text:
One of the world's biggest cities is bursting at the seams with energy, culture, great food and enough surreality to keep it endlessly fascinating
Author Joe Keohane Photography Holly Wilmeth
DAY ONE | It's Saturday morning, and the push of a button on the bedside console in your corner suite at Las Alcobas (1), a stylish new hotel in the wealthy Polanco neighborhood, opens the curtains, revealing, through the gracefully curved window, an uncharacteristically quiet street below. You have the front desk call you a taxi. By the time you get to the lobby — more like the front hall of a grand residence than a hotel foyer — the car is waiting to take you a few miles south to Coyoacán.
Step out at the Frida Kahlo Museum (2), in the Casa Azul, the former home of painter and global cultural icon Frida Kahlo, where she learned to paint while bedridden after an accident and where she later lived with her equally iconic husband, Diego Rivera (and, for a time, an exiled Trotsky). The rambling home is airy, full of light and cluttered with art, pre-Columbian pottery and books; on a kitchen wall, "Frida" and "Diego" are spelled out in hundreds of tiny teacups.
After an hour of wishing you lived here, you walk out and follow Avenida Ignacio Allende past vendors setting up stands of woolen plush toys, lucha libre masks, clothes and food. You follow the mariachi strains to El Jarocho (3), a lively corner café. Coffee in hand, you take a seat on a sidewalk bench and catch up on the local gossip. Farther down, you cross Plaza Hidalgo (4), a stately public space with the old city council building on one side, ringed by cafés and ice cream shops, and then pass through the shady, manicured Jardin Centenario to Francisco Sosa, a leafy street lined with colorful colonial homes.
You cross the major avenue La Paz and make your way to the Plaza San Jacinto in San Angel, home of El Bazar del Sábado (5), D.F.'s legendary weekly art fair. Chilangos pack into the bazaar building to peruse handmade jewelry, iron solar system mobiles and impossibly detailed sculptures carved out of single toothpicks, while outside, hundreds of artists sell their paintings, which range from conventional to subversive to exuberantly kitschy.
Wind your way along cobblestone residential streets to San Angel Inn (6), a famed local institution housed in a sprawling, high-class hacienda. You take a table in the bar area, call for one of the house margaritas, poured from a silver decanter buried in a dish of crushed ice, and follow that with roasted poblano peppers stuffed with cheese and beef in a sweet sauce with undertones of smoke.
After a brief nap back at the hotel (the city is 7,200 feet above sea level, and the air is thin) and a shower, you stroll through Polanco, past mansions, embassies and streets named for great writers, to Pujol (7), considered by some to be Mexico City's most important restaurant. The dizzying tasting menu marries the traditional with the avant-garde. There are the pumpkin flowers stuffed with bean paste; the baby corn in coffee mayonnaise; the egg in a pastry puff drizzled with caterpillar sauce; fried dough and tomato crudités with fried tomato skin, queso fresco and a sprinkling of tiny, crunchy beetles; a raspberry sorbet served with salt and flaming mezcal. It seems to go on forever.
You're half-delirious from food, but you'd be remiss if you didn't take in some of the nightlife, so you have the waiter call a car and you head out to the Roma neighborhood. Per the urging of an expat, you stop first at La Nuclear (8), a narrow, noisy, brick-lined space that sells pulque, a traditional milky beverage made from fermented cactus that's enjoying a revival among bohemians. Then it's off to Mama Rumba (9), a popular salsa club. The place is slammed, with two levels of people dancing to a ferocious salsa band. You stake out a spot by the bar and order a mojito. You try to keep from being sucked in, but resistance is ultimately futile.
I noticed that the last three "Three Perfect Days" articles are not available in pdf format (the last one was Stockholm). I do have the Hemispheres iPad app, but I don't usually walk around foreign cities with my iPad in my hand. It's nice for reading, but not for sightseeing. Nor do I have international data roaming plans that permit me to pull up the web based versions while traveling overseas.
