text:
Microphone Guide - Mic Technique
Microphone Guide - Mic Technique From sE Electronics
VocalsVocal recording is often considered difficult but it is actually pretty straightforward as long as the acoustic environment is taken into consideration. For most studio work, a relatively dead environment is ideal as it allows artificial reverb to be added while mixing. Small vocal booths may give the illusion of sounding dead, but unless very well designed, may actually sound quite boxy due to a lack of low frequency absorption. A better approach may be to place the singer in a larger room and then apply localised acoustic treatment. A combination that works well is to place acoustic absorbing gobos behind and to the sides of the singer and an sE Reflexion Filter TM behind the microphone. In low rooms, an absorber placed above the singer's head also brings about significant benefits and in smaller rooms, avoid placing the singer or microphone close to either the walls or the exact centre of the room.
A metal mesh pop screen will usually produce less in the way of tonal artifacts than a fabric screen and few singers can manage a pop-free performance without one. Place this around 50 to 75mm from the microphone with the singer's mouth typically 150 to 250mm from the microphone. The microphone height can be adjusted so that the singer sings slightly above or below the axis of the microphone if this produces a more suitable tonality. The microphones own low cut filter may be engaged if necessary to further reduce popping and low frequency spill, although always check that this doesn't compromise the natural sound of the voice.
The choice of microphone is entirely a function of what suits a particular singer, and the most expensive model won't necessarily sound the best. While large diaphragm, cardioid capacitor microphones are the most common choice for studio vocals, different models sound either bright, or warm so it is necessary to match the characteristics of the microphone to the strengths and weaknesses of the singer. You may also find that a small diaphragm model sounds more natural in some cases, and if you're after a more rounded, vintage sound, try a ribbon model. The extended high end response of the sE RNR1 ribbon microphone makes it suitable for both vintage and contemporary sounding vocals.
Acoustic GuitarAcoustic guitars, both steel and nylon strung, can be fairly quiet instruments if picked rather than strummed, so a fairly sensitive microphone with low self noise is desirable. Condenser microphones are often used as they are easily able to capture the high frequency detail of these instruments and for the most natural sound, a model with a nominally flat frequency response may be desirable. However, a microphone with a specific character can be chosen if it suits a particular instrument so the end always justifies the means. At the outset, it must be emphasised that the microphone will pick up both the direct sound from the instrument itself and sound reflections from the environment in which it is played, so some acoustic screening may be needed to control the amount of reflected sound reaching the microphone.
Most acoustic instruments, the guitar included, sound best if played in a sympathetic room where the reflected sound supports the natural tonality of the instrument. Covering the floor beneath the layer with hardboard or other reflective material if the room is normally carpeted can create a localised live environment. It may also help to play close to a reflective plaster or wood panel wall. The key to a good guitar sound is to find the best position for whichever microphone you choose to use. Great results can be achieved using large diaphragm models, small diaphragm models, cardioids and omnis. Omnis can give a very sweet sound but you may need to screen off the rear and sides of the mic if spill from other parts of the room becomes a problem. If you are fortunate enough to own an sE RNR1 ribbon microphone, you will find that this also sounds extremely good used on acoustic guitars, when ribbon microphones from other manufacturers may sound too dull in this application.
The easiest way to find the best mic position is to monitor the mic output via good quality headphones and then move the mic around the guitar as the player runs through the piece. Many engineers start out aiming at where the neck joins the body from a distance of around 350mm but you can also get results by setting up the mic 150mm or so in front of the guitar and then aiming it at the guitar bridge either from above or below the guitar. Again a mic distance of around 350mm is a good starting point but you'll need to experiment to find the 'sweet spot' as every combination of player, room and instrument is different. In cases where the player moves excessively, consider using a guitar body mounting arrangement for the microphone such as the sE GM10 system which comprises an effective clamp and adjustable arm with a small high quality condenser microphone attached. Recording the guitar using a single mic avoids any mono-compatibility phase issues that might occur with spaced stereo mics, but a guitar part can be given more width and definition by mic'ing up the body as just described and then aiming another mic part way up the neck. The outputs from the two mics can then be panned apart slightly in the mix. Unless the guitar is physically small and bass-light, avoid pointing a microphone directly at the sound hole as this tends to capture a very boxy, resonant sound.
Electric GuitarThere are probably as many ways to mic up the electric guitar amplifier as there are engineers but some standard approaches have evolved. Because of the restricted frequency response of guitar speaker systems, which don't employ tweeters, dynamic microphones have a more than adequate frequency range and can tolerate the high SPLs that occur close to the grille cloth. A general purpose cardioid or omni mic will usually give quite adequate results and now that ribbon mics are becoming more affordable, these are once again becoming popular for recording the electric guitar. Some engineers also prefer the sound of condenser microphones, usually large diaphragm models, so there's no hard and fast rule as to which type of microphone to try. Cardioid mics don't pick up sound from the rear as omnis and ribbon (figure-of-eight) mics do, but if they're placed very close to the speaker grille, spill from other souces is unlikely to constitute a serious problem.
When using a single mic, a position close to the grille cloth is the normal starting point but it is important to try different positions across the face of the speaker as you get a different tone when mic'ing the centre as you do when mic'ing close to the edge. At the SPLs guitar amps generate, microphone sensitivity and noise are unlikely to cause problems — the most important thing 'spec-wise' is to choose a mic that can handle a high SPL without clipping. Try all the mics you can as the most obvious choices may not always produce the best results. While the single mic approach can produce great results, it is not uncommon to see engineers putting up both ribbon and dynamic mics close to the speaker grille, and where the room has a sympathetic ambience, a condenser mic a couple of metres back. The outputs from the various mics can then be combined and mixed to give the desired sound. If the guitar is played in the control room with the amp in the live room, it is also possible to mic the guitar strings directly using a capacitor mic and then mix a little of that in with the mic'ed amp sound to add definition.
Drums and PercussionDepending on the kit, how well it is tuned and how well it is played, drums can either be a joy to work with or the source of much frustration. A good sound starts with a good sounding kit, and though that sounds obvious, there are many examples of engineers trying to fix the sound of a bad sounding kit using EQ and compression. A good-sounding kit will have the correct heads fitted for the type of music and will be well maintained to avoid squeaks and rattles. Good tuning and correct damping is paramount. Drums often sound best in a slightly live environment, but in the smaller studio you may be better off trying to exclude wall and ceiling reflections and then add ambience when you mix using a suitable reverb device or plug-in.
Top-league studios have large drum rooms with high ceilings, so in the smaller studio, getting rid of ceiling reflections that might otherwise leak into the overheads is a priority. You could stick acoustic foam to the ceiling but a less permanent solution is to use sE Instrument Reflexion Filters TM on the drum overheads. Acoustic foam panels may be hung on the walls to control excessive small room liveness but don't be tempted to use carpet as that will only make the room sound more boxy. The close drum mics are less of a problem as they pick up relatively little room sound.
Kick drums are easier to mic in the context of rock and pop music if they either have the front head removed, or are fitted with a front head into which a hole has been cut to allow some flexibility in positioning the kick mic inside the drum shell. A wooden or plastic bass drum beater gives a harder, more defined sound than softer beaters and it is usual to damp the kick drum using a folded blanket placed inside the shell so as to prevent the batter head from ringing too long. The snare drum may be damped using duct-tape or materials such as Moon Gel but damping is not normally applied to the lower snare head as this prevents the snares from vibrating properly. The same approach can be taken with the toms, which may either be double or single headed.
Drum Mic'ing OptionsFor some styles of music, such as jazz, the entire kit can be recorded using just one or two microphones set up between one and 1.5 metres from the ground and placed a couple of metres in front of the kit. These will capture the live sound (and stereo imaging if a spaced pair is used) of the kit as it sounds in the room, but for this to work well the room has to augment the sound of the kit rather than simply muddy it. While condenser mics are the usual choice for room mics, a high quality ribbon mic (or stereo pair) such as the sE RNR1 placed a couple of metres in front of the kit can sound wonderful in a good room. Even with this purist approach, the snare and kick drums often benefit from having their own close mics that can be mixed in to give them more definition. With such a setup, the two front mics may be moved to above the kit so as to better capture the sound from the cymbals and toms, though in good sounding rooms, the use of both room mics and overheads often yields the best results.
Some engineers are very careful to ensure the two mics are the same distance from the snare drum so as to avoid "comb filtering" effects should the track be played back in mono. Snare mics are often simple dynamic models whereas the kick mic could be a large diaphragm condenser mic or a specialist dynamic model with an extended bass response. As long as you choose a model with a high SPL handling capability, you won't damage anything while experimenting. A typical snare mic position would be 50mm above the rim and aimed towards the centre of the drum head, while the kick mic is often placed just inside the drum shell aimed somewhere between the beater and the drum shell. Every kit is different so some experimentation is invariable necessary to get the best result. A more sophisticated approach would be to set up a second large diaphragm condenser mic a metre or so in front of the kick drum, and then balance that with the mic inside the shell.
Overheads may be set up as a coincident pair or spaced at around two metres from the floor. A coincident pair would normally be based on two cardioid condenser mics with their capsules close together and their axis pointed to either side of the drum kit but where spaced mics are used, any of the main pickup patterns can be used. Many professional engineers also like the sound of ribbon mics as overheads as they give a smoother, more rounded sound to the cymbals. Whatever mic type or pattern is used, in low rooms, some form of acoustic absorber between the mic and ceiling is desirable.
Tom mics are set up similarly to the snare mic, and may be either dynamic or capacitor models. Both snare and tom mics should be positioned so they point away from adjacent drums (and hi-hats) where possible so as to minimise spill. In pop music recording, drums are invariably mic'ed individually as well as by means of overheads and perhaps more distant room mics.
Typically the overheads and room mics establish the essential character of the sound, then the close mics are brought in to add focus and to fine-tune the balance. Separate hi-hat mics can be used where the overheads aren't giving them enough prominence and are generally condenser models. Positioning the hi-hat mic 200 mm or so from the side of the hi-hat cymbals, either just above or just below the cymbals, ensures it doesn't get hit by a blast of air every time the hi-hats are closed. Other percussion such as congas, djembes and so on may be mic'ed from overhead in either mono or stereo using capacitor microphones. The further the mic is raised above the drum, the more room ambience will be captured along with the direct sound. As with the drum kit, a naturally live environment often produces the most pleasing sound.


