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Wednesday, April 20, 2011
Cussing Ad Lib
*Check out this website with a comprehensive, alphabetized list of swear and cuss words. It'll make you blush. Then insert swear/cuss of choice into the following blanks.*
I have a problem in my WIP. Oh cussing. So ----- annoying. If you cuss too much in your writing, you get blamed for being so ----- rated R, or being shocking for the sake of being ------shocking.
I mean, really? -----!
I have some cussing in my YA WIP (the age range is 13 and upwards). I throw an F-bomb here and there. The inflammatory excrement word starting with "s" is occasionally used. But I'm paranoid that it's too much.
I've read plenty of reviews that people won't read certain YA because of cussing. I've also read that substitute cuss words (Like in Beth Revis's Across the Universe) sometimes work, sometimes don't, and those that don't like it prefer a good old fashioned swear word instead.
What's your take on cussing in your writing? In your reading?
Also, please take a moment to visit Sarah Fine's blog for her take on this month's Sisterhood of the Traveling Blog question: Does each book/story you write have an overarching theme, and if so, do you think of it ahead of time or discover it after? If you missed it, check out previous posts by myself (Theme Me Up, Scotty!) and Laura Diamond, and stay tuned for next week's post by Deb Salisbury!
Posted by Lydia Kang at 6:30 AM
48 comments:
- Laura Pauling said...
I much prefer the real thing compared to fake swear words. They pull me right out of the story.
It depends on who you're writing for. If you're writing for the library school market then you should probably take out the swears. But if you don't care and write upper YA and it fits your character, then go for it.
- April 20, 2011 at 6:48 AM
- Christine Danek said...
If it fits the character, I prefer the real words. I haven't used the mother word, yet in my own writing. I don't think I've had the need, but it doesn't bother me when I'm reading it as long as it fits the character.
- April 20, 2011 at 6:50 AM
- Liza said...
So far, I think I've managed a "damn." Otherwise, I'm not sure my characters are the cussing type.
- April 20, 2011 at 6:51 AM
- Old Kitty said...
I love it when Dr Elliot in Scrubs uses "frick" as her swear word! LOL!!!
I tried (and couldn't finish) this book (it;s got zombies!) because the main character who was supposed to be the hero was so unpleasant. She was so nasty and mean without any reason to be and so the fact that she swore everytime she spoke just made her even more unpleasant! I know that if she were not nasty, the swearing wouldn't matter but because I disliked her so much, the swearing just grated.
Hope I'm making sense! Take care
- April 20, 2011 at 7:18 AM
- Anne Gallagher said...
In my contemp. women's fiction I used the F-bomb because I thought it fit the scenes (arguments). However, I realized in order to reach a wider audience (who wouldn't be turned off by so many bombs) I changed it to 'frigging'. That seemed to work just as well.
I prefer real cussing to fake (although I have read a recent YA that uses fake in an extraordinary way and was really well done.)
I think YA has too much swearing in it these days. If it's used only in one or two spots for emphasis it's fine. But bombs on every page are too much. IMO.
Words like h*ll, d*amn and sh*t arent' really cussing to me. But that's also my opinion. I have never used the mother word or the c-word in any book I've written. Too distasteful for me.
- April 20, 2011 at 7:22 AM
Sometimes cuss words need to there for emphasis and even character trait. But like all words in writing, only if absolutely necessary. When a comedian throws out too many during his act it turns off the audience. I believe the same goes for readers.
- April 20, 2011 at 8:06 AM
- S.A. Larsenッ said...
If it's appropriate for the character's development then use it...with caution and balance. Too much of anything is still too much. lol I'm not a fan of using cuss words in YA a lot, but I have encountered characters who wouldn't have been the same without a few loose words dangling off their tongues.
- April 20, 2011 at 8:07 AM
- B.E. Sanderson said...
I think that, like any other writing device cussing is fine if it's done right and it's a killer when it's done wrong. There should be a natural flow to the words. Throwing curse words in for affect jars that flows and throws the reader out of the story.
- April 20, 2011 at 8:13 AM
- Theresa Milstein said...
Across the Universe has the benefit of being in the future. Paranomalcy has a bleep machine.
For the rest of us, we have to figure out how to walk that fine line. I haven't used the F word, but I've got a few other minor ones. I try to be true to my characters without offending readers. Ain't easy.
- April 20, 2011 at 8:16 AM
Yup, I use cuss words...if it fits, use it. ;)
- April 20, 2011 at 8:47 AM
- Tara said...
I mostly stay away from cursing in narrative (unless it's maybe a deep internal), but in dialogue you have to stay true to character.
I write adult, but would think that doubly true for YA - you don't see a lot of 17 yo boys running around saying things like "Oh swizzle sticks, that chick makes me mad." Well, I hope not, cause that wouldn't have been a 17 yo I'd have wanted to date back in the day. Yanno, the dinosaur era.
- April 20, 2011 at 8:55 AM
- Munk said...
If it fits the character... the character must wear it.
- April 20, 2011 at 8:56 AM
- Talli Roland said...
I think a reasonable amount is fine. Like Munk says, if it fits the character...
- April 20, 2011 at 9:06 AM
- Vicki Rocho said...
an alphabetized list of swear words? Ohhh, the kid in me just has to click over and SEE that! ...but probably not at work, eh?
- April 20, 2011 at 9:08 AM
- Unknown said...
There's quite a bit of cursing in my WIP (YA). But it's authentic to who the characters are.
I can see a girl coming up with an alternate/made up word, but not a guy. Make sense though in fantasy or SF when it doesn't take place in our world.
- April 20, 2011 at 9:39 AM
- Bossy Betty said...
If it's the the character of the character then I am all for using the read thing.
- April 20, 2011 at 9:43 AM
- Olga said...
I myself don't like swearing. Especially when it's repeated. I think it's a sign of a limited vocabulary. From time to time, though, you find a person whose style of swearing sound quite acceptable and juicy. I guess it's a matter of skill and attitude.
- April 20, 2011 at 9:56 AM
- notesfromnadir said...
Wow, that's a very comprehensive website! I've learned quite a few new words! :)
I believe in minimal cursing. However, when I wrote those 2 books starring a narcissist, I had to go all out w/ the bad language due to the character[s]. I was glad to return to non-cursing in my next book & see that trend continuing!
- April 20, 2011 at 10:36 AM
- Rachna Chhabria said...
I avoid using cuss words, as I write Middle Grade Fiction. Don't want the parents and teachers to ban my books. But I would definitely thrown in few cuss words when I write a novel.
- April 20, 2011 at 12:33 PM
- nutschell said...
hmm...can't really curse in my middle grade novels. But i will definitely make use of em if the character calls for it in my YA.
- April 20, 2011 at 1:24 PM
- Matthew MacNish said...
I far prefer honesty whenever possible. Kids swear in real life, so they should swear in books. Unless the character wouldn't do that. I only like slang in place of foul language if it is done exceptionally well, like in Ship Breaker.
- April 20, 2011 at 1:43 PM
- Matthew MacNish said...
Oh, and that list you linked to was pretty funny, but this one is even better:
- April 20, 2011 at 1:46 PM
- Krispy said...