Could I convince you to continue the practice of posting the pdf versions in addition to tall the other dissemination?
I really love the articles and have followed the recommendations of many of your Three Perfect Days articles — with a printed copy in my hands!
Eric Mazur
Professor of Physics
Harvard University


text:
Sī guā is a common vegetable used in Chinese cooking, but comes with a rather sinister English name: snake gourd, for the long, spindly shape. Despite the exotic name, I've seen it in both New York and Boston Chinatowns. (Sī guā is the long skinny gourd with bumpy ridges running the length of the outside.) The flesh is about as soft as a winter melon's, which means that any cooking method longer than a quick stir-fry will render it very soft.
Snake gourd goes well with a red meat that also cooks quickly, like lean pork. I add some green peppers, onions, and scallions, but keep the companion veggies to a minimum so the sī guā and pork stand out.
Even with a rough exterior, sī guā peels easily. So no need to exert more force than peeling, say, a carrot. My mother likes to cook sī guā with a concentrated abalone extract, which has the smell and texture of oyster sauce. Of course, good 'ol oyster sauce always works too and is much easier to find. Just don't cook melons or gourds with soy sauce or else your finished product will have a sour flavor.
Pork and Sī Guā Stir-fry
Serves 4 to 6, as part of a communal meal
6 oz lean pork 5 mL (1 teaspoon) cornstarch Salt and pepper 5 mL (1 teaspoon) sesame oil 5 mL (1 teaspoon) soy sauce 30 mL (2 tablespoons) Chinese rice wine or dry sherry 30 mL (2 tablespoons) vegetable oil 2 garlic cloves, halved 1/2 green pepper, roughly chopped 1 red onion, quartered and separated 2 snake gourds, halved and chopped into 6 cm long pieces 2 scallions stalks, roughly chopped 15 mL (1 tablespoon) oyster sauce 30 mL (2 tablespoon) water
The pork needs to marinate for 30 minutes to an hour before cooking. In a small bowl, mix cornstarch, salt, and pepper with sesame oil, soy sauce, and 5 mL (1 teaspoon) of rice wine/sherry. Careful not to let the pork marinate for more than an hour.
Heat up 15 mL (1 tablepoon) of vegetable oil in your wok over high heat. Add 2 garlic halves and cook until fragrant. Add peppers and onions; cook for 2 to 3 minutes, stirring occasionally. Stir in the sī guā and scallions. Add oyster sauce first, then 15 mL (1 tablespoon) of the water. Cover the wok with a lid and let the veggies cook for 5 more minutes. Scoop out veggies onto a plate and cover with a lid to keep warm.
Pour remaining vegetable oil into wok. Add the other 2 garlic halves and cook until fragrant. Stir in pork and brown each side. Add the remaining 25 mL cooking wine/sherry. Add the remaining 15 mL (1 tablespoon) of water to finish cooking the pork; a small amount of sauce should also have formed. Scoop out the pork, garlic, and sauce to serve over the gourd and over veggies.

subset: commoncrawl


text:
To be a successful samplista you need to be patient and have great deal of concentration. Recording all the notes for several velocity layers may sound as a daunting task, but that's nothing compared to the editing of the thousands of samples you probably will have at the end of the day.
The thing that is more important than hardware is what you record and how you do it.
The first sample CD I bought (an Audio CD so I had to sample and program it myself) was recorded in 1989 using a Neumann USM stereo microphone and a Sony PCM 2500 DAT tape recorder in a rented studio belonging to the Swedish Broadcasting Company. Really simple. And it still sounds great. Sure there's only two sustained dynamic levels in addition to short notes (but most hardware samplers couldn't afford to load more than one instrument created from it during the 90's anyway) but the quality of the recording goes a long way at least to my ears. If it was recorded today, almost twenty years later, the difference would mainly be the number of dynamic layers and performances recorded.
Use a simple solution as possible with minimal noise that give you good levels. For instance, a solid state memory based stereo recorder that let you record 24-bit at 44.1 kHz and transfer them back to a computer over USB might serve you better than a clunky DAW.
