At 6:30 on the evening of September 28, the ASU Art Museum launched its 2012 season. People gathered in the darkness at the front of the building to talk, eat and watch a performance by the mixed parkour, martial arts, dance and acrobatics group Movement Connections. The group, dressed in white, took advantage of the museum's unique structure as they silently crawled, leapt and ran all over the walls and stairs of the Art Museum's entrance.
In a touching moment, a little girl got caught up in the mix and one of the performers invited her to perform a stunt with him—a simple handstand, nothing dangerous. After performing a few more acrobatics on their own, eventually the performers climbed up onto the cement pillars in the front of the Museum. They performed a few stunts and then began pointing toward the façade of the museum upon which a video was being projected. It appeared to have been filmed from the window of a car and depicted an expanse of desert landscape rushing by.
The video continued to play as Movement Connections wrapped up their performance. People then began to shuffle down the stairs, waiting for the next sequence in the evening's activities. Some ventured into the Museum to look at the current exhibits on display, while others, like myself, sat just outside the doors, taking in the array of lights that filled the underground courtyard—part of the "55: Music and Dance in Concrete" performance that would start at 7:30 p.m.
I sat to one side of the courtyard and began to notice other elements—a video of an eye opening and closing and rolling around in its socket was projected onto the back of the pillars that outlined the courtyard. Above and below the eye was the phrase, "Don't touch me!!" projected backwards. It was somewhat disturbing,and I did not know what to expect from the performance after seeing these images. Just before the performance began, the audience was instructed as to where to stand in order to best view the performance, but were also told that the performers would be moving throughout the space alternately providing various vantage points a better view.
The crowd gathered, and from my vantage point I witnessed three of the visiting dancers, each dressed in red, black and white, slowly fill the empty space between us and the Museum. I could not see what was happening on the other half of the courtyard as it was blocked by cement pillars and benches, but this was how the show was meant to be viewed: people seeing different parts of the show, each person having a unique viewing experience. The three girls on my side slowly moved into position.
The lights changed from bright white lines filling the space to a strange speckled effect, and music composed of electronic sounds, "from 55 improvised and 55 composed pieces" started to play. The dancers began to move. Their dancing was rapid; they moved convulsively, throwing themselves at the cement walls and against the floor as the lights continued to change and pulse. The effect was alarming and intriguing. As the dancers moved throughout the space, the crowd adjusted to watch each new scene; at one point the only male dancer shut himself behind a gate while a video of him stuck in what seemed like a jail cell played on the wall behind the bars. The video cut from scenes of him in the cell, to the real dancer performing similar movements in the real, jail-like space.
The music and lights continued to change as the dancers set and reset their stage, from one side of the courtyard to the other, to behind the bars, to on top of the cement benches, to at one point taking the elevator in the middle of the space up to the second floor where we lost sight of them for a moment. The performance, meant to engage the audience in sight, sound and movement, felt like a piece about escape; the dancers' jerking movements gave the impression that they were almost trying to break out of their own skin.
What was most beautiful about the whole event, however, was not only the performances, but the interaction between the performers and their audience. I looked over the faces in the audience and everyone's eyes were on the performers, completely captivated. The decision by both performance groups to use the space around their audience created an atmosphere in which we were all connected. Not only did everyone get to watch a fun and intricate performance, but they were encouraged to feel like they were a part of it all.
Thanks to Sean Deckert and Veronica Rascona for the use of their photographs.
55: Music and Dance in Concrete premiered at Fort Worden as part of Centrum's Reverberations series, in addition to premiering at the ASU Art Museum. The project received initial funding from the MAP Fund and the Doris Duke Charitable Foundation, as well as support from Arizona State University, and RBMA. The project is supported by the Japan Foundation through the PerformingArtsJAPAN program. The Centrum Artist Residency program is made possible by support from the Washington State Arts Commission and the Washington State Parks and Recreation Commission. Additional support was provided by 4Culture Site Specific.