text:
Story posted May 21, 2009
The Bowdoin College Museum of Art has been described any number of ways: as an architectural jewel box; as one of the oldest college art collections in the nation; and as a masterpiece of inventive renovation.
The greatest measure of its worth, however, may be the surprisingly broad cast of curators who have the opportunity to get their hands around some of the more than 15,000 objects in the collection.
Take a single day in early May.
In the Center Gallery, Katherine Finnegan '09 is taking a last survey of her handiwork. As part of an independent study, the history major has co-curated an exhibition of 18th century British political prints from among the Museum collection and College archives.
Third Party Politics: Britain, France, and America in an Age of Revolution, is a satirical take on political life in the Age of Revolution told through British political prints created during the rule of George III.
"This is a good one," she says leaning in to inspect a caricature of John Wilkes Esq. Wilkes was an early proponent of freedom of the press who was tried for producing "seditious" pamphlets. The trial is mocked in an engraving by William Hogarth.
Finnegan stumbled on the Museum's impressive collection of prints—most of them allegorical lampoons—while helping Visiting Instructor in History Aaron Windel gather curricular material for a course on British Society and Culture in the Long 18th Century.
"We were looking at some of the Museum materials as a supplement to our readings about the Revolutionary Atlantic," recalls Windel. "We thought we would use a few of the prints to illustrate some of the important events of the day, but then the pieces in the Museum started to direct us. We realized how much these visual prints were at the very center of political culture in their time; they were visual artifacts."
Their small-scale curricular supplement became a full-scale exhibition when a gallery at the Museum opened up. Diana Tuite, the Museum's Andrew W. Mellon Curatorial Fellow, pulled prints for the pair to look at and eventually helped them learn the ins-and-outs of building an exhibition.
Tuite regularly works with faculty members to link Museum collections to their coursework and research. "This is the first time that I know of that an independent study student has been able to assist in all aspects of curating an exhibition, however," she notes. "Katherine did a spectacular job."
It took Finnegan a full year of careful research to help write the exhibition catalog and wall tags for the 40-odd works in the show. She also gave a full-blown gallery talk on May 7th. Based in part on her work on the exhibition, Finnegan won a history department prize.
"Some of these prints are just providing news for people who are illiterate," says Finnegan. "But most of them are seeping in irony." She pauses to look at a print titled, The Savages Let Loose, Or The Cruel Fate of the Loyalists. It shows Loyalists hanging from a tree or being scalped by American colonists. "I mean, this is definitely the beginning of what we see today in a New York Times political cartoon."
An unlikely exhibition of "mathematica" is on display in the Becker Gallery, next door. Helen Wong, a postdoctoral fellow in mathematics, collaborated with Tuite to assemble a fascinating assortment of objects from the College's Museum, library and mathematics department.
Among the pieces in Curating Across the Disciplines: Intersections Between Math and Art, is an elaborate woodcut by Albrecht Dürer of a fantastical knotted design. Across from it, a wooden pendulum illustrates differential equations while evoking a modern sculptural design.
"There is a return to mathematically based art among contemporary artists," notes Tuite. "So it's interesting to see the historic comingled with modern works. Both explore mathematical principles such as symmetry, pattern, linear perspective and optical illusions."
Upstairs, a small flock of students is gathered around works from the European collection on long-term display in the Bowdoin Gallery - everything from a Gothic carved head to a cubist landscape. They're here as part of coursework for Associate Professor of Art History Pamela Fletcher's first-year seminar, Matisse and Picasso.
"We've spent about a third of our class time in the Museum," notes Rachel McDonald '12. "Sometimes we'd be in the seminar room and they'd pull original sketches by Picasso for us to look at. Other times, we'd go around the museum and pick a piece that related to something we were talking about in Picasso or Matisse's work—technique or use of color or abstraction.
"It's made the class fun and interesting because it's more hands-on. We could actually be working with art from the period we were writing about, as opposed to just talking about it. It really energized the whole class."
Fletcher's museum-centric curriculum had an added social benefit she hadn't expected, she says. "I felt I got to know them better," she says. "We weren't always sitting around a table, but were walking, talking, standing in front of works and discussing them. It really changed the classroom dynamics."
Each year, more than 1,500 Maine K-12 students get introduced to the Museum's holdings by a special curator: Victoria Baldwin-Wilson. Assistant to the Museum Director, Baldwin-Wilson coordinates the Museum's community outreach, including bussed-in school tours. A new program called Saturday Mornings at the Museum invites local families to bring in children for Museum programming during the first Saturday morning of the month.
"We love to invite kids to come in, look and learn," she says. "Some come and don't want to let go of mommy's hand, but once they sit on a floor with one of our Bowdoin student volunteers, they loosen up. Before you know it, they're writing or drawing or searching for objects depicted in paintings."
Baldwin-Wilson sometimes takes the Museum into the classroom for in-school presentations. "I take posters or drawings students have done," says Wilson. "I bring museum reproductions they can touch. Children like to make a physical connection with art. And they are amazed that we have all this artwork," she adds, smiling. "They can't imagine people giving it to you."
"Sometimes we'd be in the seminar room and they'd pull original sketches by Picasso for us to look at. Other times, we'd go around the museum and pick a piece that related to something we were talking about..."
— Rachel McDonald '12

subset: commoncrawl


text:
Miller Time: Spying on the French
This is a RUSH transcript from "The O'Reilly Factor," October 23, 2013. This copy may not be in its final form and may be updated.
Watch "The O'Reilly Factor" weeknights at 8 p.m. and 11 p.m. ET!
O'REILLY: Thanks for staying with us, I'm Bill O'Reilly in the "Miller Time" segment tonight, spying on the French. Apparently the National Security Agency did that, perhaps looking for recipes. Anyway, Secretary of State John Kerry had to eat some crow.
JOHN KERRY, U.S. SECRETARY OF STATE: Our goal is always to try to find the right balance between protecting the security and the privacy of our citizens. And this work is going to continue as well as our very close consultations with our friends here in France.
O'REILLY: No. Joining us now from Santa Barbara, the sage of southern California, Dennis Miller. You know, I was going to say something but I'm not. I'm going to let you say whatever you want. Would you spy on the French?
DENNIS MILLER, RADIO TALK SHOW HOST: Billy, can you repeat that? I've got some interference? Wait a second. What the -- what the -- I guess we are under some sort of hidden scrutiny that we are not aware of these days.
MILLER: Spying on the French?
O'REILLY: Yes.
MILLER: It stinks. It stinks. Spying on the French. It absolutely stinks. You know something, Bill, God forbid that we waterboard Khalid Sheikh Mohammed and get some hard data out of him when we can put a spy cam in Gerard Depardieu sauna and get the real story.
MILLER: Three quarters of the emails that they break from France are letters to guy's mistresses telling them to bear with them that they are about to leave their wife soon and they shouldn't jump off right now.
O'REILLY: I just thought it had something to do with food, French food. You know, great all over the world. And maybe ...
MILLER: Well, let's break the Brunei's (ph) code. God forbid we go after al Qaeda.
O'REILLY: Maybe you know to be serious though, there are a lot of Muslims. Ten percent of the population of France is Muslim now. So ...
MILLER: Why would you want to spy on Muslims? There is no problem there.
O'REILLY: No, you don't see any?
MILLER: I give up. No, I don't know what to tell you. The world has gone nuts.
O'REILLY: Well the NSA spying on 80,000 French people and John Kerry looked like he had control of the situation there.
MILLER: Well, it's always good when the secretary of state has a longer face than the actual flag behind him.
O'REILLY: OK. Arnold Schwarzenegger tweeted today that he doesn't have any intention of running for president. Doesn't want the law changed, which had been reported in the "New York Post" and "The Washington Times," so he denies that that is on his mind. And then he said but "O'REILLY FACTOR" I still watch you and Dennis, love the show." So apparently he likes you, Miller. But would you like to see the governator, you know, if he could, run for president?
MILLER: I think most people suspect that Arnold was born in Kenya. And it's an odd time for him to want to run for president, because I'm just about to split for Austria. So, it's really works weird that way. There is no need for the pump you up guy, Bernanke is putting an $86 billion a month, thank you very much. And Bill, at the end of the day I don't care who president is anymore. I don't care if it's Arnold Schwarzenegger, Arnold Zipple (ph). Arnold Stang. I don't care if it's Eddie Arnold, Eve Arden.
MILLER: I just want to write a check and be left alone, OK? Because it's all gone absolutely crazy. I would rather talk to the marble columns behind Joe Manchin than I would talk to Joe Manchin.
O'REILLY: He's going to do the right thing.
MILLER: That goes for John Boehner on the tanning bed with the thong on smoking lucky nones (ph). That goes for fat men's butler Kathleen Sebelius, that goes for Obama and that goes for Biden. Let me send you a check. Leave me alone. Because taxation without representation is tyranny, but taxation with incessant representation is tedious.
O'REILLY: It's worse!
MILLER: I've had it! Let me send you a check!
O'REILLY: Bill, right, I think that we are going to get it done, though. We are going to get the Obamacare mandate delayed. I think, you know, we are working together here. This is detente. This is -- come on.
MILLER: Bill, I think Obamacare is the new prohibition. I don't think people are going to go along with it. I think Alan Grayson will be the new Eliot Ness, I think he'll use Anthony Weiner as a battering ram knock doors down lead people the way to have to sign up for the kids don't matter. Because, you know, something Obamacare is Barack Obama's sort of akin to the Peace Corps with Jack Kennedy. The kids want to step up and do something, I find it an odd thing. It looks like it stinks so far to me. Carney's walking away from the podium every day trying to explain it like is he Jack Paar on the talk show in the early '60s, and they told them not to say "water closet" for god's sake. All I know is this: There has got to be a number that I can send in and they just ignore me. Leave me alone.
MILLER: Let me get off the country, because it's crap right now.
O'REILLY: We have contacted the IRS to see what that number might be, Miller. So, we will have information for you. But I want to thank ...
MILLER: Please -- do you not think the world is spinning, baby?
O'REILLY: Oh, I think we are into, you know, as the temptations once sang a ball of confusion. But I do want to thank you, Miller, for mentioning Arnold Stang. For bringing Arnold back for those of us who remember the '50s, Arnold Stang was a major television presence, not as big as Eve Arden but close.
MILLER: I am confused and broken right now. Let me have a couple of days off from all this crap.
O'REILLY: We'll send someone out to soothe you, Miller.
MILLER: Thank you, Bill.
Content and Programming Copyright 2012 Fox News Network, LLC. ALL RIGHTS RESERVED. Copyright 2012 CQ-Roll Call, Inc. All materials herein are protected by United States copyright law and may not be reproduced, distributed, transmitted, displayed, published or broadcast without the prior written permission of CQ-Roll Call. You may not alter or remove any trademark, copyright or other notice from copies of the content.