Noise it the keyword. As signal path that is acceptable for a regular recording might not be working well for samples. Remember that samples are just small fragments of time played back again and again making details you otherwise wouldn't pick up very audible. Always do some test runs during the R&D phase of a project and edit some small test takes and map them in a sampler to get a better feeling for it.
The two main culprits is environmental noise and signal path noise. When recording make sure you have closed all windows, shut off any air-conditioning and silenced all equipment (like computers). This is why using a proper studio is a good idea. In the signal path, make sure you use good microphones (exactly what microphone you use depend on what you will be recording) and a great microphone pre-amp. Recommended pre-amps are Millennia, Avalon, Focusrite and Mackie Onyx, with the first two considered in a league of their own. Rent the best you can get if you can't afford to buy one.
Of course, after killing as much as noise in the signal chain as possible there's always the rumbling stomach of the player that need to be quieted before recording commence.
In my opinion the best way is to make continuous recordings and takes as long they are well organized and follow a predictable protocol. What I mean by continuous take is to record several notes and whole scales with silence between them as an alternative to record each note into its own take or file. The recording session will run smother and it will make it simpler to sample yourself playing an instrument. It's actually quicker to split and label the individual notes at the editing stage than during the recording.
Let's pretend we will sample an acoustic guitar that has six strings and we want to sample four dynamics (p, mp, mf and f):
* There will be one continuous take per string per dynamic, making the total number of takes 6 x 4 = 24.
* Begin with recording each string at a specific dynamic: 1st string p, 2nd string p, and so on...
* Structure each take the same way: Play each note in the scale, start by the lowest. Repeat notes and don't proceed to the next note in the scale until you're certain you've got at least one good one. Leave silence between notes.
* Name the file for each take along the lines of '1st-p.wav' for the 1st string p take. If you are using a recording device make a short audio note at the beginning of each take to keep track of what the file should be named once transfered to a computer.
Noise removal
Sometimes it's necessary to process the audio, i.e. to remove noise. That's preferable done on entire takes before any further editing to make the effect uniform. But beware that it might change amplitude and timbre of the recording. Also keep in mind the noise by definition being noise is more successfully removed from otherwise silent parts and lesser so from the actually sample data you're interested in creating a "pumping" compressed sound.
The first step is to load each take into an application like Audacity and label each note. It may sound difficult but it's rather simple if you followed the same protocol when recording each take. Play back the take, click somewhere in front of the next note and hit Ctrl+B in Audacity to set a label. There's usually enough time to type a simple label without stopping the playback, use number pairs instead of actually note names. E.g. 1-1, 1-2, 2-1, 2-2, 2-3, and so on... with the first number indicating relative pitch in the scale and the second just being a counter.
The next step is to split the long takes into individual files based on your labeling. Create a new directory, like '1st-p/', for the take and select 'Export multi' in Audacity. The labels will be used as file names.
Open each file and trim the samples. You can use the 'Z' hot key in Audacity to snap selections to zero crossings. It's important to not cut the samples off to early. Often you can't really see the decay well on the waveform display, it's better to rely on your ears and a pair of headphones. Also make sure to not cut out the small buildup of one or two periods preceding the actual note.
If the waveform is off center and the body tending towards the top or bottom, then you might want to use DC Offset to correct it.
Loop (see this thread for information about looping) and apply any compression, eq and pitch correction if you find it necessary. The lesser the better.
Normalizing has traditionally been the final step after you're done messing with the sample. This is an optional step not necessarily done with modern sample libraries with the possibly exception of drum kits.
When you have all samples edited, or at least a small subset to make a test, start building your virtual instrument by mapping them on the keyboard and into velocity layers. This is a sampler specific process depending on what you samples and how you want the final instrument to behave. With LinuxSampler use Gigedit to create new instruments out of your samples.