I think it's so hard to make fake swearwords work. You get more leeway when there's a speculative element (e.g. new fantasy world, far in the future, etc.), but it still has to sound natural.
I'm fine with swear words as long as it's true to the character and story. There's this one fantasy book I quite enjoyed (adult, not YA) where one of the POV characters drops F-bombs like no one's business, but I don't think I ever felt it was gratuitous. It was simply part of his voice / background. You don't really have this leeway in YA, but I appreciate a well-placed curse-word. :)
Or you could always go the way of TV, though I always found it funny that Jack Bauer on 24 could only ever say "damn it!" when many of the situations were f-bomb worthy.
- April 20, 2011 at 1:57 PM
- Lindsay said...
I go for the real swear words. I think in certain worlds there is a leeway (like Sci-fi).
I also only include swearwords if they are natural for the character/story. I wouldn't feel comfortable enought just to throw it in to be controversial. :)
- April 20, 2011 at 2:11 PM
- Janna Leadbetter said...
I agree with what most have said above. The real thing can bring truth to a character and the moment.
- April 20, 2011 at 2:17 PM
- Sherrie Petersen said...
Why am I surprised that there's a dictionary of curse words? You can find everything on the internet!
I write middle grade so the worst I use is hell or crap :)
- April 20, 2011 at 2:20 PM
- Sierra Gardner said...
I think opinions will vary from person to person, but it is important to be aware of how content can limit an audience. I personally don't like swearing so I usually put down a book after I see a few swear words. I also don't recommend those books and I don't keep them hanging around on my bookshelf.
- April 20, 2011 at 2:32 PM
- Southpaw said...
Cussing is a part of the world we live in, so I don't mind a spattering of it here and there. I tend not to enjoy books with a lot of swearing. It gets boring. –Unless it is character specific, which then I understand.
- April 20, 2011 at 2:41 PM
- Jennifer Hillier said...
I think I used some version of the f-word alone over 100 times in my current book, so obviously I'm okay with cussing. I write adult thrillers, and most of the cussing is in dialogue, because it's how a lot of the characters speak. I mean, it seems silly to describe murder and dismemberment and then hold back on the swearing, you know?
- April 20, 2011 at 2:58 PM
- Emily Rose said...
I am usually not to offended by cussing, because I know that by picking up a YA book, there is going to be some adult content.
Good luck with your writing!
- April 20, 2011 at 4:14 PM
- Tracey Neithercott said...
I don't mind it, but it pulls me out of the story when it's used nonstop. I start to feel like the author threw it in there for shock value.
I know there are kids that use the F word in every sentence. But there are also those who say "um" 200 times a day. I try to cut those thinks out of the dialog unless they're necessary.
Of course, in stressful situations characters can get away with more cussing. Interestingly, there wasn't any (or if I'm remember wrong, very little) swearing in The Hunger Games despite the fact that the characters had a really good reason to. And I didn't really notice it was missing.
- April 20, 2011 at 4:14 PM
- M Pax said...
Depends on what I'm writing. I use cussing in my novels, but haven't in short stories.
- April 20, 2011 at 5:01 PM
I tend to avoid swearing in my stories, unless it seems 'fake' to avoid them, in which case I'll throw in one of the old stand-bys. I'll use 'scrubbed alternatives' if the character seems like the kind of person who'd actually say such things, which rather a lot of the people in my stories are.
I'm starting up a 'Critiquing Crusaders' program, where participants in the Second Crusade can find other writers to exchange critiques with or form critiquing circles. If you're interested, come by The Kelworth Files to check it out!
- April 20, 2011 at 5:03 PM
- Connie Keller said...
I've used swear words in both my adult and YA novels. But I try to keep it to a minimum--I don't want the words to draw attention to themselves.
- April 20, 2011 at 5:08 PM
- Wendy Lu said...
I personally am not that fussed about curse words. I put swears in my writing, but when they actually should be used. I think it's silly if swears are just added in for no point whatsoever--or are simply there to exist--but in many scenes swear words can convey a lot of emotion and personality from characters.
- April 20, 2011 at 6:25 PM
- Sarah said...
To me, it's just important to get the voice right. I have characters who curse and those who don't, and some who only curse under certain circumstances or in certain company. I don't go for gratuitous, but sometimes I actually think it sounds forced if a character doesn't curse. I guess I just play it by ear and don't worry to much about it after that.
- April 20, 2011 at 7:52 PM
- Lisa Potts said...
If you've ever been around a group of teenagers, you're going to hear cussing. Why shouldn't it be in YA novels?
- April 20, 2011 at 9:30 PM
Two of my wips don't have any cursing at all. I feel that it doesn't match the MC or the theme.
My other wip, on the other hand, has plenty of it because it fits.
I don't mind reading it.
- April 21, 2011 at 1:24 AM
- Jonene Ficklin said...
Less is definitely more. When there's too much cussing, it becomes annoying, just like any other repeated word, and it loses its power. It's sure a fine line. Thank heavens for critique groups and beta readers! Best of luck!
- April 21, 2011 at 9:57 AM
- Ghenet Myrthil said...
I wouldn't overdo it but I think it's fine, as long as it makes sense for the character or situation. Cursing just for the sake of cursing isn't good. I have a few curses in my contemporary YA WIP.
- April 21, 2011 at 10:33 AM
- Chris Phillips said...
I think there are tiers to curse words. Ass and damn are on the more acceptable end, shit and biotch are in the middle and the Fbomb is at the less acceptable end. I'd limit the Fbomb, just because I'd compare it to movie ratings. You only get like 1 to 3 in a pg13 and it's generally avoided.
- April 21, 2011 at 11:21 AM
- Ani said...
AWARD! :D ~~>> http://animesmusings.blogspot.com/
- April 21, 2011 at 2:23 PM
I don't mind reading swear words in YA when they're natural, but I have a hard time using them. They tend not to fit so well with most of my characters. Then there's Giselle...she has a potty mouth and it works for her!
Great post, Lydia!
- April 21, 2011 at 7:33 PM
- Susan Fields said...
I really tried to write my current ms with no cussing, but I ended up putting some in. One of the POV characters is a teenage boy, and I just didn't think he sounded believable using substitutions. I limited it as much as possible, though. I have picked up some YA books and been instantly turned off by the excessive swearing, but the two that I'm thinking of, I perservered through, and ended up loving them. Still, I'd rather do without it than with it, though.
- April 21, 2011 at 8:52 PM
- BECKY said...
I don't mind cussing in books, as long as it's not every other word!
- April 21, 2011 at 9:12 PM
- Samantha Vérant said...
There's a lot of @$$ on that list. Didn't know you could make so many words from one little word. As long as swearing isn't gratuitous, I'm fine with it. And I don't like when every other word is the f-bomb. (And on that I have one in my wip...)
- April 22, 2011 at 4:42 AM
- Melissa Sugar said...
I don't mind if it is not overdone. I much prefer the real words to fluffy swear words if the character is going to cuss.
Of course it all depends on your reading audience & the type of book you are writitng.
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subset: commoncrawl