text:
To organize and protect the objects that we use every day and transfer them easily from one bag to another. Now with an added touch of color: along with classic black, there is also orange and blue. Six pockets of different sizes, with a zip closure. Inside there is space for documents and a laptop up to 15"". Discover additional ways to customize your bag with the Multipurpose Pouches, in the same colors.
The Storage Panel is designed for the Messenger Bag, Utility Bag, Tote Bag and Backpack, and for other medium and large models. It can be used as a single piece or as two separate pieces.
Available at the Moleskine store and in select stores around the world.


text:
My son is now 3 weeks old and bfing has been a challenge from the begnining (he was a little bit early too). First he was tt (so we finally had his frenulum clipped yesterday). I also have somewhat flat nipples (so I wore those shells for about a week to try to pull my nipples out--and I think they're just find actually). He had reflux so we gave him Zantac and then switched to Prevacid when that didn't work. Gas? He's taking mylicon... but I just finally recently realized that the issue was me all along.
I didn't think I had an oversupply but it seems I'm definitely producing more than he needs and my flow is too fast (he can't handle it). I've started block feeding over the past three days (and I was pretty engorged at first but it seems better now), nursing uphill when possible (I guess he hasn't gotten used to his new tongue so his latch is not perfect and it works best when I'm sitting upright--and my somewhat flat nipples probably don't help) and trying to collect milk in a burp cloth when I think it's coming out too fast.
I'm also upset at the lactation consultants at my hospital because if it wasn't for the fact that they pushed me so hard to bf every 2 hours 20 minutes per breast, I don't think I would be producing so much now (should have listening to my mother).
Anyways, I'm feeling very guilty about how miserable I make the lo. Should I just give up bfing and start pumping exclusively instead and give him bm in a bottle?
He is my first (and might be the only) child and I really wanted to have that bonding experience you get through bfing but looking at his face when he pulls away from my breast screaming is just heartbreaking. I don't know if I can take it any more.
I've overcome cracked bleeding nipples, dealt with horrible clamping and I don't want to give up bfing now but I feel so shelfish.
He's been gaining weight nicely but the gas pain, horrible reflux, choking and gagging when nursing, and spit up (which sometimes looks like projectile vomit to m) make him so miserable (and me as well).
I could use some advice and support here.
I feel like I'm doing everything I can (I'm afraid to pump, even a little bit as it seems to just increase my supply). I also don't seem to have a letdown per se... it's like the milk is always just flowing. As I'm typing this message, I'm in tears because I'm so tired and those first 3 weeks have been both the most wonderful (because my son is the most amazing thing that ever happened to me and my husband) and the hardest of my life.


text:
Movie Description(Click Here To Hide)
When Keller Dover's daughter and her friend go missing, he takes matters into his own hands as the police pursue multiple leads and the pressure mounts. But just how far will this desperate father go to protect his family?
Prisoners Reviews
2013-09-19 16:35
MRR Review: "Prisoners"
Rating: R (disturbing violent content, including torture,...
2013-09-19 11:01
A movie about child abduction and abuse of the mentally handicapped has quite a bit on its plate, not to...
No fan sites added yet


text:
SAN ANDREAS - No one has ever sued the Calaveras Unified School District under the California Voting Rights Act of 2001.
SAN ANDREAS - No one has ever sued the Calaveras Unified School District under the California Voting Rights Act of 2001.
But if anyone ever did, it could cost the district a lot of money. That's why district leaders are moving ahead with a plan to change how trustees are elected, starting with the 2014 election.
Right now, trustees each represent one of five areas but are elected by a districtwide vote. That system is a potential violation of the CVRA because a minority group concentrated in one area might find its ability to win representation thwarted by the districtwide majority.
Stockton is among the local governments in California that still has a citywide vote on the candidates running within council districts. Stockton's system is specified in Section VII of the city charter.
In Stoctkon, unlike Calaveras Unified, there is a primary election during which only voters in each district cast ballots for candidates within the council districts. The top two finishers in Stockton, then go on to the citywide vote in a general election.
Last summer, the board of trustees approved a plan to switch to by-district voting. One more hurdle remains: normally, California law requires that voters get a chance to vote on changing the way trustees are elected.
Holding an election on whether to change the by-area election of trustees would be time consuming and expensive, Calaveras Unified Superintenent Mark Campbell said. So district officials are applying to the state Board of Education for a waiver of the laws that require school districts to go to voters to change the way trustees are chosen.
Such waivers can be granted when the change sought would bring the district in compliance with state law, in this case the CVRA.
"It has never been an issue," Campbell said of the existing system of having a districtwide vote on who represents each trustee area.
Another step in the process of getting the waiver: the board must hold a public hearing. That will happen Nov. 20.
The possible cost of getting sued under the CVRA is not just hypothetical. Local entities including Modesto, Hanford Joint Union School District and Madera Unified School District have been forced to pay six- or seven-figure settlements after losing such suits.
"We are a small district and did not want to spend money on defending ourselves from a lawsuit," said Calaveras Trustee Sherri Reusche, who was first elected to the board in 2004.
A number of school districts in California have already moved to comply with the CVRA, school officials said.
Reusche said the change will make campaigning easier for those seeking a school board seat. That's because instead of trying to reach voters in the entire district, they will only need to focus on the approximately 20 percent of the district population in the local trustee area.
Contact reporter Dana M. Nichols at (209) 607-1361 or firstname.lastname@example.com. Visit his blog at recordnet.com/calaverasblog.


text:
My Frieze Week New York Highlights
Kim Heirston
Adopting the visual languages of science and Minimalism, Ann Veronica Janssens's work suggests that all perception is fragile at best. Creating installations, projections, immersive environments, urban interventions, and sculptures, Janssens explores the sensory experience of reality. Space, distribution of light, radiant color, and translucent or reflective surfaces all serve to reveal the instability of our perception of time and space. She explores properties of matter (gloss, lightness, transparency, fluidity) and physical phenomena (reflection, refraction, perspective, balance, waves) in order to destabilize ideas about materiality.
British, b. 1956, Folkstone, United Kingdom, based in Brussels, Belgium


text:
Beautiful Foot| added 2 years ago
Thank you for your vote!
You have already voted for this video!
The video has been added to your member zone favourites.
Thank you for your report!
The video has been added to your member zone favourites.
Thank you! Your comment has been sent for review.
Unexpected error occurred, please contact support
Related Videos
Recent Searches
mom Virgin Japanese school STEPMOM young indian japan Wife massage Sister Son teen Black Daughter Teacher lesbian Mature orgasm Bus Asia Threesome Korean Arab Korea mother anal asian Family milf PAWN SHOP mommy old creampie public Gangbang sleeping Cumshot hairy shemale party Casting doctor Squirt granny Mia Khalifa czech piss money pregnant indonesia sleep sophie dee chinese Japanese mom compilation Blacked Bbw Taxi beach pawn Hentai thai bdsm pee sasha grey zotto gay katee life Katee owen


text:
AUBURN � A ruptured high-pressure gas line at Route 12 and Swanson Road prompted the evacuation of the high school, the town library and several businesses around 8:30 Monday morning for more than an hour.
A construction crew from R.H. White ruptured the 4-inch line shortly after 8:15 a.m., according to Fire Chief Stephen M. Coleman. Authorities shut down a section of Southbridge Street between Auburn Street and Brotherton Way.
Chief Coleman said students and faculty of Auburn High School were evacuated to the Yong Shing Restaurant on Walsh Avenue as a precaution. Additionally, the Bed Bath & Beyond store, Shaw's Supermarket, Bank of America and the Auburn Public Library � all on Southbridge Street � were evacuated.
It took crews from NStar approximately 25 minutes to shut off the gas leak, according to Chief Coleman.
NStar and fire officials checked the buildings with meters before allowing people back into the buildings. School officials got the go-ahead to return about 9:45 a.m. Superintendent Maryellen Brunelle said the high school followed safety protocols, including the notification of parents.