Miguel Palma's Trajectory is supported in part by the FUNd at ASU Art Museum, the ASU Art Museum Advisory Board and Friends and Margarita and Willie Joffroy.
Want a sneak peek of the Fall 2012 Season Opening?
The ASU Art Museum's Season Opening is this weekend — Friday and Saturday night, from 6:30-9 p.m. — at both the Museum and the Ceramics Research Center.
The events are free and open to the public, and there's something for everyone, from the premiere of a video/dance piece in the Nymphaeum to a parkour team using the building as their canvas to food trucks in the parking lot.
The parkour group Movement Connections will perform from 6:30-7:30 p.m. Then, at 7:30 p.m., composer/musician Wayne Horvitz will premiere 55: Music and Dance in Concrete, his collaboration with choreographer/dancer Yukio Suzuki and video artist Yohei Saito.
You can get a taste of 55: Music and Dance in Concrete here: http://www.youtube.com/watch?feature=player_embedded&v=3x6OPYI6ZE4
Below are some shots by photographer Sean Deckert of Movement Connections in action, plus some photographs (also by Sean Deckert) from ISEA2012, in Albuquerque, where artist Miguel Palma presented his "Desert Initiative Remote Shuttle," which will be on display at the opening as part of Palma's show Trajectory.
Join us on Friday and/or Saturday night for the big show! So nice, you might just want to come by twice.
September 25, 2012 at 10:51 pm dsussmansusser Leave a comment


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The Horse Forum
- Horse Showmanship
- - Basic Tips
Basic Tips Okay, so I want to show my mare in open shows in horsemanship and showmanship. What are some basic tips or rules I need to know? Someone told me to always stand on the opposite side of your horse the judge is on. So, if the judge is on the right, I stand on the left. The horse needs to know the basic, trot, walk, and whoa commands? :-) |
Here is a showmanship video. Pay attention to the part where she sets her horse up for the judge. This is called quartering, and it's the proper thing to do. Pretend your horse is divided along his spine, and through the girth area. When the judge is in front of the girth area, you should be on the opposite side, and when he/she is behind the girth, you should be on the same side. Walk, trot, whoa, back, pivot, and stand are the skills your horse needs for showmanship. When you give a cue, your horse should respond right away. He should also walk, trot and stop straight. Sometimes patterns call for circles or partial circles, too. I've seen a lot of patterns lately that call for backing around a cone. When you approach the judge to set up, make sure you leave at least an arm's length between the horse's nose and the judge. And make sure the horse is in front of the judge, not you. For horsemanship, make sure your horse is responsive to your cues, and does not toss his head or swish his tail too much. He should take the proper leads, travel in a straight line or a correct circle. He should at least be able to do a simple lead change. He should be able to pivot in either direction and back in a straight line and around a cone (in either direction). You should also be able to control the speed of his trot and lope with quiet cues. These are just some things to work on, and I'm always working on at least two of them. For example, my gelding has forgotten how to back around a cone. Both of these events are judged on you, and how you present your horse. So, have your horse clean and shiny, paint his hooves. If his mane is short, band it. If it's long and you don't want to cut or pull it, make sure it is tangle free. Clip the bridle path, muzzle, eyes, ears (if it's not too cold or he lives inside) and fetlocks. I clip from the fetlock down to the hoof, up the back of the fetlock, and down the back of the leg. Put a little shine on his eyes and muzzle. Make sure all your tack fits well and is clean. Your attire is just as important. Your clothes should fit well, be clean and pressed. Your boots should be shined and your hat should be clean and well shaped. Your makeup should be more dramatic than what you normally wear in order to show from under your hat. For small shows, you don't need to go all out on the presentation thing, but I usually do because it's good practice. Sorry for the novel, I can really get going sometimes. :oops: |
Haha no problem, thanks for the tips =) But she isn't registered, so I know that will constrict me to small, open shows. |
I live in Kansas, and we have an organization that puts on open shows that are as competitive as breed shows. (Just an option if you want to get into it.) Posted via Mobile Device |
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Lot 432: 1817-Dated JAMES MONROE Indian Peace Medal Struck in Bronze Julian IP-8. GEM MS
Presidential Election Auction - Early American History Auctions
by Early American
29 October 2016
Rancho Santa Fe, CA, USA
Live Auction
Indian Peace Medals
1817 James Monroe Indian Peace Medal Struck in Bronze
1817-Dated. James Monroe. Large Size. Julian IP-8. Bronzed Copper. Largest Size. 76mm. By Moritz Furst. Gem Mint State.