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text:
"Are you afraid?" He whispered sending a chill all...
- by Ria Renee Malik
- Rating:
- Published: 14 Mar 2014
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- Status: In Progress
Hannah is not your average 20 year old. She has long brown hair with bright green eyes and is extremely short. Like 4' 11" short. She is a shopacholic Instigram famous and lives with her parents but her parents don't like who she has become and decide to send her to the Renaissance Faire while it is in town. She is forced to stay with her mom's friends son, Zayn, and work at his shop at the faire.
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text:
I was not previously aware of the fact that there are NBA security guards whose job it is to prevent players from getting too close to the referees during video reviews. But as the video above shows, such security guards do indeed exist, and one of them got into a hilarious tête-à-tête with Dirk Nowitzki at the end of last night's Mavericks-Kings game.
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Although there was an extension of the demand for millwork, it nevertheless lowered the profession of the millwright, and leveled it to a great degree with that of the ordinary mechanic.
It was originally the custom for the millwrights to have meetings for themselves in every shop.
These meetings usually included long discussions of practical science and the principles of construction which more often than not ended in a quarrel.
One benefit of these meetings was the imparting of knowledge, as young aspirants would frequently become excited by the illustrations and chalk diagrams by which each side supported their arguments.
Millwright Ron
Proud Member Of The Union Millwrights
Oldest Engineering Trade
The Millwright is the oldest engineering trade being the forerunner of the modern mechanical engineer. historically many famous engineers and companies started out as Millwrights and many machines were created and developed by them. Water mills have existed since the roman period , Millwrights have been looking after them ever since.
Millwright Ron
Proud Member of the Union Millwrights
The Union Millwrights are an elite group who work primarily in metal and with machinery and equipment requiring precision installation.
Union Millwrights install new machines or heavy equipment, and dismantle and install machines or heavy equipment when changes in the plant layout are required.
Work involves most of the following: Planning and laying out work; interpreting blueprints or other specifications; using a variety of hand tools and rigging; making standard shop computations relating to stresses, strength of materials, and centers of gravity; aligning and balancing equipment; selecting standard tools, equipment and parts to be used; and
installing and maintaining in good order power transmission equipment such as drives and speed reducers.
Installation and upkeep of Power Generation equipment, including nuclear, steam, gas and wind turbines and all related auxiliary aspects . In general,the Millwright's work normally requires a rounded training and experience in the trade acquired through a formal apprenticeship or equivalent training and experience
Millwright Ron
Proud Member of the Union Millwrights
Millwright Work
Millwrights install, repair, replace, and dismantle the machinery and heavy equipment used in many industries.
The wide range of facilities and the development of new technology require millwrights to continually update their skillsfrom blueprint reading and pouring concrete to diagnosing and solving mechanical problems.
The millwright's responsibilities begin when machinery arrives at the jobsite.
New equipment must be unloaded, inspected, and moved into position.
To lift and move light machinery, millwrights use rigging and hoisting devices, such as pulleys and cables.
With heavier equipment, they may require the assistance of hydraulic lift-truck or crane operators to position the machinery.
Because millwrights often decide which device to use for moving machinery, they must know the load-bearing properties of rope, cables, hoists, and cranes.
Millwrights consult with production managers and others to determine the optimal placement of machines in a plant.
When this placement requires building a new foundation, millwrights either prepare the foundation themselves or supervise its construction.
As a result, they must know how to read blueprints and work with a variety of building materials.
To assemble machinery, millwrights fit bearings, align gears and wheels, attach motors, and connect belts, according to the manufacturer's blueprints and drawings.
Precision leveling and alignment are important in the assembly process, so millwrights measure angles, material thickness, and small distances with tools such as squares, calipers, and micrometers.
When a high level of precision is required, devices such as lasers and ultrasonic measuring tools may be used.
Millwrights also work with hand and power tools, such as cutting torches, welding machines, and soldering guns, and with metalworking equipment, including lathes and grinding machines.
In addition to installing and dismantling machinery, many millwrights work with mechanics and maintenance workers to repair and maintain equipment.
This includes preventive maintenance, such as lubrication and fixing or replacing worn parts.
Increasingly sophisticated automation means more complicated machines for millwrights to install and maintain.
For example, millwrights may install and maintain numerical control equipmentcomputer-controlled machine tools that fabricate manufacturing parts.
This machinery requires special care and knowledge, so millwrights often work closely with computer or electronics experts, electricians, engineers, and manufacturers representatives to install it
Millwright Ron
Proud Member Of The Union Millwrights