Recommended reading
Audio Sampling by Sam McGuire and Roy Pritts, that run through all the basics, and Sample This by Simon Cann and Klaus Rausch.


text:
Recall 12V602000
Puddle Lights May Melt or Catch Fire
Recall Details
The accessory lights that illuminate the area under the doors are referred to as "puddle" lights. An electrical short circuit can develop when either the puddle light or its connector are exposed to an electrolytic moisture source (such as road spray that has road salt in it) and it penetrates the circuit board of the puddle light or the pins of the puddle light connector(s). The short circuit can generate heat which may melt the plastic resulting in smoke or fire. Subaru dealers will install an additional fused-harness, to protect the puddle light system.
Our Quick Take
The accessory lights that illuminate the area under the doors are commonly called "puddle" lights. An electrical issue in one or more of these lights can cause the light assembly to overheat and possibly catch fire.
What Should You Do?
Subaru will notify owners of affected vehicles beginning in February of 2013. If you are experiencing "puddle" light problems, or you don't receive notification and you feel you should have, please contact your dealer. It's helpful to have your vehicle identification number (VIN) when you call. The Subaru recall number is WQE-41.


text:
Wilderness Use
From MeritBadgeDotOrg
Wilderness Use Policy of the Boy Scouts of America
All privately or publicly owned backcountry land and designated wildernesses are included in the term "wilderness areas" in this policy. The Outdoor Code of the Boy Scouts of America and the principles of Leave No Trace apply to outdoor behavior generally, but for treks into wilderness areas, minimum-impact camping methods must be used. Within the outdoor program of the Boy Scouts of America, there are many different camping-skill levels. Camping practices that are appropriate for day outings, long-term Scout camp, or short-term unit camping might not apply to wilderness areas. Wherever they go, Scouts need to adopt attitudes and patterns of behavior that respect the rights of others, including future generations, to enjoy the outdoors.
- In wilderness areas, it is crucial to minimize human impact, particularly on fragile ecosystems such as mountains, lakes and streams, deserts, and seashores. Because our impact varies from one season of the year to the next, it becomes important for us to adjust to these changing conditions to avoid damaging the environment.
- The Boy Scouts of America emphasizes these practices for all troops, teams, and crews planning to use wilderness areas:
---*Contact the landowner or land-managing agency (USDA Forest Service, National Park Service, Bureau of Land Management, U.S. Fish and Wildlife Service, U.S. Army Corps of Engineers, state and private agencies, etc.) well before an outing to learn the regulations for that area, including group size limits, to obtain required permits and current maps, and to discuss ways Scouts can fulfill the expectations of property owners or land managers.
---*Obtain a tour permit (available through local council service centers), meet all of its conditions, and carry it during the trip.
- [Editor's note — Tour Permits were replaced in 2011 by the Tour and Activity Plans, which, on April 1, 2017, were terminated by BSA.]
---*Review the appropriate BSA safety literature relating to planned activities. (See Safe Swim Defense, Safety Afloat, Climb On Safely, and Trek Safely.) Also see the Guide to Safe Scouting on the BSA Web site at http://www.scouting.org/pubs/gss/toc.html for more information on current BSA policies and procedures for ensuring safe activities, as well as the Fieldbook Web site at http://www.bsafieldbook.org.
---*Match the ruggedness of high-adventure experiences to the skills, physical ability, and maturity of those taking part. Save rugged treks for older unit members who are more proficient and experienced in outdoor skills.
---*Conduct pretrip training for your group that stresses proper wilderness behavior, rules, and skills for all of the conditions that may be encountered, including lightning, missing persons, wildfire, high winds, flooding, and emergency medical situations.
---*Participate in training in how to apply the principles of Leave No Trace, and be proficient and experienced in the leadership and skills required for treks into wilderness areas.
---*Adhere to the principles of Leave No Trace.


text:
Coin Collecting
From MeritBadgeDotOrg
| This is the Coin Collecting merit badge for Scouts, Lone Scouts, and qualified Venturers or Sea Scouts.