Julian IP-8. 76mm. This historic medal was struck at the United States Mint from obverse dies engraved by Mortiz Furst completed in early 1819 according to Julian, with the second John Reich reverse die having "A" with flat tops, which saw its first production runs in the late 1840s and used in later Mint production. The color is a rich, satiny light reddish-brown color that is both original, nicely reflective and extremely attractive. This is the largest of three sizes issued.


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Good Guinness, deliver us! Israel demolishes Arab village 38 times
Al-Araqeeb village with population of 500 residents in the Negev claim their some 40 homes have been destroyed over three dozen times by Israel Land Administration. Residents of the Al-Turi Arab Bedouin tribe insist they are being pushed off their own land.
"We have ownership documents that go back to the Ottoman era," the head of the Committee for the Defense of al-Araqeeb, Awad Abu Farih, stated to Anatolian news agency.
The residents believe that the village's centuries-old cemetery could serve as strong evidence of their historic rights.
But since Israel was created 63 years ago, when the Ottoman Empire had already pushed up the daisies, Israeli officials have disregarded the antique documents and called for demolition teams over and over again.
Despite the unceasing governmental acts of destruction, the villagers remain firm and full of self-righteous belief, continuing to resist Israeli authorities.
"Every time they demolish our houses, we rebuild them and we will keep doing that even if the demolitions reach 99. We will never leave our land," Abu Farih said.
With the Arab Spring raging in the Middle East, the world seems to have forgotten about Israeli-Palestinian tensions, which certainly are still there to stay.
It is likely that Israel is unwilling to create a precedent by allowing Bedouins of Al-Araqeeb village to stay and build. The whole territory of Israel was once carved out of Palestinian lands. After the Arab-Israeli war in 1948 up to 700,000 Palestinians had to flee their land, which officially became Israel in 1949.
Thus, if Israel recognizes the Al-Araqeeb inhabitants' rights to this land, it could potentially inspire thousands of Palestinians to follow suit.
Confrontation has been lasting for years. The latest demolition of villagers' dwellings happened on May 23. All possessions that were inside the houses were confiscated.
Despite their determination, the villagers are living lives full of fear that their habitations could be destroyed any day.
"Our village has become a living example of the flagrant violations committed by the Israeli authorities against its Arab population," Awad Abu Farih stated.
Since they cannot expect assistance from anywhere else, the villagers are considering an official address to the Guinness Book of World Records to draw international attention to their case.
Jeff Halper, executive director of the Israeli Committee against House Demolitions, told RT that this application is an act of desperation.
"[The villagers] have turned to Israeli courts for years and years. Israeli activists have gone down and tried to resist the acts of demolitions. There has been an international campaign against the Jewish National Fund, which is behind the demolition of these homes and nothing has helped," he explained.
The activist believes that world's attention is the last resort the villagers can rely on, saying that there is a chance to force Israeli government to do just through public opinion and international law.
A demolished house in the unrecognized Bedouin village of Al-Araqeeb, few days after all the houses of the village were demolished by Israeli law enforcements (Photo by Eman) Photo from Wikipedia.org


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A monthly podcast from the National Gallery, London. Each episode features previews of exhibitions and displays, gives a behind-the-scenes glimpse of life in the Gallery, and provides information about upcoming special events.