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Impact Christian Church is an independent Christian church who welcomes everyone with open arms! At Impact, you can relax in our informal services and enjoy worshiping and learning how God's Word can impact your life today. We are just ordinary people striving to live extraordinary lives. We would love for you to join us! We are located on the right just past Shining Mountain Golf Course on Hwy 67. Sunday services are at 9:00 and 10:45 AM.
27400 N. Hwy 67, Woodland Park, Colorado 80866


text: Victoria Report post Posted January 12, 2007 The Importance of the Self-Body Image in Survivors of Sexual Assault with PTSD Using Art Therapy Techniques By: Enari About Art Therapy Although visual expressions have been basic to humanity throughout history, art therapy did not emerge as a distinct profession until the 1930's. At the beginning of the 20th Century, psychiatrists became interested in the art work done by patients, and studied it to see if there was a link between the art and the illness of their patients. At this same time, art educators were discovering that the free and spontaneous art expression of children represented both emotional and symbolic communications. Since then, the profession of art therapy has grown into an effective and important method of communication, assessment, and treatment with many populations, including health care and mental illness. Art Therapy as used for PTSD PTSD Post Traumatic Stress Disorder (PTSD) involves a pattern of symptoms that some individuals develop after experiencing a traumatic event such as sexual assault. Symptoms of PTSD include repeated thoughts of the assault; memories and nightmares; avoidance of thoughts, feelings, and situations related to the assault; and increased arousal (e.g., difficulty sleeping and concentrating, jumpiness, irritability). One study that examined PTSD symptoms among women who were raped found that 94% of women experienced these symptoms during the two weeks immediately following the rape. Nine months later, about 30% of the women were still reporting this pattern of symptoms. The National Women's Study reported that almost 1/3 of all rape victims develop PTSD sometime during their lives and 11% of rape victims currently suffer from the disorder. Art Therapy in PTSD Survivors One important aspect of Art Therapy is the creation of a safe space where these traumatic feelings can be processed. Sometimes the verbal skill is lacking to describe traumatic experiences and by creating art, the person can feel more confident . Brett and Ostroff focused on the imagery processes in PTSD and a framework for treatment. Research has found that traumatic experiences are encoded in non-verbal imagery and that it is often difficult to verbalize the experiences because traumatic experiences have been found to be encoded in non-verbal imagery pathways of the mind. These images show up in both dreams and artwork. Art Therapy has been used to help War Veterans, Refugees, people who survived Natural Disasters and Sexual Assault/Domestic Violence Survivors – people who are susceptible to PTSD. Art Therapy in SA Survivors with PTSD Art Therapy is not a new idea when it comes to survivors of sexual assault. In the 1980's group art therapy was used in centers for survivors of sexual assault. Models have even been created to help women address the problems that occur after such an assault. Many domestic violence and sexual assault centers have art therapists to help process the trauma that has occurred. There are even national art therapy projects afforded to survivors. The Clostheline Project is particularly well known and many college campuses participate in it. The Role Dreams Play Dreams Dreams or, more specifically, nightmares are a major role in the life of someone who has PTSD. As such, a little time needs to be devoted to dreams relating to PTSD. Dreams are a unique view on trauma and its effects. Dreams show a changed version of events that is often distorted but can bring troubles into resolution. This can be both diagnostic and therapeutic. Earnest Hartman proposes that PTSD dreams are not 'truly nightmares but a memory intrusion into dreams as well as waking life' Typical dreams with PTSD A typical PTSD nightmare is recurrent with a variant of the traumatic scene happening over and over again for years. Hartman argues that they are not nightmares at all, but what he classifies as "memory intrusions" because of how they differ from normal nightmares with the repetitive quality and time of occurrence. In laboratory settings PTSD Nightmares are classified differently from night terrors or nightmares as they can occur in both non-REM sleep and REM sleep. Hartman says that "a repetitive nightmare of PTSD is an encapsulated memory that can intrude into consciousness during sleep or during waking" Typical Dreams with Survivors There are two main different patterns of dreams of survivors of sexual abuse. One pattern is frequent repetitive nightmares. The other pattern identified by Susan Brown is the confounding and confusion of sex and aggression in the same dream. There are four different dream stages that a survivor goes through. The first phase is self protection, the second acknowledgment, the third of fax and the fourth growth in understanding finally leading to renegotiation.9 • Self Protection: the dreamer makes clear that they do not want to go through the experience of admitting what has happened to them. The dreams normally consist of pushing away and denial. • Acknowledgement: the dreamer replays the assault that has occurred. The dreams often play out the memory of the assault. • Effects: the person dreams about how they feel in the current situation related to the sexual assault. An example may be a person feeling like they are covered in cement. • Growth and Understanding: In this phase, the dreamer sees something differently and from a different point of view. • Renegotiation: The survivor comes to terms with what has happened to her. Art Therapy Involving Dreams Dream imagery is very strong among survivors of sexual assault, and art therapy helps bring these dream images into the waking world to be processed. Focusing on the dream helps contain some of its unpleasant feelings. Getting the imagery out and looking at it makes dreams more approachable. Having a choice over how to express the dream makes people curious. For example, crayons allow the sense of control, where paint is more expressive. A sharp pencil encourages detail. By using art, the dream begins to evolve. The art is not just a response to the dream but allows it to continue. Some parts of the dream show greater emphasis and others are added, left out or diminished. This interacting with the dream is important and can be empowering. Types of Art Therapy Projects used for Survivors Various methods of art therapy are employed: graphic narratives, drawings of the traumatic events, drawings of dreams and drawings of the empowered self. Each method focuses on the fact that it is often difficult to verbalize the experiences because traumatic experiences have been found to be encoded in non-verbal imagery pathways of the mind.6 Of these, work with the self-body image therapy stands out. The survivor's self-body image becomes very important when working with sexual assault. The Self-Body Image can be used to determine if a person has been sexually abused, using the Manchover Draw-A-Person Test. It is also possible to create an image that integrates a traumatic image with the whole self. Self-Body Image #1 In a study performed by Rachel Lev-Wiesel , the common traits of images drawn by both male and female survivors were analyzed. The Manchover Draw-A-Person test was used. In this test Gillespie feels that the request to draw a person lets the patient freely chose all of the aspects of the person. In their study they had 10 women and 10 men child sexual abuse survivors and a group of 10 people who were not abused as the control. The following areas were used as indicators of baseline: eyes, genitals, hands, and arms. In this experiment, the face line showed a double chin or cheek that was either empty or shaded and was in all drawings of sexual abuse survivors. In most survivors the eyes were either shaded, hollowed dotted or omitted. There was also an addition of a barrier such as a large belt between the lower and upper body. When looking at the hands and arms most, were clingy, cut off, detached or omitted. Self-Body Image #2 In another Self-body-Image exercise, the women were asked to focus on their empowered and disempowered self . Beth A. Stone wrote about her work with the empowered/disempowered self. This exercise was recreated by the author using two women who have PTSD symptoms. The women were first asked to draw a picture of their empowered self without speaking. Both pictures are very bright in color and the feet are firmly planted on the ground. The women were then asked to draw a picture of their disempowered self in silence. Both pictures are dark in color, show a disoriented background and have their feet standing askew. Both drawings have words written on them. Next the women were asked to have a conversation between the empowered self and the disempowered self. The women were then asked to draw a picture of the conversation. Link to The Images Beth Stone found that the empowered self is consistently larger than the disempowered self. The disempowered self lacks color and is darker than the image of the empowered self. The disempowered self is also bent or closed-up in stance and the feet are often not placed on the ground. Our test has shown the same results. Survivor comments on the use of Art Therapy Many survivors of PTSD and Sexual Assault have used imagery to help them heal. A group of survivors were asked about the impact of art in their life and their recovery. Their comments are shown below. Often times they use art to replace words, which cannot convey the hurt that they have survived. "I have never done art therapy, but art is my therapy. Through artwork you can let out what you can't put in words, because sometimes there aren't words adequate of the pain, or it is too hard to put in words." "Art therapy helped me to be less judgemental[sic]of myself. When I first started, I would hold an oil pastel/pencil/paintbrush over the paper, too afraid to even make the first mark. With the gentle encouragement from my art therapist, "It doesn't matter how it looks; it's the process", I was finally able to let go enough to just let my art happen. Once I did that, I was able to get at some pretty deeply hidden emotions, and I was able to talk about those emotions as well." "I have been in Art Therapy for 2 years. I came in with no words, the complete innability[sic] to speak or express myself. Art became my voice when I could not speak. If it wasn't for being able to freely express my feelings on paper without judgement- [sic]be it morbid, happy, sad, or angry, I don't think I would be here right now" "Making art may also help me express feelings I'm not allowed to express otherwise. Sometimes I paint myself and those pictures really show my emotions, my sadness, my fear and my pain. Most of my pictures are still happy ones. I paint things I like. I do a lot nature pictures. I also make portraits of people I admire, last week I painted Tori Amos, for instance. Making those makes me feel better. " "Making pictures gives me energy and joy even in the worst times. It also raises my self esteem. Often I may feel that I'm bad and weak but when I look at my pictures I appreciate myself more. I'm not just a victim, I'm also an artist, I have creativity, power and skills beyond my wounds and experiences. My abuser destroyed most of my life but he couldn't destroy my creativity. And I am actually better than him in something." Conclusions The majority of PTSD symptoms revolve around imagery. The nightmares, flashbacks and intrusive thoughts are often examples of survivors reliving the imagery of what occurred to them. It is possible to tell if someone has been sexually abused based on their drawing of their own self. Images of the self are also used to help survivors incorporate what has happened to them into their daily lives and has helped them to regain power. Art Therapy has been shown to be a powerful tool when resolving issues around PTSD. Art Therapy has been introduced to Rape Crisis Centers and work towards helping these women achieve peace. ~~~~~~~~~~~~~~~~~~~~ Bibliography www.arttherapy.org (www.arttherapy.org/aboutarttherapy/faqs.htm) (http://www.ccsu.edu/counseling/New/women/PTSD.htm) Vab der Kolk, B.A. (1994) Trauma. Memory and the Self. Lecture. Australia and New Zealand Association of Psychotherapy, Westmead Hospital, NSW, Australia Breat, E.A., & Ostroff, R (1985) Imagery and PTSD: An overview. American Journal of Psychiatry, 142,417-424 Ledoux, J.E. (1994) 'Cognitive-emotional Interactions in the brain.' In p. Elkman and R. Fadison (eds) The Name of emotion, Fundamental Questions. New York: Oxford University Press Courtois, C.A. (1988) Healing the Incest Wound: Adult Survivors in Therapy. New York: W. W. Norton Spring, D. (1993) Shattered Images: The Phenomenological Language of Sexual Trauma. Chicago: Magnolia Street Hartman, Earnest 'Who Develops PTSD Nightmares and Who Doesn't', Trauma and Dreams: Cambrige: Harvard University Press Cuddy, M. A., and Belicki, K. 1992 Nightmare Frequency and related sleep disturbances as indicators of a history of sexual abuse. Dreaming, 21:15-22 Brown, S. 1988 The dreams of women molested as children. Doctorial Dissertation, The Wright Institute Levenson, Marty BA, DVATI, BCATR, ''Working With Dreams In Art Therapy' Lev-Wiesel, "The Use of the Machover Draw-A-Person Test in Detecting Adult Survivors of Sexual Abuse: A Pilot Study. Stone, Beth A. "Self body Image and PTSD in Australian Spanish Speaking Trauma and Torture Survivors: Empowerment through Imagery-Art-Dialog; Tapestry of Cultural Issues in Art Therapy. ed. Hiscox, Anna R. and Calisch, Abby C. Philadelphia:Jessica Kingsley Publishers Share this post Link to post Share on other sites