text:
product description
Related Products:
Artisan Made
Blade Style - San Mai
Buffalo Horn
Chef Knives & Santoku
Distal Taper
Japanese/Asian Knives
Stainless - Damascus
Stainless Steel
Wood - Ebony
Maker: Sakon (click to see more by this maker)
Item num: 83663
Blade length: 6.50 in.Total length: 12.00 in.Blade height (at heel): 1.82 in.Blade thickness (near bolster): 0.14 in.Item weight: 4.64 oz.Shipment weight: 7.68 oz.Blade: Stainless Damascus san mai bladeBolster: Pakka wood ferruleHandle: Makassar ebony
Description: The santoku is the traditional Japanese chefs knife. This comfortable design is a fantastic multipurpose chopper. The Santoku style has quickly become the new favorite for chefs in the West.
Each Nickel Damask knife is individually hand-forged beginning with a high carbon molybdenum, vanadium stainless steel core (hagane). This is surrounded by many layers of high contrast nickel Damascus. This time consuming process creates a knife with outstanding edge holding and beauty. The blade is distal tapered for optimal balance and has an extremely thin, keen edge for high performance.
The "Wa" style handle is octagon in shape and is sculpted from makassar ebony with a buffalo horn ferrule. This natural handle style is easy to grip and lasts a lifetime. Like other kitchen knives, this knife should not be put in a dishwasher.
Availability: Not currently available


text:
Drab Is Not Fab: 20 Posts Celebrating All Things Colorful!
Apartment Therapy's annual Room for Color contest is in full swing, and once again I'm reminded why, as much as I love a clean, neutral palette, color is king. At Re-Nest we wave our hands (Nuh-uh style!) to those who think having an eco-friendly home relegates you to a life of brown and beige. In fact, it's quite the opposite! There's no limit to the color inspiration we can glean with Nature as our muse. Thus, here are 20 of our favorite color posts from the archives. (And if these don't make you want to slap a coat of paint on that bare wall, then nothing will!)
• Green this Look! Colorful Eat-In Kitchen by Lo Bjurulf
• Ginnie and Janie of Yolo Colorhouse
• Ocean Colors = Amazing Inspiration For Your Home
• Give New Life to Old Furniture Using Color
• Our Favorite Kitchen Paint Colors (With Recommendations)
• Repel Insects With Color
• Soothing Paint Colors For a Relaxing Bedroom
• Our Favorite Bathroom Colors and Eco Paint Picks
• Inspiration: Refresh Dining Chairs with Color
• How To Make Vegetable Dye
• The Color Green Is, Ironically, Pretty Toxic
• Spring Style Inspiration: All the Colors of the Garden!
• Apartment Therapy Editors' Favorite Paint Colors
• 5 Fantastic Fall Color Combinations
• Shopping for Healthy and Colorful Eco-Friendly Area Rugs
And 5 of our most colorful Green Tours...
• Pilar and Carl's Colorful Casa
• Nancy and David's Restored Ranch
• Julie's Unbelievable Airstream Trailer, Shed, and Art Studio
• Robin's Beachy Chic Abode
• Johnelle's Mignonne Maison


text:
rodran84 needed a new logo design and created a contest on 99designs.
A winner was selected from 135 designs submitted by 47 freelance designers.
Designer must redesign the "More About Me" Facebook application logo and icon. The icon must complement the logo design. ***PLEASE NOTE*** The logo does NOT have to have the words "More About Me" in it.
Anymore uses of the question mark, exclamation point or anything that looks like the current logo design will automatically be removed from consideration. If you want to win, take note of the entries that have a star rating of 3 or higher...but don't copy their designs. Thanks!
More About Me
Accepted File Formats:
Standard Web Formats (.jpg, .gif or .png); Vector Formats (.eps, .pdf or .ai); Layered Formats (.psd or .tiff)
The logo must be 75 x 75 and the icon must be 16 x 16. The winning design will be chosen based on creativity and its ability to attract teenagers and young adults (17 - 25) to use the "More About Me" application.
Current logo design: http://photos-605.ll.facebook.com/p…5_3324.gif
Current icon design: http://photos-605.ll.facebook.com/p…5_4203.gif
More About Me Application Link: http://apps.facebook.com/apps/appli…2397363605
Find out how a design contest works or learn more about our logo design services.


text:
Both sides of the gun control issue rally supportersBy KIMBERLY HOUGHTON
Union Leader Correspondent
August 03. 2013 8:03PM
NASHUA - Among the protesters rallying outside of Nashua City Hall on Saturday was Chez Perez, who stood out with his large Scar battle rifle draped around his neck.
Perez is openly passionate about his Second Amendment rights, stressing the notion that there are still good guys with guns.
"I had to get a background check for every gun I own," said Perez, of Nashua. "I am here to make sure that no one takes my rights away. And don't you dare tread on my child's rights."
Perez was one of about 100 people gathered at City Hall Plaza participating in two opposing rallies. The Organizing For Action group hosted a gun violence prevention rally, while the New Hampshire Tea Party Coalition spearheaded a simultaneous counter-rally supporting gun rights.
The protesters stood side-by-side holding opposing signs, and while there were some verbal escalations, the rally was relatively civil as police presence canvassed the area and passing motorists honked and yelled.
"These people come here with an agenda to overpower, intimidate and threaten. I just don't understand that," said State Rep. Sylvia Gale of Nashua. "Watching them carry those shields around, I mean it just makes one wonder if you took their gun away what we would see."
Gale was one of at least three local state representatives who participated in the rally in support of expanded background checks for gun purchases.
Deidre Reynolds, volunteer with the Organizing For Action Nashua Chapter, maintained that the majority of New Hampshire voters support measures to prevent gun violence. Specifically, she said, there are loopholes when purchasing guns online and at gun shows.
Holding signs that read, "We are not backing down," participants urged Sen. Kelly Ayotte to reverse her vote against expanded background checks on gun purchases.
Urging common-sense gun violence prevention legislation, Keith Thompson of the Brookline Democrats said Ayotte needs to have the courage to do what is right for New Hampshire.
"I understand that people are afraid, but they are afraid without the facts," Thompson said of the counter-rally.
New Hampshire voters will send a clear message to Ayotte when they do not reelect her to office, said state Rep. Pam Brown of Nashua, who hopes Ayotte will ignore her "Republican marching orders" and instead listen to her constituents.
Carrying his 9mm pistol, Jonathan Randall of Wakefield argued that there are already adequate gun laws.
"I don't carry all the time, but when I do carry, it is for my safety and my family's safety," said Randall.
Joe Evans of Manchester agreed. Evans fears that expanded background checks may eventually lead to mandatory gun registrations, which he does not favor.
"I am here to support my gun rights," said Evans, who was pleased that so many pro-gun activists were present on Saturday.
Cindy Hammond of Laconia contended that if universal background checks were implemented, law-abiding people would be harmed and criminals would still find a way to obtain guns.
"The criminals will always get the guns," she maintained. "All this will do is make it more difficult to share a gun at a target range or loan a gun to a relative."
Not everyone agreed.
John Hanson of Merrimack said it is the many victims of Newtown, Columbine, Aurora and Virginia Tech that must be remembered when discussing background checks.
"A little bit of sensible gun control doesn't sound like a bad idea," said Hanson, who was holding a sign that said three out of four Granite State residents are unhappy that Ayotte voted against expanded background checks.
Crime, law and justice Crime Public Safety Politics General News Nashua Top Section Stories