December 1st, 2010
Episode 103 of 203 episodes
Changing scene: Canaletto and the theatre (with special effects). Plus window dressing as art, and paintings with stories to tell
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Caroline Feraday and Claire Bullivant on Brits in Hollywood, and Hollywood through the eyes of Brits.


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19.03.17 22:48
Muslims in Mannaar expose systemic inability of SL State in delivering justice to victims
Muslims in Mannaar expose systemic inability of SL State in delivering justice to victims
NPC expresses peace hopes amid pessimism[TamilNet, Tuesday, 09 November 2004, 11:47 GMT]Warning that "mismatch between the goals and expectations of the government and LTTE with regard to peace talks" is a major obstacle to peace, the National Peace Council (NPC), a Colombo based Sri Lankan peace group, in a media release issued in Colombo Tuesday, said, "Norwegian facilitators could make a valuable contribution," by reorienting the Government of Sri Lanka and LTTE "to approach the peace process in a manner that would ensure that both parties gain." The full text of the media release follows: The forthcoming visit of the Norwegian Foreign Minister Jan Peterson and other key Norwegian facilitators, including Deputy Foreign Minister Vidar Helgesen and Special Envoy Erik Solheim, has helped to revive hopes of a resumption of the long stalled peace process. However Foreign Minister Peterson has already stated that their visit should not generate too many expectations. He has pointed out that the messages he is receiving from the parties are not very positive ones. The LTTE's concern appears to be that the government is only seeking to restart the peace talks in order to meet the conditionality on the receipt of economic aid from the international donors. On the other hand, the government's concern appears to be that the LTTE's intention in restarting the peace talks is to obtain full and separate control over the north east of the country through its ISGA proposal. The National Peace Council believes that the mismatch between the goals and expectations of the government and LTTE with regard to peace talks would stand as the most important obstacle to their resumption. However, by utilising their unique access to the very highest leaderships of the two sides the Norwegian facilitators can contribute greatly to preparing the ground for future peace talks. The National Peace Council is of the view that there are three important areas where the Norwegian facilitators could make a valuable contribution. The first would be to reorient the government and LTTE to approach the peace process in a manner that would ensure that both parties gain, rather than only one party gaining while the other party loses. The Norwegian facilitators need to be skilful in pointing to the government and LTTE that there are options by which they can be guaranteed mutual gains by restarting the peace talks. Second would be to convince the government and LTTE that the next step forward in the peace process is the setting up of interim and mechanisms of governance for the north east in the light of the agreement to explore a federal solution made at the Oslo round of peace talks in December 2002. Third would be to persuade the government and LTTE to explain to the people what they perceive to be the obstacles to resuming the peace talks. This would permit an informed public discussion that is facilitated by the media and civil society organisations to take place on how to overcome those obstacles. |
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New Westminster, city, southwestern British Columbia, Canada, on the Fraser River estuary, in the southeastern part of Vancouver metropolitan area. Founded in 1859 on a site chosen by Colonel Richard C. Moody, it was called Queensborough until renamed at the suggestion of Queen Victoria. New Westminster was the capital of colonial British Columbia (1859–66) and the province's first (1860) incorporated city. It was the scene of a disastrous fire in 1898.
New Westminster is one of western Canada's busiest ports, a major rail junction, and one of the province's largest industrial and marketing centres. Known for the manufacture of forest products, New ... (100 of 144 words)


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Order of the Founder Awarded by the General During Spirit-Blessed USA Southern Commissioning Weekend
OVER a weekend that saw seekers kneel at the mercy seat in every meeting, General André Cox and Commissioner Silvia Cox (World President of Women's Ministries) were used by God to bring waves of blessing to Salvationists of the USA Southern Territory. Hosted in Atlanta, Georgia, by territorial leaders Commissioners Donald and Debora Bell, the international leaders were untiring during a demanding schedule which included commissioning celebrations, officers councils and the awarding of The Salvation Army's highest honour.