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Here at SCC -Scrap Cars Coulsdon we are experienced scrap car breakers in Coulsdon, officially licensed by the environment agency to tow away old cars from scrap. We offer a free service which means that you need not pay a penny when your car breaks down or fails its MOT. After operating in Coulsdon for over twenty years now, we have built up a reputation for rapid response and punctuality. - We can be with you at short notice and we always arrive when we say we will!
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Calera Middle School Registration Guide
Enrolling a New Student for 2019-2020 School Year?
Please contact CAMS registrar @ (205) 682-6142 for an appointmentPart I
- Check Residency & School Zone
- The Board of Education has established school attendance zones and students must attend school in the zone in which they reside with a parent or legal guardian. Custody awarded through the court is a requirement for school enrollment. You may view the school attendance areas by clicking the link below and looking for your street address. If you have a question regarding your specific residence and which school zone you are in, you may call Brent Copes at 205-682-7132 or email Mr. Copes at firstname.lastname@example.com.
- View School Bus Route Maps
Part II
- Complete the District Enrollment Forms using the Shelby County Online Registration and Enrollment (S.C.O.R.E.) program.
How to Use S.C.O.R.E. Instrucciones para Padres/Tutores - Estudiante Nuevo
For technical assistance with S.C.O.R.E. please contact your local school.
NOTE: This program is not recommended for use with Internet Explorer 11 and lower or Safari 9 and lower.
Part III
- Contact the school for an appointment to verify residence and complete the registration process for your child. Contact the CAMS Registrar (205) 682-6142
What to bring to the school: You will need to bring your child's
- Proof of Age (i.e. birth certificate)
- Valid Alabama Immunization Form (referred to as a "Blue Form")
- Proof of Residence - All students will be required to provide two of the following current residence verification documents prior to the start of the new school year
- Recent Utilities – power, water, gas, or garbage services listed in the parent/legal guardian name with service address listed on the statement (disconnect notices will not be accepted)
- Recent Mortgage Statement (June or July)
- Apartment Lease – Lease must be current and at the minimum, the parent/legal guardian must be listed as an occupant
- Property Tax Record – most recent tax record should indicate this as your primary residence https://ptc.shelbyal.com/caportal_mainpage.aspx
- Property Deed – parent/legal guardian must reside full-time in the residence
- Proof of Custody (if applicable, a copy of the court order must be supplied to the school)
- Social Security Number (voluntary)
- Enrolling parent or legal guardian must present a photo ID.
- Attend Summer Registration/Proof of Residence. Note: Additional forms may need to be completed at the school.
Registration of Returning Students for the 2019-20 School Year
- RETURNING students will need to complete forms using the S.C.O.R.E. online forms program. You will need your child's personal access code provided by the school to complete the Returning Student forms. If you do not have an access code, please contact the school
- Attend Proof of Residence and other summer events
Returning Student Parent Help Document Instrucciones para Padres/Tutores - Estudiante que Reingresa
For technical assistance with S.C.O.R.E.
please contact your local school.
NOTE: This program is not recommended for use with Internet Explorer 11 and lower or Safari 9 and lower.
Summer 2020 Events
- Registration Confirmation -
Bring your two (2) current proofs of residence to the school:
- Time:
Apply for Free or Reduced Price School Meals.
visit the Calera Middle School website for important dates and information!
Disclosure of your child's social security number (SSN) is voluntary. If you elect not to provide a SSN, a temporary identification number will be generated and utilized instead. Your child's SSN is being requested for use in conjunction with enrollment in school as provided in Alabama Administrative Code §290-3-1-.02(2)(b)(2). It will be used as a means of identification in the statewide student management system.


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Share your pictures, videos, and stories from your visit to the Pro Football Hall of Fame on our social media. We might even feature you in one of our promotions!
You can walk the length of the football field or step in the end zone of this Fanmats NFL® team runner! Perfect for any fan's home or office!
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- My oldest son is a surfing maniac. On his breaks from school and research, he likes to travel to exotic locals to surf. One of his favorites is El Salvador, that tiny country in Central America with magnificent stretches of beach, great surf, and its own unique and quite tasty cuisine. Since the Jewish holiday of Shavuot [click to continue…]
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Apprentice Pattern Maker is very similar to another occupation for which we have
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Plan, lay out, and construct wooden unit or sectional patterns used in forming sand molds for castings.
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Mold Forms Builder
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Wood Patternmaker


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text: B.o.B met up with DJ Whoo Kid on Sirius XM's Shade 45 to talk about EPIC, among other ... um ... things. Pop quiz! Topics included: (a) Update on Tyler The Creator beef, (b) Hip Hop police, (c) Eminem, (d) The Haitian Mafia, or (e) all the above. (HINT: THE ANSWER IS "E").


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Abu Said Ahmad ibn Muhammad Al-Sijzi
Born: about 945 in Sijistan, Persia (now Iran)
Died: about 1020
|Main Index
|Biographies index
Al-Sijzi's full name is Abu Said Ahmad ibn Muhammad ibn Abd al-Jalil al-Sijzi. Very little is known about his life but we can give fairly accurate dates for his life since we know that he corresponded with al-Biruni and quoted results by him in his own work.
He dedicated works to a prince of Balkh, then the capital of Khorasan. Another work he dedicated to 'Adud ad-Dawlah who ruler over all southern Iran and most of what is now Iraq from 949 to 983. It is quite possible that 'Adud ad-Dawlah was al-Sijzi's patron since he was a leader well known for patronising the arts and science.
We also know that al-Sijzi worked in Shiraz making astronomical observations during 969-970. It was certainly at Shiraz at this time that he wrote some of his mathematical works. As well as writing original works he copied other mathematical works and they were dated 969 at Shiraz. In particular he copied, and dated the copy 969, Thabit ibn Qurra's treatise on complete quadrilaterals.
We mentioned above that al-Sijzi corresponded with al-Biruni. The paper [3] contains a letter that al-Biruni wrote to Abu Said, who is almost certainly al-Sijzi. The letter contains proofs of both the plane and spherical versions of the sine theorem, which al-Biruni says were due to his teacher Abu Nasr Mansur ibn Ali ibn Iraq. An English translation of the letter appears in [10].
In [1] Y Dold-Samplonius writes:-
Al-Sijzi's main scientific activity was in astrology, and he had a vast knowledge of the older literature. He usually compiled and tabulated, adding his own critical commentary. ... Al-Sijzi's mathematical papers are less numerous but more significant than his astrological ones, and he is therefore better known as a geometer.The book [2] contains an English translation (as well as the Arabic text) of al-Sijzi's treatise on geometrical problem solving. Among the problems al-Sijzi discusses are the following. Given a circle, find a point outside the circle where the tangent to the circle and diameter produced, have a given ratio. Given a triangle and three given numbers, find a point inside the triangle where the lines to the three vertices divide the triangle into three triangles having areas proportional to the three given numbers.
A treatise on spheres by al-Sijzi Book of the measurement of spheres by spheres is of considerable interest. The treatise, dated by al-Sijzi 969, contains twelve theorems investigating a large sphere containing between one and three smaller spheres. The small spheres are mutually tangent and tangent to the big sphere. Al-Sijzi finds the volume inside the large sphere which is outside the small ones inside it. He expresses this volume as that of a sphere of a particular radius which he computes in terms of the radii of the spheres in the given system. The authors of [9] claim that the main interest of the work lies in the last two propositions in which al-Sijzi considered four-dimensional spheres. In [5] the author again suggests that in these propositions al-Sijzi is dealing with spheres in a space of four dimensions. However J P Hogendijk reviewing [9] writes:-
One could also assume that the crucial identity ... is due to an oversight made by Al-Sijzi, who does not use four-dimensional spheres anywhere else in his treatise. We note that the treatise was written around 969 AD, at a time when al-Sijzi was a very young and perhaps inexperienced geometer.Another short work by al-Sijzi is the Treatise on how to imagine the two lines which approach but do not meet when they are produced indefinitely, which the excellent Apollonius mentioned in the second Book of the Conics. In this treatise al-Sijzi classifies geometrical theorems into five types, one of which is [7]:-
... propositions which are difficult to imagine even though the proof of them is correct.In work on geometrical algebra al-Sijzi proves geometrically that
(a + b)3 = a3 + 3ab(a + b) + b3.He does this by decomposing a cube of side a + b into the sum of two cubes of sides a and b and a number of parallelepipeds of total volume 3ab(a + b). This is considered by most historians to be a three-dimensional extension by al-Sijzi of the geometrical algebra propositions in Book 2 of Euclid's Elements.
Article by: J J O'Connor and E F Robertson
Click on this link to see a list of the Glossary entries for this page
List of References (10 books/articles)
See this mathematician on a timeline
Mathematicians born in the same country
Cross-references in MacTutor
- History Topics: Arabic numerals
Other Web sites
- Dictionary of Scientific Biography
- MathSciNet Author profile