Scouts, Lone Scouts, and qualified Venturers or Sea Scouts can also earn the Collections and Stamp Collecting merit badges.
|Coin Collecting merit badge
|BSA Advancement ID:
|Requirements revision:
|Latest pamphlet revision:
|Coin collecting is one of the oldest of all hobbies. Hoards of ancient coins found in excavations indicate that coins were one of the first collectibles. From earliest times, people valued coins not only as a means of trading and storing wealth, but also as miniature works of art.
Coin Collecting merit badge requirements
View the change list (history) of these requirements. The text of these requirements may be locked. In that case, they can only be edited by an administrator.
Please note any errors found in the above requirements on this article's Talk Page.
Requirement resources
1. US Mint Process of Making Coins - US Mint
2. Dictionary of Coin Collecting Terminology - Coin Terminology - Coin Collecting History, Themes, etc.
3. Coin Grading Scale - Coin Grading - Grading (with photos) -
4. Storing your Coin Collection
5. PCGS Coin Prices Online Reference Catalog - Reference Magazines: Coin Prices - Coins Magazine - Numismatic News - World Coin News -
6. State Quarters Program
7. Current US Coins, Photos, Designers, etc. - National Numismatic Collection Smithsonian Institution
8a. US Paper Money History, Photos, Types, etc.
8b. Legal Tender
8c. The Federal Reserve — Official site
9a. World Coin Identification Guide Online - World Coin Online Catalog
9b. Society of Paper Money Collectors
9c. Society of U.S. Pattern Collectors
9d. A date set of a single type of coin might be one Lincoln penny from each year from your birth.
10a. Tour the US Mint - U.S. Bureau of Engraving and Printing - Federal Reserve Districts
10b. Coin Shows Listing - Coin Shows - The U.S. Mint for Kids
10d. The Coins of Colonial and Early America
Related awards
|Hobby-related awards
See also
|General Merit Badge information
External links
- Craig Murray's Scouting Coins
- American Numismatic Association
- American Numismatic Society
- Have you ever wondered about a $1 bill?
- The National Numismatic Collection


text:
Business Office
The Business Office is dedicated to supporting the educational mission of Elizabethtown College by providing effective and efficient financial services with integrity, respect, confidentiality, and professionalism. Our mission is to promote fiscal responsibility by providing our clients with the necessary services to fulfill their financial obligations to or from the College while safeguarding the assets of the College.
The Business Office at Elizabethtown College interacts with nearly everyone on campus. We oversee student and general campus accounts, from Jay Bucks to tuition and office supplies. We provide training to student club treasurers and work closely with the Financial Aid office to help students with their individual accounts.
Contact Information
Phone: 717-361-1417
Fax: 717-361-1485
Email: email@example.com
Mailing Address: Elizabethtown College, Business Office, One Alpha Drive, Elizabethtown, PA 17022


text:
CAMBRIDGE, Mass. – A strong defensive effort and multiple goals from six players gave Harvard men's water polo squad a 16-6 win over Columbia's club team to claim third place at the Men's Ivy Championship Sunday. The Crimson finished third for the second time in the two-year history of the tournament.
For the complete tournament results click here.
Harvard filled up the stat sheet on both ends of the pool this afternoon. The Crimson featured nine players that netted a goal for the second time in three games – including six that found the back of the net multiple times.
Freshman John Holland-McCowan led the team with three goals followed by two from Evan Zepfel, Mike Katzer, Evan Ramsey, Max Eliot and Luka Babic. It was the second time in as many days that Holland-McCowan converted three shots giving him three hat tricks this season.
Katzer gave the Crimson a boost on the offensive end this weekend. The senior, who entered with three multi-goal games in 2011, scored twice in all three of Harvard's Ivy Championship games.
Evan Ramsey (4 steals), Alexandre Popp (9 saves) and Jimmy Field (7 saves) propelled the Crimson defense in the matinee. Antone Martinho and William Roller added two steals apiece. Harvard finished with an impressive 13 steals during the contest.