text:
Posts Tagged 'The Guardian'
Jennifer Egan and Narrative
Just a blip: Jennifer Egan has a new narrative piece up on The Guardian (http://ow.ly/5OxIE). I appreciate what she's doing here to push the marginalia of writing into the center, but I'm not sure this amounts to more than an experiment. Reminded me of when POV cameras went into use in film/TV.
**Update** VIDA and THE COUNT 2010 ROUND-UP
As this story continues to unfold, and unfold and unfold, I thought I would do a quick round up of the articles rippling out from Vida's work:
The latest is from UK's The Guardian which starts with a succinct recap of the statistics gathered by The Count, it also includes some very telling quotes about the gender gap. the one that perturbed me the most was this one:
Peter Stothard, editor of the TLS, said the gender issue was "not a small matter" for the magazine or its readers. "We take it pretty seriously," he said. "I'm not too appalled by our figure, as I'd be very surprised if the authorship of published books was 50/50. And while women are heavy readers, we know they are heavy readers of the kind of fiction that is not likely to be reviewed in the pages of the TLS." The industry source for book data, Nielsen, does not keep records of authors' gender.
"The TLS is only interested in getting the best reviews of the most important books," Stothard continued. "Without making a fetish of having 50/50 contributors, we do have a lot of reviewers of both sexes and from all over the world. You have to keep an eye on it but I suspect we have a better story to tell than others."
So, basically, not only is he saying that he doesn't care what women are writing, or that women readers don't read the books that TLS covers (which in and of itself places a pox on his house as far as I'm concerned), but he goes on to say that the "most important books" are the only ones of interest to the publication. Double damn. I mean, seriously, does this guy trundle around in tweeds with a waistcoat and pocket watch, smoking tobacco from a plantation in the Caribbean while sitting at his gentlemen's-only club lamenting the frailty of the female intellect? If he's married, I need to have a talk with his wife. She's asleep at the wheel, here. And, yes, ladies, if your man is backward, THAT'S YOUR JOB. Comes with the license. Right there in the fine print.
Fortunately, there are also folks out there in the Fatherland getting it. John Freeman from Granta gets a big Happy New Year swig of scotch from me for this quote:
"While numbers and graphs like this are helpful," he said, "conspiracy theories are not, because we have to ask a deeper question, which is how gendered are our notions of storytelling? I have been on mostly women-run prize committees which questioned their own feminist bona fides and then voted for the men's books."
I salute you, sir. And John, please pass along my thanks to the people in your life that shaped you into a decent human.
This conversation of gender equity takes place with the entire culture. LA Times has a short blip of an article regarding the statistics of women in film (and I'm here to tell you it doesn't dig anywhere near deep enough to uncover the real internalized bigotry that prevents gender parity). The Center for the Study of Women in Television and Film at San Diego State University (who knew they existed? They need a better publicist!) calculates that the number of women working behind the camera hasn't changed since 1998… the first year they put togther their "Celluloid Ceiling" report. The stakes, my friends, are nothing less than the culture, as Martha Lauzen puts it:
"I don't think people know when they walk into a theater that nine out of 10 times they'll see a film by a male director," Lauzen said. "It's not just an employment issue for women, it's a cultural one for all of us. Movies make a difference in how we see the world and how we see certain groups of people. These are the architects of our culture."
And reading through the comments is like a 50s flashback. Seriously, people, give it up.
Here are some choice quotes from the other articles I've found. (Hyperlinky goodness let me label them with the author names, so hover for the attribution.)
It may be that more men than women write what editors consider "important" books—in part (and this is speculation) because more men than women write about international affairs and politics. (Of course, writers like Samantha Power and Elisabeth Rubin are successful examples of women who do.) If that's the case—and I'd like to see the numbers—the salient question is why. Another salient question is whether what editors consider "important" is itself affected by gender. (Sometimes I think it's no accident that some of the most influential female writers have refused to foreground the fact that they were women: Take Elizabeth Bishop, who wouldn't allow her work in an anthology of women writers, or Susan Sontag, who, as Sigrid Nunez recounts in her forthcoming memoir Sempre Susan, refused to wear make-up or carry a purse.)
My own rough count of fiction editors at prominent publications reveals that the majority of final decision-makers are men. Is a bit of mirror-gazing occurring? Are male editors more likely to see their own concerns in men's writing? If so, this bias may cut both ways: My work has frequently been championed by female editors. But for now, the gatekeepers of literary culture—at least at magazines—are still primarily male.
In at least some areas, it seems that women's writing is getting less recognition than men's. It's also true, however, that this could have a trickle-down effect — women have fewer role models in magazines and on year's best lists, and so they may choose to promote their work less or, in some cases, stop producing it at all. As Elliott says, if women are truly submitting less, they need encouragement. They also, however, need an environment where writing by a woman has as good a chance of being considered Serious as writing by a man. And male and female authors alike acknowledge that we're not there yet.
…Do women write as much as men? And probably more importantly, Do they submit their work to literary journals? Certainly in terms of books reviewed the percentage of literary books published by women to men would be the most important statistic. As much effort as was put into compiling this data one imagines the data on books published could certainly be found, even if it had to be limited to a dozen presses just so we would have an idea.
We love you VIDA, but we want a little more.
Poetry Foundation: just a round up….
This is day two of crappy stats about women in the creative business – this time, the literary world.
In my personal experience as a writer in the publishing field (a field that's filled with women, by the way), I see young writers doing this a lot—women speaking humbly and in self-deprecating terms of their own writing (myself included), while male friends of splaying their latest work onto their various blogs, Facebook pages, or Twitter feeds. While there is great work from both, there's no doubt in my mind who is getting their name out more and who feels validated about their work (and are more likely to submit it to journals).
VIDA wants to know what you think. Here's some more ideas on what to do: Check out She Writes and other online writing communities, question the literary canon (See: Chally's recent Iconography Series), and make an effort to encourage all the writers in your life—yourself included.
I'm a fan of baseball statistics. And of the old Bill Parcells post-game aphorism that "You are what your record says you are." These numbers are deeply depressing, along any rubric. The annual AWP conference is in D.C. this weekend, and I hope people will ask editors from Tin House, Poetry, and Paris Review what their plan will be to rectify these numbers. Get whatever they're promising in writing. In blood. With naked, embarrassing photographs. I don't know what their reaction will be, or what kind of promises they can make that would assure me. There seem to be systemic problems in the ways literary magazines accept and publish work, just as there seem to be giant problems with the ways the editors at the New York Times Book Review choose who they review. 438 men reviews to 295 women reviews in the 2010 New York Times Book Review. I don't know what the breakdown of book publishing in America was last year, but I'm pretty sure there were lots of books by women that could have filled that gap. Sam Tanenhaus, the Review editor, was smugly quiet on Picoult's rather prescient criticism. Something is up. What is he going to do about it as an editor?
Jim, I, too, am a fan of FACTS. I read through so many of these apologias for why cultural production in America still skews towards male creators. Women consume and create culture IN PARITY. But that isn't reflected in our commercial marketplace. Why? Well, that's probably at least a PhD's worth of sociological analysis, but the least of it has to do with people in positions of power continuing to reinforce the patriarchy through their choices in material, hiring, and promotion. That's what "Institutionalized" means. We're in a gender prison right now and about to stage a riot. Or two. Jim, I got a finger or two or three of that Scotch with your name on it when the book sells. And maybe some of these liquor donuts.
I'm going to keep updating this post with new links as they become available. I'll try to remember to do it top down so you don't have to scroll this. Big changes popping all over the world. ONWARD!
OK, so I lied. I'm putting the updates down here at the bottom. 🙂
Ms. Magazine Blog: A quick round-up BUT on the same page as some other hard-hitting feminist tidbits, like how to explain to your kids that you're watching a superbowl game that glamorizes a man accused on multiple counts of rape.
I'm sure Patrick Lane over at the Missouri Review is very nice, but his response to The Count just makes me imagine him as a one-legged blind man in an ass kicking contest. Against that multi-limbed bitch, Shiva.:
I certainly wouldn't deny that there most likely is a significant gender gap in publishing (though I wouldn't take this particular report as proof of that — though it does help justify the hypothesis), and such a gap is a problem (though is it a problem of bias, education, opportunities, or even genre definition?) that we should be investigating. But it's important also to recognize where the data is problematic before launching into action campaigns or making accusations against editorial staff. [Ed. Sounds like he's offering cake to the masses. Italics mine.]
Ruth Franklin over at The New Republic put on her Big Girl Panties and cracked some numbers on books published. Sounds like she didn't like what she found–I know this is a big chunk and recommend you all head over and read her entire peice:
We looked at fall 2010 catalogs from 13 publishing houses, big and small. Discarding the books that were unlikely to get reviewed—self-help, cooking, art—we tallied up how many were by men and how many were by women. Only one of the houses we investigated—the boutique Penguin imprint Riverhead—came close to parity, with 55 percent of its books by men and 45 percent by women. Random House came in second, with 37 percent by women. It was downhill from there, with three publishers scoring around 30 percent—Norton, Little Brown, and Harper—and the rest 25 percent and below, including the elite literary houses Knopf (23 percent) and FSG (21 percent). Harvard University Press, the sole academic press we considered, came in at just 15 percent.
I speculated that independents—more iconoclastic, publishing more work in translation, and perhaps less focused on the bottom line—would turn out to be more equitable than the big commercial houses. Boy, was I wrong. Granted, these presses publish a smaller number of books in total, so a difference in one or two books has a larger effect on their percentages. Still, their numbers are dismaying. Graywolf, with 25 percent female authors, was our highest-scoring independent. The cutting-edge Brooklyn publisher Melville House came in at 20 percent. The doggedly leftist house Verso was second-to-last at 11 percent. Our lowest scorer? It pains me to say it, because Dalkey Archive Press publishes some great books that are ignored by the mainstream houses. But it would be nice if more than 10 percent of them were by women. (In the 2011 edition of Dalkey's much-lauded Best European Fiction series, edited by Aleksandar Hemon, 30 percent of the stories are by women. Last year, at least Zadie Smith wrote the preface.)
Now we can better understand why fewer books by women than men are getting reviewed. In fact, these numbers we found show that the magazines are reviewing female authors in something close to the proportion of books by women published each year. The question now becomes why more books by women are not getting published.
The VIDA numbers provide a start toward an answer: Of the new writing published in Tin House, Granta,and The Paris Review, around one-third of it was by women. For many fiction writers and poets, publishing in these journals is a first step to getting a book contract. Do women submit work to these magazines at a lower rate than men, or are men's submissions more likely to get accepted? We can't be sure. But, as Robin Romm writes in Double X, "The gatekeepers of literary culture—at least at magazines—are still primarily male." If these gatekeepers are showing a gender bias, there's not much room to make it up later.
Then Becky Tuch restored my faith in humanity with this piece over at Beyond the Margins:
… we need to understand how complicated these matters truly are. While women should and must continue to submit their work, fighting doubly and triply hard to share their stories with the world, we need to keep in mind that the inequality in submitting and publishing cannot be explained only by women's bad thinking habits. Telling us to "Toughen up!" or "Get out there and submit more!" is wonderful and encouraging advice. But we must not lose sight of the larger forces—economic, social, commercial—which act against women who wish to be artists. To those women I would like to say, "By golly, if you've made it this far, you're pretty damn tough already."
Amen, sister. Will continue with updates as I find pieces.