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Following the earlier Back Steps and Wood, the next of Leighton's digital works expands on the aesthetics he was developing for this media, while the subject remained the same – the magical realm of childhood, and of the growing consciousness therein. Water seeking its level, seen from one aspect, is again as simple as the earlier two works – a young boy stands in a rushing stream, the water dazzling, the rush of sound immersing us in some mystical world of impressionist's color. The back yard has moved to a park in southern France (though we don't know this and little beyond the not-Iowa colors at the stream's bottom suggests it, and the title note "St. Pons"). Leighton swiftly orients us with his musician's use of sound: we hear a rush of water, of a few steps into it – audibly instantly recognizable, though the imagery which comes next is a swirl of abstraction which the sound "describes" and gives us our bearing. A fluid passage of color quickly delineates the essential elements – a young boy's leg, his touseled blonde hair, the boy's feet standing as the water distorts them and the stream's floor into a dazzle of color, a hand thrusting down, grabbing beneath the water and then holding a small stone, his small voice saying, "Daddy, look."
Daddy has indeed been looking, and looking deeply – not only at the little scene before him, but at the tools he is using to depict it. Here a flourish of rich muted reds, modulated by the optical warping of water, blonde flesh and hair, are shown, but by the artist's intervention with how he uses the camera and editing techniques he transforms the mundane into the cosmic in the most gentle and unpretentious of manners (though using no corny "effects" menu items – all is done organically directly with the image itself, in a manner more akin to a graphic artist's multiple printing of the same basic image – say, see a series of woodcuts of Munch's Madonna, or lithographs by Helen Frankenthaler). The image caresses his son, the nape of his neck, his arm and leg, and embraces him in what is transparently a parent's love. Daddy is looking passionately.
And listening. The water rushes by, the child's hand is immersed in it, and his small voice comments how cold it is; the hand makes the water leap, and then clenches, the water stopped, and with it the sound. Gentle hints of water drips, and in the subdued quiet slowly sound of liquid rushing builds, presaging a cut to the lip of a small waterfall, presented in almost pure abstraction but instantly identifiable. And then slowly this crisp rush of water dissolves into a muted image not so readily understood – debris settling to the bottom of a lake? Or…. it is snow, falling gently to the branches of a tree. Water, in its varying forms, seeking its level.
Water seeking its level is a cinematic poem of a disarming simplicity of "content" which expands out to suggest the whole of a life, our whole universe. It is awash in love and stunningly beautiful. Technically it is simply masterful in all aspects from its seemingly casual camera work, to its hidden and dazzling editing of both image and sound. In five minutes it compacts, with a complete lack of pretentiousness or ponderousness, a whole poetics of life – its beginning, its future, its meaning.
Never once saying so, or pointing to the metaphoric possibilities of its primal source in water, Leighton's film is drenched with the pathos of love, of our being here, of a parent's deepest feelings and sensibilities for his child. This is what makes this small five minute cinematic poem so rich, along with its truly masterful aesthetic and technical control. He does not say so except in purely poetic terms, but within this joyous work there is the acknowledgement of Heraclitus' wisdom:
πάντα χωρεῖ καὶ οὐδὲν μένει" καὶ "δὶς ἐς τὸν αὐτὸν ποταμὸν οὐκ ἂν ἐμβαίης"
Panta chōrei kai ouden menei … kai … dis es ton auton potamon ouk an embaies
"Everything changes and nothing remains still …. and … you cannot step twice into the same stream"
Hendrik ter Brugghen, Heraclitus
With Evaporation Leighton extends this theme, in which vapor and fog collude invisibly to suggest the ephemerality of childhood and youth, and by implication, life itself. Here a young boy, who in this brief film becomes a young man, is seen looking out a window toward the sea, then near a harbor, walking on a pier, then gazing from the rails of a small ship. A rush of liquid abstractly rushes over a fall, the shifting fractals of waves move mysteriously, a boat sets out from the mouth of a river into the hazy infinity beyond. The boy looks pensively from the deck of a boat, the water rushing swiftly by. And we return to the window which looks out upon the sea, now empty.
In a second passage we find the boy in a field, with grasses lit by the sun, on a pathway glistening with wetness. He hesitates, turning to look towards the camera, and then turns to go forward. Our gaze is directed to the swaying, wave-like motion of the grasses, from which emerges, in another time and seemingly place, a glimpse of a grown boy, seen intermittently, walking away. His image at first is lost in the blurred shifting of foliage, and then we see him, clearly older, and, with a painful poignancy, receding to the distance, taking off upon his own life. It is a father's poetic farewell to his son, who now is on the path of his life, receding from the parental embrace, lighting out to his fate. With Evaporation Leighton Pierce gracefully acknowledges this parting, and the film is a gesture of pure love, lovingly crafted, and a profound gift to both his son, and to us.
In a culture besotted with celebrity and bombast, where artists are advised, whether directly, or by the insistence of the clamor of the world around them, that to be heard they must make a grand splash with aggression and transgression, Leighton Pierce – like Nathaniel Dorsky – offers instead a counter-current of beauty and love of the world expressed in the greatest gentility.
So early it's still almost dark out.
I'm near the window with coffee,
and the usual early morning stuff
that passes for thought.
When I see the boy and his friend
walking up the road
to deliver the newspaper.
They wear caps and sweaters,
and one boy has a bag over his shoulder.
They are so happy
they aren't saying anything, these boys.
I think if they could, they would take
each other's arm.
It's early in the morning,
and they are doing this thing together.
They come on, slowly.
The sky is taking on light,
though the moon still hangs pale over the water.
Such beauty that for a minute
death and ambition, even love,
doesn't enter into this.
Happiness. It comes on
unexpectedly. And goes beyond, really,
any early morning talk about it.
Raymond Carver
[I am happy to relate that after 20 some years at the University of Iowa, Leighton is taking over the reins of the Media and Film Department of Pratt Institute in NYC. I hope being in the vortex of America's creative navel he'll finally get the attention long overdue to him. I hope to hell one of the major museums finally gives him the space to put up some of his extraordinary installation works.]
[Series to be continued as time permits.]


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text: I hope to get into a programming class this summer unless the college got rid of them, because there wasn't enough people interested. They said I might be to young. I talked to the counselor and I asked her if I were to demonstrate my knowledge of programming. She told me it would most definitely help. My question for you guys is....What kind of program might I make to demonstrate all of the various things I have learned?