The Ivy Championship rounded out the regular season schedule for the Crimson. Harvard will compete in the CWPA Northern Division Championship Nov. 5-6, where they will face Cambridge rival and tournament hosts MIT Nov. 5 at 12:30 p.m.


text:
AFR necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 176 diseños de 72 diseñadores freelance.
Logo for a fast growing tech company located in wild, wonderful, West Virginia! We've had a few logos in the past and none have ever fully captured 'who' we are as a company. Looking for a designer to combine the solid character of our company/people and also engage the bleeding edge of technology on which we live.
Mountain Leverage, Voice Beyond...
Our new tagline is "Voice Beyond..." if you fit that in the logo, either in concept or literally, great, but know it doesn't *have* to be there literally...wide open contest, so have fun with it!
We've been through a few logos over the years and none have ever fully captured the essence of who we are. Our current logo is on our site...past logos can also be seen at mountainleverage (dot) com/careers/join-the-team
Mountain Leverage is a rapidly growing software and voice systems company based in Grafton, West Virginia, serving organizations in the US and around the world. Mountain Leverage provides expertise in best-of-breed voice-enabled systems for supply chain, health care and other industry applications. Our software development and consulting team is creative and on the cutting edge of technology innovation.
Good luck and thanks for the interest!
- something similar to the color scheme we currently have is desired, but if you're feeling a change, then let's see what you have!- Easily transferrable to web, biz cars, letterhead etc. So if needed, can be broken apart for use in different mediums- Simple, elegant, connected to who we are, where we are, and what we do- Something original- Looks good in black and white- The winner needs to deliver in a common vector format
- Something too complicated- The same thing every other tech company has
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


text:
What I remember most about my service is the day I got shot. It was on 2 January in 1944. The 3d Battalion, 7th Marines—in which I was a member of L Company, 2d Platoon—and the 3d Battalion, 5th Marines were to do a sweep in front of the lines at Cape Gloucester on New Britain.
We'd been on patrols out there a number of times, had the perimeter set up, and were to clear the front of 1st and 2d battalions of the 7th. I was a scout. We advanced about a half-mile or a mile. Out in front, we approached a creek flowing perpendicular to our line of advance and into the perimeter. As we got near, the other scout and I saw that the ground was very level until we reached the edge of the declivity that led down to the creek.
The creek itself was probably 10 to 15 feet wide. We didn't know at the time the Japanese had dug their pillboxes into the side of the bank, on the opposite side, just below the lip. We could see several Japanese soldiers. We didn't know whether they were decoys or what, but they seemed oblivious to our approach.
We checked with the squad leader, who said, "Open fire!" So we opened up on them. Within a minute or less, all hell breaks loose.
The machine-gun squad supporting us was not set up when we moved off the lip and down the creek bank. The slope was probably about 45 degrees. I was on my haunches when all of a sudden the gun immediately opposite me, about 35 yards off, started firing. He started off to my left and got immediate hits. At that point, they hit the gunnery sergeant off to my left. Then they started searching back toward me and the guys to my right.
The first bullet hit me in the left elbow. It felt like a sledgehammer. Probably fortunately, it pulled me somewhat to the left. The next round hit me in the right shoulder and lodged in my chest at about the tenth rib. They were hitting men all over. Our machine gun never got set up. Both BAR (Browning automatic rifle) men in our squad were killed. Our battalion commander lost control of the situation. The 2d and 3d platoons of L Company were pinned down, and we lost, dead and wounded, probably 60 percent. In a matter of about five minutes, our squad alone had five killed and six wounded, one of whom subsequently died.
I was lying downhill on the creek bank, and I didn't know whether I had a left arm below the elbow, because it was twisted around and numb. I knew the shoulder wound did no nerve damage because I could see the bullet hole. So I lay there a while.
We tried to get corpsmen to come up, but they couldn't. So finally, I started to get up, and I didn't know how to do it. I tried to turn myself around, but not being able to use your arms makes it even more difficult to get on your knees.