text:
December 2011
December 30, 2011: We close out the year with an issue sure to raise a few eyebrows. In a Heartbeat host John Clor invites Sawyer to Grosse Pointe's War Memorial to discuss the Chevy Volt. (See if you can guess which member of the TVD staff will be swearing off cookies next year.) Not content to stop there, Chris finds another example where truth and honesty are lacking — energy. Are we running out of domestic energy in the Americas, or just the will to explore for more oil, natural gas and coal? The answer may surprise you. On a lighter note, Federal-Mogul introduces a new lighting and sensor technology that works with the wave of your hand. Speaking of using your hands, Al tells us about "Rubber Arm Randy" and why every driver should learn how to "Stick It!"
December 23, 2011. This time around, Al mistakes a V6 for a V8, and yet gets to keep his auto journalist credentials! (Everyone makes mistakes, especially when the world is whizzing past.) Chris Sawyer drives the 2012 Dodge Charger SRT8, and it gives him a keen insight into the personality of the brawling company founders, John and Horace Dodge. Al creates a midlife crisis spotter's guide for your enjoyment, and admits to having fallen into this trap — twice! To make up for this, and his cylinder-counting mistake, we give him a book to review about drag racing. It's not the fish out of water story you might think as Al has worked with drag racing legend Connie Kalitta in the past. Also, there's a new HANS Device that's lighter, smaller and less expensive. Finally, there's a new technology item that boggles the mind. It's not going to make your car faster, more fuel efficient or safer, but it will keep you entertained. Check it out here.
December 16, 2011. It's nearly Christmas, but there's still time to get a suitable gift for the gearhead in your life. Check out TVD's affordable, and practical, gift selections. When money isn't an object, you can go all-out. Sort of like Juha Kankkunen in the Bentley Continental Supersports Convertible. Buy one and you get the commemorative Breitling watch free. Al's at it again. This time he's complaining about bumpers that can't hack it… and scouring powder. You'll have to read it to understand the connection. Finally, Chris Sawyer went to Ford's Michigan Assembly Plant this week to check out the 2013 Focus Electric. And it caused him to use a word his late mother didn't like. See what it is and why he feels truth and honesty are the latest casualties in the auto industry's dance with environmentalists and regulators.
December 9, 2011. Speculation is rife about who will succeed Alan Mulally as Ford's CEO. We take a look at the contenders. When Sawyer's kidney stones acted up, Al Vinikour stepped in and covered the introduction of the 2013 Lexus GS. He liked it. What he doesn't like, however, are people who "tap dance" on the brake pedal. Read why. Bentley gives a taste of the sound of the new Continental, and The Editor muses about the death of Maybach. And last, but by no means least, we talk to Britain's Andy Peace about his modern interpretation of the classic Maserati Tipo 250F Grand Prix racer. It's nothing less than amazing.
December 2, 2011.
This week, The Editor tours the Udvar-Hazy Center while visiting Virginia, and discovers a place he likes as much, or more, than the National Museum of the United States Air Force in Dayton, Ohio. Yeah, we know… we think he's weird, too. However, his photos and words show an aviation and space museum well worth the trip. While Chris was out drooling over airplanes, Al Vinikour read a book, and wrote a review. (We know. We didn't think it was possible, either.) As if that wasn't enough, Al tells every naysayer, eco-freak and busy body just who gives him the right to drive fast, powerful cars. It's enough to make even the most impenitent want to go to church. Speaking of church, we pray in the church of the eco-weenies as we test the Chevy Volt. Is it the answer to range anxiety or the perceived "sins" of the internal combustion engine? Or is it just a fascinating addition to the pantheon of alternative propulsion systems?


text:
You can't beat a system you can't understand
You can't beat a system you can't understand
When columnists are desperate for an idea, they will jump through hoops to find something to write about that will get by the discerning eye of editors who are fond of words like "huh?" and "wha?" when reading things like — my weekly column. After they pass the "huh" and "wha" stage, they like to go into the "he's grasping" mode, and finally, they just say: "I told you — the man is delusional."
Most would think that anyone who has been subjected to the pain of staring at a blank white square on a computer screen that appears to grow into a gigantic maw with teeth waiting to devour the frantic writer sitting in front of it, would be just a little bit sympathetic. But alas, that is not the case.
So, after the ultimate humiliation of rejection, we move on to the next phase of the creative process, which is akin to a meditation gone awry. We think about how to solve global hunger, attain world peace, why women control the planet while men get the credit, and other things that mere words in a weekly column cannot solve. We consider everything except the subjects we really want to write about — sex, politics and religion. Why? Because we are not permitted to write about these things for fear of alienating large percentages of our readers, all of our advertisers, and embarrassing our families.
We are reduced to asking ourselves really simple, dumb questions that can be turned into the required number of words to fill up the space needed to elicit a paycheck from those who can't wait to declare us delusional, frantic, grasping, or a combination of all of the aforementioned.
This week, I'm thinking about things that have been puzzling the public for quite some time — things that we would all like to know. I accept that most of us will never know exactly when we are going to die unless we are scheduled by the state for doing something really bad. Not knowing when we will draw our last breath is probably a good thing. However, there is something else that I think puzzles everybody, particularly readers who drive and commute to work on a daily basis. The subject is: the speed limit. Does anybody know what the real speed limit is?
During rush hour, if you drive on any highway in the middle lane and go the speed limit, you will quickly learn that your adherence to the posted law of the local land is less than appreciated. Fellow drivers will be quick to tailgate you, honk their horns, shake their fist while making gestures to let you know that you are number one on their list of annoyances.
I have been passed by police cars while I am driving five miles per hour over the speed limit and the officer in the passing car didn't look any too happy about having to work his way around me because I was apparently impeding progress. And it doesn't have anything to do with the speed limit being 40, 55, or 60. It can be any number and people will always drive faster. But there is some point that traffic enforcement considers too fast, and when you reach it, they will stop you and issue a citation. All I'd like to know is — what is that speed? Is it 10 miles over the limit, 15, or eight?
Ask any traffic officer and you will be told that the speed limit is whatever is posted. Occasionally, you might find one who will admit to allowing drivers to move with the flow of traffic as long as that speed appears to be within their perception of safe. Who sets that "safe" pace? I want that job, because whoever that person is, he or she is above the law.
If anybody out there knows the answer to this seemingly unanswerable question, please let me know. Until then, I'm going to put it in the category of being part of that system we just can't understand. Okay — I've reached the required number of words. Whew! Am I delusional? Probably.


text:
The latest protest from some of Maryland's counties refusing to honor the new gun law is very revealing ("Sheriff won't enforce gun law," June 6).
There was a day when we shot rabbits, squirrels and deer because they were in the actual food chain. They were the meal on the table. Not so today.
Expert opinions have shown that even professional gun handler, have emotional problems when they have to draw their weapons in a crisis. So the claim for self-defense is at best, a daydream. The final straw was when gun owners could not get enough signatures to put the bill up for a referendum.
What is missing in this gun battle? The truth about gun ownership. The thrill of owning a gun, the same thrill that antique car owners feel when they take the old buggy out for a spin.
The hypocrisy is that gun owners do not want to be labeled as gun lovers. That exposes their weakness. The fun of holding the gun, the excitement when showing off some exotic piece at a gun show or at the range and the feeling of the recoil when the weapon is fired. Just like golfers, they are members of a clan.
Gun lovers should stop trying to hide their affection for guns behind a claim of the Second Amendment and self-defense. They should come out of the closet and profess their love for their hobby. That would be truly American.
John Holter