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David Wright and Robinson Cano named captains for the 2013 Home Run Derby
Wright and Cano to select and personally invite participants
David Wright of the New York Mets and Robinson Cano of the New York Yankees have been named captains of the National League and American League squads for the 2013 Home Run Derby. Cano won the event in 2011 in Phoenix, while Wright will be participating for the first time since a memorable performance in 2006. The 2013 Home Run Derby will be held Monday, July 15 at Citi Field in New York, home of the New York Mets, and televised live on ESPN beginning at 8:00pm ET.
This year's Home Run Derby will continue to follow the format first introduced in 2011, featuring team competition between the A.L. and N.L. Last year, the A.L. defeated the N.L. by a final tally of 61-21, with Prince Fielder of the Detroit Tigers winning the individual title in Kansas City. Wright and Cano will each determine the other three participants on their teams and will personally extend the invitations. Each of the captains will select a charity of their choice which they will be hitting for during the Derby.
The Home Run Derby will also raise funds for Boys & Girls Clubs of America and MLB's Reviving Baseball in Inner Cities (RBI) program, as well as charities selected by the captains. More than $3 million has been raised for charity over the past ten years, with an all-time high of $615,000 donated through the 2012 event. Wright, who was the runner-up in the 2006 Home Run Derby, has eight home runs on the season, and his 212 career home runs rank third on the Mets all-time list behind Darryl Strawberry (252) and Mike Piazza (204). The six-time All-Star will join Strawberry (1986, 1990) and Howard Johnson (1989, 1991) as the only Mets to compete multiple times in the Home Run Derby. Wright, who has the second-most 20-homer seasons in franchise history (six), finished with 21 home runs in 2012, representing his franchise-best ninth season with double-digit home runs. He is one of 39 players since 1901 to record double-digit home runs in each of his first nine seasons in the Major Leagues. Wright will become the 16th player from a host team, and the first since Albert Pujols in the 2009 Derby at Busch Stadium in St. Louis, to participate in the Home Run Derby.
In his first career Home Run Derby appearance in 2011, Cano set a new final round record with 12 home runs, besting the previous record of 11 set by Bobby Abreu (2005), David Ortiz (2010) and Adrian Gonzalez earlier in the 2011 final. Cano, who joined Ryne Sandberg (1990) as the only second basemen to win a Home Run Derby, amassed 32 total home runs during the competition, placing him 13th on the all-time Derby list. He was also the AL captain for last year's Home Run Derby. Cano will become the first Yankees player and the first second baseman in history to participate in the Derby on three occasions. In his nine seasons with the Yankees, Cano has hit 192 home runs, including 15 thus far in 2013, which ranks first among Major League second basemen. Since his debut in 2005, his 192 home runs rank second among Major League second basemen behind Atlanta's Dan Uggla (222). The four-time All-Star has hit at least 10 home runs in each of his first nine Major League seasons, joining Hall of Famer Joe Gordon (11 straight seasons, 1938-50) as the only second basemen to accomplish the feat in Major League history.
In addition to coverage on ESPN, the 2013 Home Run Derby will be broadcast live on ESPN HD, ESPN Deportes, WatchESPN, ESPN Mobile TV, and ESPN Radio in the U.S. as well as ESPN International beginning at 8:00 p.m. ET/7:00 p.m. CT on Monday, July 15th. For more information, please visit allstargame.com.


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Filed under: Motorsports, Sedan, Mazda, Diesel, Racing
While it may not be touting the old "Win on Sunday, sell on Monday" axiom we all know and love, Mazda recognizes that racing can only improve its cars. And so it's no surprise that the Japanese automaker is testing and refining its Skyactiv-D diesel engine by sending it out on various race tracks around the country – notably being the first diesel ever to compete at Daytona and the first to notch a Grand Am win at Road Atlanta.
Next up? Indy. It has been over 60 years since a diesel-powered machine ran at the Indianapolis Motor Speedway, and the Cummins-powered racer that competed in the 1952 Indy 500 with a 6.6-liter inline-six-cylinder oil-burner was a fast and brutal machine that set a new lap record in qualifying leading up to the race. Though that car was withdrawn with turbocharger failure 71 laps in, its diesel powerplant left an indelible impression on the racing community, and that's something Mazda hopes to accomplish once again.
Mazda says that the diesel engine in its race car is pretty darn close to stock – 51 percent stock by parts count, and 63 percent stock by weight – which means the way it performs in competition is at least a somewhat meaningful way to the stock engine's durability in the real world. Check out the image of the Mazda6 Skyactiv-D racer posing alongside the 1952 Cummins above (click to enlarge) and feel free to peruse the press release below for the rest of the details.
Continue reading Mazda Skyactiv-D racer first diesel to run at Indy in 60 years
Mazda Skyactiv-D racer first diesel to run at Indy in 60 years originally appeared on Autoblog on Thu, 25 Jul 2013 18:30:00 EST. Please see our terms for use of feeds.
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What do you do during a time of looming military budget cuts, war drawdown, and the ascension of robotic warfare? Make stupid viral video meme parodies, of course. Your. Tax. Dollars. At. Work.
The military Gagnam Style videos are all pretty much the same—the dance, the token guy who looks sort of like Psy (Asian), mild homoeroticism, lip-syncing. Save, upload, sit back, laugh.
The Air Force did it.
West Point did it.
Some future Marines did it.
The Coast Guard did an appropriately lame version.
Even the Merchant Marines did it! And no one really knows what a Merchant Marine is.
Now all we're missing is a Gagnam Style video with a bunch of CIA targeting analysts in a drone control centre.