So I was thrashing around, trying to get at least pointed uphill, when the Japanese see the movement. They open fire again, and this time they hit me through the left buttocks and shoot off the left side of my heel. It feels like a whip hitting me.
That was the only time I got angry. I'd been pretty cool up until then, trying to figure how to get out. We knew they didn't take prisoners, but I was wondering why they were shooting at a wounded man. They were within easy voice range of us, so I shouted some epithets at them.
Then I lay there probably two hours. I noticed it was getting dark, but it was only about noon. I began to wonder if I was dying. To my right, I saw Private Floyd Martin behind a log. I yelled, "Martin, can you get my helmet out of my eyes? I can't see."
He said, "I'm afraid I can't do it, but I'll see if I can reach you with my rifle." He reached over with his rifle and was able to use the barrel to knock my helmet upward. So then I could see and watch. The Japanese fire the same way we do, probably one tracer to three ball, so I can tell where the gun immediately opposite me is firing.
Another gun was to my right, not immediately in front of me. The guy with the gun immediately opposite me, in the pillbox, evidently sees some Marines moving off to my right and starts firing at them.
At a time like that, you don't realize you can get superhuman strength. I was able in some way to turn myself at least partially sideways, so I could get a little roll. I got myself up and walked on my knees to where the bank leveled off. Off to my right I could see the machine-gun squad, who never got set up. If they're not all dead, they're all dying by that time. The Japanese gunner sees me, but he can't get his gun low enough to hit me.
I'm next lying on my back after falling. I could see the tracers, which looked like they were very close to hitting me. By this time, our platoon leader was killed trying to get people out. Some men were going to get medals that day, and it's questionable whether others should. Lieutenant Thomas J. O'Leary, a New York Irishman, was the commander of the weapons platoon. He and a corpsman named Hartman got a lot of guys out. But they don't get any medals.
So the two came up to me. They had to lie flat and push with their feet, because they couldn't crawl; that's how low the tracers were. Hartman inched around and gave me a shot of morphine. O'Leary said to me—because I'm lying with my head toward them—"We cannot get on our knees. Can you stand it if we pull you by your dungarees?" I said, "Yes, any way to get me out of here." So they had to move using only their toes, as they're lying perfectly flat, and pull me probably 30 yards before they were able to get on their knees and move me to a battalion aid station, about 300 yards back.
There, they put me on a stretcher and—just like you see them doing in the stills from World War II or in Vietnam—they stuck a rifle with its bayonet in the ground and from it hung a plasma bottle to combat shock.
Stretcher bearers later hauled me probably a half-mile. Japanese mortars fire, and the bearers dropped me. They finally got me to a jeep, which they needed because of the mud. Gloucester has the heaviest rainfall average in the world: 400 inches in the rainy season.
I stayed in the regimental aide station for 2.5 days. By that time shock set in and I have very little memory of it. They were not able to get planes to the strips, so they evacuated us on an LST (tank landing ship). The LST has probably the worst smell I ever smelled in my life. Some of about 250 guys hadn't had a bandage changed in 2.5 or 3 days, like me. Nothing stinks like blood.
See the full Naval Institute guide to The Pacific.


text:
Major headache: Man finds screwdriver lodged in skull
WARSAW, Poland (AP) — Polish doctors say a 25-year-old man has undergone a three-hour operation to remove a screwdriver lodged about two inches into his head.
Dr. Jan Kochanowicz, one of the doctors who treated the man in the Polish city of Bialystok, said the man apparently fell and lost consciousness, but does not remember that.
When he regained consciousness he was at first aware only of pain in a hand before realizing something else was wrong. He walked to his car, looked in a mirror and noticed the screwdriver, penetrating his forehead just above his right eye.
Kochanowicz told the station TVN24 the man smoked a cigarette before calling a neighbor who got him to the hospital.
The screwdriver did not damage the man's eyes or brain.
Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.