text:
Dropzone.com: Skydiving Community, Skydive Information
User Search
Gear and Rigging
Rig considerations... Velocity or Sunpath?
Thread Options
Previous Thread
Next Thread
Print Thread
Share Thread
View Threaded
(D License)
Dec 30, 2012, 4:56 PM
Post #1 of 18 (5321 views)
Rig considerations... Velocity or Sunpath?
Can't Post
Here is the deal. I work as a full time camera flyer. I am on pace to be doing about 900-1000 jumps a year. I am currently working at a year-round operation. I have been jumping an old Javelin for a while (2000.) I really do like the Javelin for a variety of reasons. Easy to pack, simple, comfortable and safe. I also have been thrilled with Sunpath's customer service in the past. I met one of the reps when I was in Lodi this past summer and he was AWESOME. I am a new and poor skydiver, only about 900 jumps so I certainly don't expect to get a lot of attention from any sort of reps or professionals in the industry. I had some questions for the Sunpath rep and I got WAAAAYYY more than I bargained for. He chatted me about my rig for like 30mins, answered all my questions, gave me his card and offered to replace my number 1 flap on reserve (little fraying.) I also had a recall on my reserve pillow which was handled in a very timely fashion. The only part of the Jav that I don't like is my main flap comes open quite a bit. I started routing my bridle and stowing my main flap between the number 2 and 3 flaps and it took care of the issue (mostly.) I am also not totally thrilled with the pop top. I like the idea of my reserve PC completely covered. I don't know if that makes any since form a rigging perspective as I am not a rigger. I do like the way the bridle is stowed too with the little bit of velcro right about the main pin.
I don't know a ton about Infinity but everyone I know that has one simply raves about them. They are sleek, streamline and simple. I have also heard a lot of riggers say they are one of the easier reserves to pack. This is important to me because if I have a chop on a busy Saturday, I want a rigger to be able to attend to my rig quickly and not mind doing so. I have heard some riggers bitch about certain containers and that could potentially put me to the back of the priorities list, were all human right? I heard that the Infinity also has one of the quickest opening reserves on the market (skyhook not included.) I don't want a skyhook as I am a camera flyer. The enclosed reserve PC is also enticing. Infinity also does a double wide leg strap which I heard is much more comfortable. The main flap is bullet proof. I heard they also offer great customer service. Above all else, they almost put a rig into space. The cheaper price also makes a difference for me because I am a poor camera flyer. Safety is obviously my #1 priority but they both seem very safe.
Would anyone like to offer some pros and cons to either system? I would love some input from the community. Thanks to all.
Blue skies from Texas,
Dec 30, 2012, 5:05 PM
Post #2 of 18 (5269 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Infinity's Customer service and rigs are top notch! I have never been a javelin guy it was micron and infinity and infinity has way better customer service turn, around times(UPT is military customer service primarily and thats all they care about unless you want to pay extra), and quality is equal if not better. There is much more customization available with the rig design also.
Feel free to pm if you want
(D License)
Dec 30, 2012, 5:13 PM
Post #3 of 18 (5259 views)
Re: [jjudd] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Thanks for the response.
Dec 30, 2012, 6:05 PM
Post #4 of 18 (5228 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Why are you concerned about the partial poptop? Generaly the more flaps in the way the longer its gonna take for your pilot chute to get out and your reserve open because the pilot chute has to do more work to get IMO the airstream.
I know people complain about racers but I've never heard about the partial poptop of a javelin.
Dec 30, 2012, 6:24 PM
Post #5 of 18 (5219 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Packing a javelin or a Infinity is very little difference. I pack both and have no problems with either. The time difference to pack is minimal. The rig I hear riggers bitch about are racers - almost all the other rigs fall into two categories which are either Javelin like (Semi external pilot chute) or Vector like (Completely enclosed pilot chute).
Spacerfoam on the legpads makes things comfortable. Whether single or double width - I never had a problem doing CRW and hanging in harness for long durations. If the harness is made to fit, you'll have few comfort issues with either.
Speed of reserve deployment on both is comparable without skyhook. The semi-external pilot chute may potentially lead to quicker deployment as less flaps to push out the way BUT this difference is probably negligable.
I've never had a problem with Sunpath customer service in 20+ years of owning javelin's. I havent had cause to speak to infinity but have no doubt they do good customer service. As others have said.
Both a safe rigs that function great. I guess it comes down to personal preference and cost for you.
Dec 30, 2012, 9:08 PM
Post #6 of 18 (5134 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
I work as a full time camera flyer. I am on pace to be doing about 900-1000 jumps a year
I am a new and poor skydiver,
If both of those are true, you're doing something wrong.
I have a chop on a busy Saturday, I want a rigger to be able to attend to my rig quickly and not mind doing so.
Despite being a 'poor' skydiver, you better pony up for a spare cutaway/reserve handle and a freebag/PC when you buy your rig. No matter how eager your rigger is to drop everything and repack your stuff, if you lose any of the above, you're out of the game until you replace it.
Here's a hint - before you have a problem, figure out which one of the TIs has a good rig that fits you. If they're busy doing tandems and your rig is out of service, just borrow their rig for a day or two. Even if you have to flip them $50 to use it, you'll make way more than that in the process.
Anyway, buy an Infinity. I've got 8 seasons on my current Infinity with no problems of any kind. I like it enough that I'm going to order another one for the upcoming season. Besides being less expensive than the rest, they can typically deliver it much faster than the other manufacturers.
Dec 30, 2012, 10:49 PM
Post #7 of 18 (5104 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
If you can try on an Infinity, or better yet jump one that fits you, you would be doing yourself a service. My experiences were that an Infinity i bought was longer than the Javelin I was used to jumping (both made to fit me) both fit a 170 main/160 reserve.
The Infinity was pretty bomb proof and you could pick up the rig by the main closing flap and it wouldn't open (but opens like a charm in the air). I ended up sticking with the Javelin, I like the the shorter rig for my body style.
Try before you buy will go a LONG way, no matter what anyone says on here.
Dec 31, 2012, 12:02 AM
Post #8 of 18 (5074 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
If you have an experienced rigger that knows how to pack Javelins the partially exposed PC (not what I call a pop top because the pin is still on top) is not an issue. And the reserve is the appropriate size for the container. Some rigger compensate for inexperience with a longer loop. Not good.
Either of these two rigs would be a good choice with my own choice probably going to Infinity.
Dec 31, 2012, 5:51 AM
Post #9 of 18 (4987 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
I have packed both reserves.... I personally like the looks of the Jav better than the Infinity...
I have seen some Infinity rigs that just look bad (fabric weave being too smooth + shape of the rig being too long and flat + wrinkles on flaps).
So, I would go with the Jav because you said the rep took 30 minutes to work with you, and wanted to build a customer service relationship with you... This is worth something, and if all other factors are equal (price, delivery time, etc), that rep should be rewarded for his efforts.
Dec 31, 2012, 6:10 AM
Post #10 of 18 (4978 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Both rigs are solid options. I have owned both Javelin and Infinity rigs and enjoyed both, but have stuck with Infinity over the years. I have jumped VSE rigs since 1999 and listed below are a few reasons why I prefer their rigs.
Reserve pilot chute design:
-I prefer a fully enclosed pilot chute. The smaller rigs typically are harder for riggers to keep the partially exposed PC completely seated and you occasionally see PC material peaking out from the pop top.
-VSE makes their reserve PC of approximately upper 90% nylon and lower 10% mesh. This allows for the PC to inflate much quicker even if it some how ends up on its side (e.g. unstable reserve deployment)
Riser covers:
-I like the fact that VSE uses secondary riser covers. How many times have we all seen someone with toggle or brke line peeking out. The shape of the secondary riser covers helps promote even deployment of the risers from the container.
-I have never had my primary riser covers come open when they were not suppose to and they have always open when they are suppose to. If you lay the riser covers out flat you will see they have a straight line which helps prevent risers from hanging up on deployment.
Main pin flap:
-The main pin flap and the top main container flap are anchored from the same point keeping them the same length relative to each other at all times. This keeps the pin flap secure at all times even when changing canopy sizes. I can pick up any of my Infinity rigs by the main pin flap with out it coming open.
Leg Straps:
-VSE makes an extremely comfortable rig. One of the reasons is their double wide leg straps. I have not placed a leg strap over an Infinity leg strap that was wider (sport rigs, tandem rigs typically have very wide straps also). Displacement is a key factor in leg strap comfort. The wider the strap the more area to sit on. Think sitting on a 2x4 vs. 2 2x4s.
Customer Service:
-VSE has AWESOME customer service (as do many manufacturers). Try contacting most manufacturers in the sport. Some you will never get a response from. Some will be slow to reply. VSE typically responds IMMEDIATELY.
-Equip each rig the same and you will see that VSE rigs are more affordable than most.
These are a few (of several) reasons I prefer VSE over other rigs. I hope this helped. Hit me up at the DZ and jump my Infinity with the 135 in it and I am sure you will agree.
(D License)
Dec 31, 2012, 10:36 AM
Post #11 of 18 (4855 views)
Re: [djmarvin] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Thanks for all of the input. Infinity is probably the direction I am heading however it might upset some people at the DZ
A friend of mine who is a rigger in Hawaii said that he has seen some weird things come from Infinity that had to be sent back. Main trays too big or reserve trays too small. Emergency handles way too high on the lift webbing, 3 ring sits too far forward or too far back. I will take this info with a grain of salt because this is the ONLY person I have heard say anything negative about Infinity after about a dozen or more that I have spoken to.
Thanks again for all the thought out responses.
Dec 31, 2012, 10:53 AM
Post #12 of 18 (4843 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Everyone has a vested interest somewhere - people who have brand x generally don't rubbish it because they don't want to look like they bought something crap and didn't do their research.
I think any rig you buy from a reputable manufacturer is going to work just fine. If you buying new then they should fit comfortable as they are made to fit your dimensions.
I've seen weird things on all manufacturers - so again take with a pinch of salt. When ordering make sure that the container is sized appropriately and not just for the smallest you can get.
Whichever way you chose I think you will do just fine.
Both are fine rigs, with 1000's of happy customers out there.
Dec 31, 2012, 11:07 AM
Post #13 of 18 (4838 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Like you, I owned and jumped a 2001 model Javelin for several years - and was very happy with it. But when I finally had the opportunity to order my custom "dream" rig, I decided on an Infinity.
As happy as I was with the Javelin, I think they're over priced, probably because they're the most popular rig on the market and can charge whatever they want. My research also showed me that Sunpath nickels & dimes for "extras" like hackey handles and collapsible pilot chutes. That's really bullshit, as those features are standard on almost all other competitors' rigs. The nickel & diming gives the illusion of knocking the basic price down lower, but nobody wants a rig these days without most of the extras.
Because I was buying a dream rig, I did opt for most (but not all) of the extra bells & whistles available for the Infinity. I did not go for chest rings on the harness, as I don't swoop, and I elected the plastic hook knife over the metal one. One pleasant surprise was finding the spring clips on the leg strap adjustors, which is a standard feature on all but the cad plated hardware. VSE told me they got onto this feature after seeing some climbing harnesses, so after putting them through testing, added them as a standard feature (on all but cad plated, where it apparently doesn't work so well).
Both Sunpath and VSE offer excellent customer service, but as I live on the west coast, I favor VSE for being "next door" in Oregon.
I have used the reserve on my Javelin twice, once on a low speed cutaway and once on a terminal pilot chute hesitation. Both times the reserve deployment was very quick and smooth (the cutaway was assisted by a standard RSL, which beat me to the punch on my reserve handle). So far, with 150+ jumps on my Infinity, I haven't had the "opportunity" to use the reserve, but I'm really impressed with the size and design of the reserve p/c. Again, I'm using a standard RSL with the Infinity. As to whether the pilot chute is completely enclosed, partly enclosed, of completely exposed, I see that as a matter of personal choice, though I like the way the Infinity p/c is completely enclosed.
I find the Infinity has a much tighter main container to close up, also that Infinity doesn't have the leverage on the closing loop that the Javelin has. But I do my own packing and got used to closing up the main quickly and easily enough. I love what a smooth tight rig it is. And last but not least, I love the double riser flap protection on the main risers.
I think for price (especially including "extras" as standard features), fit, comfort, and advanced design, you can't go wrong with the Infinity.
(D License)
Dec 31, 2012, 11:23 AM
Post #14 of 18 (4831 views)
Re: [tbrown] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Thanks tbrown. Awesome info there.
Dec 31, 2012, 11:45 AM
Post #15 of 18 (4818 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
Ok my $0.02. Worth exactly what you paid for it.
Disclaimer: I have an Infinity and like it very much. I have jumped a Javelin that belongs to a friend several times.
Both are good rigs. I don't have any preference for packing, either main or reserve.
I had a bit of difficulty with Sunpath customer service on the
occasion I e-mailed them. It took them longer to get back to me than it took me to find an alternate source of the info I needed. But that's a sample size of
Velocity c/s has been great, and I've used it several times.
The sales rep for Velocity was fabulous. Gail isn't there anymore, but I'd guess whoever it is now is the same. She spent a good half hour to 45 minutes showing me the rig, and answering my questions. She showed me the measurement page and pointed out where mistakes are most likely to happen (and also really emphasized not trying to do it alone).
They called with a couple questions on my color choices, and kept me informed of the progress when it was being made (got order, confirmed order, start construction, finished and shipping out).
I prefer a fully enclosed reserve pilot chute. Others have different opinions.
I've played around a little with a reserve closing loop that I didn't want to re-use, and closed it out of sequence a couple different ways. The RPC launched fine no matter what I did.
I like the riser protection, main pin protection, and reserve pin protection. Those flaps aren't opening up by accident, yet open fine when needed.
I chose a new Infinity, but I like the Javelin too. The choice is mostly preferrences, you'll probably be happy with either one, as long as it's sized correctly (harness, main and reserve).
(D License)
Dec 31, 2012, 11:50 AM
Post #16 of 18 (4811 views)
Re: [wolfriverjoe] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
More great info. Thanks a lot. Just out of curiosity, have other containers encountered problems when closing flaps in different sequence on reserve?
Dec 31, 2012, 11:57 AM
Post #17 of 18 (4807 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
In reply to:
More great info. Thanks a lot. Just out of curiosity, have other containers encountered problems when closing flaps in different sequence on reserve?
I don't know. I just had a situation where my reserve closing loop was still mostly intact, but had a little fraying on it. I wasn't willing to use it for real, so I decided to answer the "what if I do this...?" question.
It seemed to work fine, even with the side flaps closed over the top and bottom ones.
NOTE: This is
something I would even consider taking up into the air. It was done on the ground. (just for those who only read some of a post and then react with an "YOU'RE GOING TO KILL SOMEONE DOING THAT!!!")
Jan 3, 2013, 10:03 AM
Post #18 of 18 (4508 views)
Re: [braden.smith] Rig considerations... Velocity or Sunpath?
In reply to
Can't Post
I currently own and jump both a Jav and an Infinity.
I bought the Infinity used after it was cut off a jumper following an accident. I sent it to VSE with an order form listing my measurements. I got the new harness, new leg pads x2, new BOC (cut in like original), RSL, and one toggle, along with a minor stitch repair for $400, shipping included. In less than 3 weeks. Top-notch service, priced right.
The Jav works as it's supposed to. I've only had to deal with Sunpath over the phone a time or two, but great service there.
As for the main flap cover coming open, make sure your closing loop is not too long, make sure you have the right d-bag in the right orientation. Make sure you aren't over stuffing a larger canopy. Learn to pack your canopy smaller. Finally, try pulling the 1 and 2 flap closer together before you close the sides.
As a rigger, both are equally easy for me to pack. As a camera flyer on my DZ, you'd be second in line for a repack right behind the tandem rig. I'd stay late to get them both done.
As for opening speed, every reserve under a TSO has been tested to open in something like 3 seconds or 500 feet. And 4 secs with three intentional linetwists. Want the fastest reserve opening? That's been beaten to death, but one of those rigs will take you down a notch in priority.
Gear and Rigging
Thread Options
Previous Thread
Next Thread
Print Thread
Share Thread
View Threaded
Introductions and Greets
Skydivers with Disabilities
Blue Skies - In Memory Of
General Skydiving Discussions
Safety and Training
Gear and Rigging
Tandem Skydiving
Wind Tunnels
Events & Places to Jump
Skydiving History & Trivia
Skydiving Disciplines
Swooping and Canopy Control
Relative Work
Canopy Relative Work
Wing Suit Flying
Photography and Video
En Français
Foro de Salto libre
Security and Scam Alerts
Suggestions and Feedback
Error and Bug Reports
2005-2006 USPA BOD Elections
2008-2009 USPA BOD Elections
World Team 2006
2013-2015 USPA BOD Elections
2006-2007 USPA BOD Elections
this forum
this category
all forums
All words
Any words
Whole Phrase
About Us
Terms of Service
Contact Us
Write for Us
All rights reserved