During the first days of the visit the General and Commissioner Cox led officers councils and had opportunity to spend quality time with the cadets of the Disciples of the Cross Session. Public events began with a soldiers rally on Friday night, at which the General challenged Salvationists to live in the joy of Pentecost. 'We are the temples of the Holy Spirit,' he said, 'reflecting the fullness, abundance and praise that only God can give. We don't want to be lemon-sucking Christians. We should be the happiest people on the planet.'
The crowning moment of the evening came when Commissioners James and Ruth Osborne, former USA national and USA Southern territorial leaders, were admitted jointly to the Order of the Founder – The Salvation Army's highest honour. The General described the couple as 'spiritual giants', telling them: 'I believe your spirit of Salvationism that you have shared together ... is something that would have commended itself to our Founder.' The award's citation revealed that it was presented for 'extraordinary leadership rendered to The Salvation Army in the United States', saying that the two recipients have 'continuously managed to raise the standard of service by exhibiting a high degree of guidance, empowerment and clarity of mission, both as active officers and in post-retirement'.
Another soldiers' rally – with an emphasis on youth – started Saturday activities. Speaking of the biblical record of Naaman, who was witnessed to by a young girl, Commissioner Cox reminded those present: 'His life changed because of that one little girl. This teaches us that children in difficult circumstances can be a light because they know who God is. We must teach our children the ways of God.'
A series of rallies followed for youth, men and women. Later that night a festival of praise highlighted the talents of the cadets, featuring thrilling testimonies from several about how God had touched their lives. The internationalism of the Disciples of the Cross Session was evident, with cadets from the USA being joined by people originally from The Philippines, Mexico, Cuba, Canada, Kenya and Korea.
The commissioning and ordination of the Disciples of the Cross Session was the focus of Sunday morning. Evangeline Booth College principal, Major Dean Hinson, presented 29 cadets and 9 auxiliary-captains who were 'trained, taught and excited'. The territorial leaders saluted every cadet and auxiliary-captain, giving each a specially chosen Scripture promise.
In his Bible message the General reminded the new lieutenants: 'These are sacred and solemn moments. God in his faithfulness still calls men and women to leave all to commit themselves to the building of his Kingdom. We leave behind our personal ambitions, hope for career or any monetary reward. The strong sense of calling demands that we cling to the Cross, no matter where we are sent.' He admitted: 'I was not called to rank or position, but to proclaim the Gospel!'
At the end of the meeting an invitation was given for those who felt God's call to officership. No fewer than 200 people crowded the stage in response.
The appointment service capped off the weekend with a spirit of joy and celebration. The sessional speaker, Lieutenant Arnaldo Peña, declared: 'Our covenant is not with The Salvation Army. The Salvation Army did not call us – God did. It is my prayer that we are laying all we are on the altar every day. If we do that, the fire will come.'
The fire of the Holy Spirit came throughout the weekend as scores knelt in rededication, in response to God's call to officership, and to be saved and sanctified.
Report by Lieut-Colonel Allen Satterlee
Tags: Americas and Caribbean, Events, The General


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Birt simply couldn't communicate with people who appreciated the values of the BBC. After ritual huffings and puffings, the Charter would have been renewed no matter who ran the show.
Now the place is a shambles, with Birt and his sidekick, Sir Christopher Bland, using licence-payers' money to fund a service virtually nobody can see and few want to, while cherished sports programmes are snatched away by predators, and where technical glitches and managerial gaffes are a daily occurrence.


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by Duane Dailey
University Extension
"As beef prices drop, improved genetics gain value," Dave Patterson told Thompson Farm visitors Tuesday, Sept. 20.
The University of Missouri Extension specialist said farmer-owned beef herds gain value using research from the MU farm near Spickard in Grundy County.
"We're improving value in what is already proven to work," Patterson said. He and MU graduate students perfected fixed-time artificial insemination at the farm.