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I was originally going to regal you with the wild tales of my misadventures through the LFD tool, but instead I am consumed by a need to share my overwhelming pride.
Tuesday June 8th at near 10:20pm est, Unpossible downed The Lich King in 25 player mode. Normally I wouldn't bother posting something like this as I don't want to be seen as a braggart, but I am proud of my guild for sticking to it and getting this done. Over the last few months we've been combating burnout, illness, freak weather and buggy encounters. It seems to always be the way, we make incredible progress and then Murphy rears his ugly head and we get stymied by random occurrences.
I will say this was one of the more exhilarating kills we've had. Wed the week prior we broke early to attempt to buy Blizzcon tickets as a guild, we decided it would be nice to let everyone enjoy the weekend and focus on getting to the convention. On Monday we dove back into ICC and went hell for broke for The Lich King. As we were handling defiles and valks something just clicked. Vent got quiet and everyone was moving in unison. These are what I like to call moments of raiding clarity. This is where everyone is doing everything perfect and the boss abilities are right on time. It is almost like participating in a choreographed dance. It was just as if suddenly everyone got the fight. We made great progress and were consistently pushing into phase 3. Midnight bells tolled and we called it a night, but before we did officers agreed with spirits so high and considering the progress we made that we needed to extend the lockout, get the same raid group in ICC and take the bastard down. Who needed more shards? Badges? Pfft! A dead Lich King is all we wanted. And when the announcement went out over ventrillo you could hear people becoming excited.
So when Tuesday came, we headed in and on our first pull that same magic was there. pushed into phase 3, and we wiped because we weren't expecting to get there on the first pull. So we head back in our confidences high, and pull again. This time his health gets even lower, we wipe to something stupid, but spirits are still high. We go again and again, each time chipping away at that total health. After a 10 minute break around 10 we come back in, buff up and pull. We get to phase 3, everyone alive and we're going strong. We're kiting the spirits, and moving from defiles with expert reflexes, I get picked as the second person to go into Frostmourne and I heal the shit out of Terenas Menethil, I get dumped back to reality and we keep going. His health is dropping lower and lower. The other resto shaman gets picked for Harvest Soul, something unknown happens and he dies. LK enrages and everyone gets tense. Our main tank Woe pops his cooldowns as healers bridged the gap to him and the big heals started raining in. Suddenly he gets smacked hard and goes down. LK is at 14% with a few key people down (healers and high dps) everyone sighs, a wipe is almost called but instead Woe calls out for our OT Theonius to grab the LK fast. He charges over, grabs him, healers switch targets immediately and everyone unloads. Remaining healers go all out balls-to-the-wall with every cooldown and bit of mana they have to throw behind healing. LK at 12%, vent gets quiet again except for the calls from the raid leaders giving terse directions "heal x, move right" LK at 10.5%. Everyone is holding their breath and then you hear the call "Take this bitch down!" LK 10%, he wipes the raid and everyone cheers on vent, a reminder is sent out not to release and we all are whooping and hollering at the top of our lungs. Our mass res comes and we pop yet another heroism for good measure and unload, our achievements pop up and at that moment I could actually hear all remaining tension and burnout leave. A burden lifted from everyone's shoulders and fresh energy flowing into the raiders.
An early end to a raiding night, and week, but one well deserved. So as of Tuesday we finally start our hard modes. There is palpable excitement as everyone is getting ready and anticipation is high. After all the random things that have gone wrong along the way, I can honestly say this was one well deserved kill for Unpossible. I'd like to thank each and everyone of my guild-mates, officers and everyone in between for continuing to work so hard and to persevere though so much. We've been around for a long time, and we have no intention on stopping! We have our eye on you Deathwing, and we must break you!
We all have our obstacles in game. Raid attendance, pushing the DPS envelope, getting that computer to stop dropping you from raid, getting the last shot in to topple that boss at 1% or even overcoming personal and health related issues to play a game you enjoy with people you call friends. Everyone's journey is different, but when you get to your goal there is no sweeter victory.
With that in mind I'd also like to make a shout-out to Spellbrood. We heard that you have a lot on your plate and we here at World of Matticus want to wish you well in your journeys. Remember, no obstacle is too great when you have good friends to help share the burdens and the good times!
So that's it for this today, hope you guys enjoyed my little story there, I know my heart started pounding again as I began to recall the events.
Also, Unpossible is hiring! We're looking for geared and intelligent DPS looking for a fun but dedicated raiding home. Sorry folks we are full up on Death Knights and Priests, but everyone else is welcome to apply. If you're interested stop by here and take a look at our application process!


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MELBOURNE, Australia (AP) Andre Agassi says one of the biggest regrets of his career was waiting until 1995 - a full decade after turning professional - to play in the Australian Open.
It took him a while to return to Melbourne after his retirement in 2006, too.
``It feels long overdue,'' Agassi said Friday when he walked into the news conference room at Melbourne Park in his first trip back since his loss to Roger Federer in the quarterfinals in 2005.
The four-time Australian Open champion pulled out his cellphone and snapped a photo of the reporters crammed into the tiny space. ``Do you mind if I memorialize this for posterity?'' he asked the room to laughter.
Now 42 and the father of two children with wife Steffi Graf, Agassi will take part in a ceremony before the men's final between Novak Djokovic and Andy Murray in Rod Laver Arena on Sunday.
He's glad his career ended before the age of the so-called Big Four of men's tennis because he doesn't think he'd be able to compete against the group - Roger Federer, Rafael Nadal, Djokovic and Murray.
The game bears little resemblance to how he played just a decade ago, Agassi said. He ``marvels'' at the athleticism of the top men and their ability to recover quickly after draining matches, such as Djokovic's epic five-setter with Stanislas Wawrinka in the quarterfinals this week.
``It's just a different standard of tennis,'' said the eight-time Grand Slam winner. ``It's different rules of engagement when guys can do what these guys can do.
``It means the game has gotten a lot better. You know, Fed raised it. Nadal matched and raised it. Djokovic, for that intense little period of time, even raised it,'' Agassi added. ``When I see those top three guys, I see what history will say is the golden age of tennis. You're talking about arguably the three best guys.''
As for Murray, who edged Federer in five sets in the semifinal on Friday, Agassi believes the Scot is coming into his own.
``He believes now, and so now you're talking about four guys,'' he said. ``They've separated themselves from the field.''
In the final, he picked Djokovic to walk away with his third consecutive title and fourth overall Down Under.
When asked how he would have tried to beat a player of Djokovic's caliber, Agassi wisecracked, ``I would have probably gotten in a fight with him in the locker room before the match. I might have had a chance.''
Agassi also touched on the question of drug-testing in tennis in the wake of Lance Armstrong's doping confession - and reflected on his own recreational drug use during his career.
In his 2009 autobiography ``Open,'' Agassi admitted to using crystal meth during his playing days in the late 1990s and lying about it to tennis authorities after failing a drug test, telling them he unwittingly consumed a spiked drink.
Agassi said Friday he believes tennis has always led the way on drug testing, but more transparency and greater accountability can only be a good thing.
``It would have kept me from destroying a few years of my life,'' he said. ``That's what I did to myself with the use of the recreational, destructive substance of crystal meth.
``Anything that can protect the integrity of the sport, and those that aren't cheating should absolutely be considered. The more (testing), the better as far as I'm concerned.''


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Bunching Onion White Welsh
Price: $ 8.50
Allium fistulosum
A perennial onion comprising a clump of small bulbs, each bearing long tubular leaves. Plants grow approximately 75cm tall and onions are 1.5-2cm in diameter with a mild sweet taste. Use like spring onions but harvest leaves only, not bulbs. Essential in Chinese and Japanese cooking, easy to grow and great for small gardens or pots. Allow to flower in spring and then begin harvesting again. The flowers are attractive to bees. Good companion for apple trees - said to reduce the incidence of black spot (scab). 9cm pot.


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These teams deserve better than this officiating
The officiating in this Game 3 is god-awful, and two good teams like these deserve better.
Peter Forsberg's goalie interference penalty in the second period was one of the worst calls I've seen in a long, long time. What's the penalty, competing to try and get your stick on the puck and score a goal in front of the net?
Henrik Zetterberg was called for a phantom interference penalty in the second, and Cody McLeod was called for high-sticking in the first period when his stick never touched….anybody.
I also thought Samuelsson dove on that "high-stick" of Forsberg's in the second, giving the Wings a four-minute PP. Yeah, Forsberg got him with the stick, but it wasn't all that high and Samuelsson looked like he'd just been hit with a cannonball. It's called "selling the call", folks.
***Update: OK, I guess Sammy lost a tooth on that play. I didn't see that at first, and should have pointed that out. But I still don't think Forsberg's stick was very high. It was more of an accident to me than a high stick.
Ian Laperriere deserved a penalty in the first with that hit from behind on Brett Lebda, too. It was a dangerous hit.
Forsberg gets totally tripped up by Franzen off the rush in the third, but of course there's no call because the Avs were already on the power play. Can't have two in a row, that's not "hockey."
Don Koharski and Kelly Sutherland each ought to get two minutes – for horrible refereeing.
Just add Paul Stastny to the latest Avs injury list. There's only one game left in the season for the Avs to sustain any more injuries, however, so it'll all be over soon.
This really is ridiculous, the number of injuries that came in bunches this year.
I'm serious when I say this, I think the Avs need to hire some more medical personnel next year. Whether it's a yoga guru or a faith healer or whatever, their players need to stay healthier if they're ever going to win a Stanley Cup again.
I know injuries are freak things, and maybe nothing could have prevented them. But if I'm the owner of the team, I would want to look into this and just try to figure out something that's going to maybe make a little difference health-wise in the future.