text:
Middle Eastern Studies Organization
Middle Eastern Studies Organization (MESO)
MESO is a student organization that seeks to learn the politics, history, and culture of the Middle East with a focus on the benefits of propagating diplomacy, tolerance, and cultural understanding of its diverse groups. During the academic year MESO hosts and participates in a various events on and off campus.
When: Tuesday at 9pm
Where: McComsey Hall, Room 305
Email: firstname.lastname@example.com
- President: Anthea Qian
- Vice President: Kyndal Jacobs
- Secretary:Triniti Thornhill
- Treasurer: Aaron Hill
Model Arab League
Through participation in the National Council on U.S.-Arab Relations' Model Arab League Program (MAL) students learn about the politics and history of the Arab world and the arts of diplomacy and public speech.
The Model Arab League is a student leadership development program giving university students an unsurpassed opportunity to acquire and develop practical leadership skills directly related to the United States and one of the world's most vital regions. In the process, students learn about the most important social, economic, cultural, environmental and political issues facing Arab leaders and ordinary citizens in the Middle East and North Africa. As part of the preparation, students meet with the Ambassador at the Embassy of the country/countries represented.
While representing one of the Arab League's 22 member-states, student delegates work to achieve a consensus on questions with which real-life diplomats wrestle daily. Participation in a Model is of value to all students regardless of their academic major. Students gain invaluable first hand leadership experience and hands-on training by experiencing how a resolution they have prepared succeeds or fails on the basis of whether their fellow delegates find its rationale sufficiently persuasive. Student delegates also refine their interpersonal skills. In the process they acquire these skills and much more through the Model's constant challenges and interaction in the course of public discussion, the application of time management skills, the use of parliamentary procedure, and the dynamics of debating, writing, and editing. All of this occurs under pressure and tight deadlines that mirror the actual realities and tensions inherent in the give-and take that comes with activism in political affairs.
In addition, participants in the Model Arab League have the opportunity to study abroad in the Middle East and intern in Washington. D.C. through the National Council on U.S. – Arab Relations.
For more information please contact the Middle Eastern Studies Organization at email@example.com or visit the official Model Arab League Website.


text:
Former U.S. Sen. Rick Santorum spoke to about 175 employees of the Principal Financial Group over the noon hour in downtown Des Moines Monday.
He gave his stump speech, saying the ...
Photos: 2012 Iowa caucus day
Photos: Mitt Romney in Iowa on ...
Photos: Candidates stage last-day campaign stops
Copyright © 2018 www.DesMoinesRegister.com. All rights reserved.
Users of this site agree to the Terms of Service, Privacy Notice, and Ad Choices


text:
A while back, I posted in the forums asking for people to help me find a YA book for every single state in the US. A lot of you helped me out, and so did this list when I needed to fill in the gaps. I didn't tell you what I was using the info for, but now I'm finally able to reveal my true intentions. A MAP! Yes, that's right. I created a map of the United States, picking one book for each state. Browse through, download, print, share the map and don't forget to tell us how many states you've visited through books!
NEW! CLICK HERE TO GET A PRINTABLE VERSION OF JUST THE MAP. (Right click to save the image on the next page!)
How many states have you read? Share with us in the comments or tell us in this poll! Now we're ready to extend this to the WORLD! Help us with our "Planet YA" project!
PS – We made this map for YOU! All of our beautiful (yes, you are all beautiful) readers. So feel free to post on your blogs, Tumblrs, Twitter, libraries, wherever you want!
PPS – We do not currently have a print version for the entire image above, but we do have a printable version of just the map part. Click here to view it in full size then right click to save the image and print!


text:
One Man's Humble Quest for Bodily Perfection
Drop Dead Healthy
One Man's Humble Quest for Bodily Perfection
From the bestselling author of The Year of Living Biblically and The Know-It-All comes the truly hilarious story of one person's quest to become the healthiest man in the world.
Hospitalized with a freak case of tropical pneumonia and ashamed of a middle-aged body best described as "a python that swallowed a goat," A.J. Jacobs felt compelled to change his ways and get healthy. To accomplish this epic task, he consulted an army of experts and subjected himself to dozens of different workouts, diets, and devices—from Finger Fitness to Strollercize sessions, veganism to extreme chewing.
The story of his transformation is not only brilliantly entertaining, but it just may be the healthiest book ever written. It will make you laugh until your sides split and endorphins flood your bloodstream. It will move you emotionally and get you moving physically in surprising ways. It will serve you up today's best health advice. And it will give you occasion to reflect on the body's many mysteries and the ultimate pursuit of health: a well-lived life.
- Simon & Schuster |
- 416 pages |
- November 2012
Articles About This Book
Posted on Tips on Healthy Living
Posted by A.J. Jacobs
Three years ago, I was fat. Not fat all over. I was what they call "skinny fat"—a body that resembled a python after swallowing a goat. My goal? To test out every diet and exercise regimen on planet earth, and figure out which work best. In the...