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Definition of ammoniacal
a. - Of or pertaining to ammonia, or possessing its properties; as, an ammoniac salt; ammoniacal gas.
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Hotel Ukraine
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The hotel was built in Soviet times has a reception on each floor manned by a staff member who will also attend to you if your require anything although the choice may be limited. Many of the rooms offer outstanding views across the square and over the city and are practicle if unimaginative in their interior design. The hotel has a large restaurant overlooking the square and there a large selection of restaurants near by. The building is quite plain and mid rise but situated on a hill it dominates the local skyline. The medium sized lobby is quite dark and old fashioned and on first glance gives the wrong impression about the rest of the hotel. The highlight of staying at this hotel is the location which is the best in Kiev, this room category is one of more modern and recently renovated ones and suitable for those guests who on a budget but seeking a central location.
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text: Home Recipes Cuisine Asian Recipes Asian Side Dishes Share: Asian Side Dishes Looking for Asian side dishes? Find Asian side dishes including Asian vegetables, Asian stir fry, and more Asian side dish recipes. Recipe Spotlight Asian Quinoa Sonya Labbe I love to cook and come up with new recipes. I serve this dish at least once a month and sometimes more. For a different twist, I'll occasionally add a scrambled egg or use soy sauce instead of the rice vinegar. —Sonya Labbe, Santa Monica, California Get Recipe More Asian Side Dishes Sort: Most Relevant Highest Rated Previous Page ... 10 11 12 ... 13 Next Page Crunchy Veggie Toss Crunchy Veggie Toss Crisp carrots, green beans, water chestnuts, garbanzo beans and more combine with bottled dressing in this sensational salad. "I created this medley when I wanted something easy, delicious and healthy," relates Ronda Leuth of Le Claire, Iowa. View Recipe Dill Green Beans Dill Green Beans I love this healthful alternative to salty munchies like potato chips. The steamed beans are addictive and easy. —Allison Gray, Freeport, Maine View Recipe Ginger Fried Rice Ginger Fried Rice For variety and color, I like to combine at least two types of vegetables in this fried rice recipe. It's a flexible dish, limited only by what's in the fridge and your imagination. —Becky Matheny, Strasburg, Virginia View Recipe Advertise with us ADVERTISEMENT Glazed Carrot and Peas Glazed Carrot and Peas Here's a low fat way to dress up vegetables. Carrots and peas are so pretty on the table, —Shirley Bedzis, San Diego, California View Recipe Glazed Snow Peas and Carrots Glazed Snow Peas and Carrots "Crunchy glazed snow peas and carrots go together so well," writes Agnes Ward from Stratford, Ontario. "They make a colorful and delicious side dish for a wide variety of entrees." View Recipe Lemon-Sesame Veggie Kabobs Lemon-Sesame Veggie Kabobs Lemon and sesame star in this fresh veggie combination. "This tasty marinade turns plain veggie kabobs into an irresistible side dish." —Kimberly Hammond, Kingwood, Texas View Recipe Nutty Gingered Carrots Nutty Gingered Carrots "My mother makes a delicious carrot and onion side dish, but it calls for a whole stick of butter. My lighter version uses only 1 tablespoon and relies on some lively Asian flavors to make up the difference." A scrumptious side! Jeanne Holt - Mendota Heights, Minnesota View Recipe Rice Sand Castles Rice Sand Castles Cooked rice and frozen vegetables hurry along the preparation of this savory side dish. Simply press the cheesy mixture into measuring cups with the back of a spoon and stack them to make individual sand castles. View Recipe Sesame Vegetables Sesame Vegetables When I go out to my garden in summer to "pick" dinner, my family knows I plan to fix this tasty medley. It's just as good during cold weather months using fresh supermarket produce. View Recipe Snow Pea & Carrot Saute for Two Snow Pea & Carrot Saute for Two With bright carrot strips and green snow peas, this makes a colorful dish with any entree. Short on time? You can also buy matchstick carrots at the grocery store. Simple & Delicious Test Kitchen View Recipe Snow Peas with Tomatoes Snow Peas with Tomatoes "This colorful, quick side dish is a great pair with any meat or fish," advises Jackie Horridge from Nashville, Tennessee. "Sometimes I like to top it with toasted pine nuts, sliced almonds or crumbled feta cheese." View Recipe Previous Page ... 10 11 12 ... 13 Next Page Advertise with us ADVERTISEMENT Advertise with us ADVERTISEMENT


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History was made yesterday in Newcastle. But it was less a "where were you when..." moment than a "what was the point of that" episode. For yesterday, on the day Dean Richards made his televisual return as a coach, was the inaugural use of ref-cam on a rugby union field.
On the face of it, the idea of strapping a camera to a rugby union referee in the part of the season that, because of weather conditions, does everything to perpetuate the idea that the sport is unintelligible to vast swathes of the population, seemed a brilliant one. At last we would see what goes on when 16 blokes writhe around in the hope that an egg-shaped ball would pop out to a member of their shivering back line.
As the moment of kick-off between Newcastle Falcons and London Scottish loomed, the speculation mounted. What would we see? Would we gain an insight into a hitherto unknown, Narnia-style world that exists only in the breakdown area? Would we at last find out the complex and convoluted chain of events that must be set in motion for a referee to blow for offside? Or would we merely be treated to lingering shots of flankers', erm, flanks?
Then there was the deep irony of the choice of fixture, given that it was Richards' first appearance since the infamous Bloodgate scandal which engulfed Harlequins in 2009. Unbroadcast television footage was used to implicate Tom Williams in the blood capsule fakery, which led to the player's and Richards' banning. So with this added angle, who knows what sort of skulduggery may be unearthed in the future with a ref's-eye view of proceedings?
Five minutes into the presentation the official, Matt Carley, was pictured being strapped into the apparatus, which looked worryingly like a flak jacket. But after that brief peep into his dressing room, the chat went back to the presenter James Gemmell and his pundit Pat Sanderson. And the weather (windy) and ground conditions (muddy) were deemed more important than the piece of kit on Carley's chest.
The first live shot we were treated to was when Carley jogged out from the tunnel on to the field before kick-off. His view, for the curious among you, was of the Falcon open-side flanker Richard Mayhew's back. As the images were beamed to the nation – a little pixelated owing to the weather playing havoc with Sky's feed – the commentators trumpeted how rugby union is at the forefront when it comes to technology in sport. Unlike those football Luddites, the viewers collectively inferred. But where were the shots during the match? A good 20 minutes into the game we were yet to see a single picture from ref-cam. Anything – a scrappy ruck, a mediocre line-out – would have done.
But 21 minutes and 13 seconds into the match, we got it. It wasn't of earth-shattering significance, but it was a refreshing change of angle. In a break in play, while a line-out was being organised, we got a seasick-inducing shot of a couple of blokes ambling past Carley. Later in the match there were some tantalising scrum shots, but we saw nothing beyond the "crouch" command, as the forwards ducked out of shot. Carley would have had to crouch down if we were to gain any insight into the pack's machinations. But as they say – and as Sky must be hoping – history is sometimes made in the most mundane of moments.


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Bomber Instinct is a multiplayer-only bomberman-like game which adds many features (such as special powers for the characters). Basically, several people must battle in a maze, their only weapon being a bomb which explodes, throwing flames vertically and horizontally. The game only plays on a single computer for now.
Tags | Games/Entertainment |
Licenses | GPL |
Operating Systems | POSIX Linux Windows BeOS |
Implementation | C |
Release Notes: This version includes a new level, an RPM archive format, and minor bugfixes.
Release Notes: Lots of updates since the last release, including a partial code rewrite, several bugfixes, new sound effects and music, and several enhancements in gameplay.
Release Notes: First release.