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Is it 36 holes for both rounds?? No extra holes??
It just dawned on me that this is the Shunga weekend....sux, I will probably not play in either of these now....sad that we didn't look at the schedule on this one for certain.

subset: commoncrawl


text:
There's a truth about the upcoming Koran cookout planned by Dove World Church and its grandstanding (and light-fingered) pastor Terry Jones: they have every right under the Constitution to do this thing. Are they a bunch of dicks who don't care about the potential devastating backlash of their actions as long as they get the publicity they crave? Yeah, I suppose they are.
Recently, atheists proudly participated in an online event called Everybody Draw Mohammed Day, which was as deliberate a middle finger to Islam as we could have thought up. Before that, PZ Myers famously threw a cracker in the trash, making him the bête noire of Catholics worldwide. (Though they conveniently forget that he also trashed a copy of The God Delusion at the same time.) As people who are not above acts of deliberate provocation ourselves — indeed, as people who are currently arguing amongst ourselves about the merits of "being a dick" in our encounters with religionists — it would hardly be honest of us to join the chorus of chest-beating outrage against Jones' church for the horrible offense of burning somebody's holy book. While most of us, I'm sure, take Fahrenheit 451 to heart and deplore book-burning on general principles as a disgraceful act of intellectual cowardice and the suppression of ideas, we should also acknowledge the legitimacy of the act as a form of protest speech. After all, I can't very well defend the rights of flag-burners while condemning a Koran-burner. Don't work dat way!
I suppose where the conversation ought to go from here for atheists is in whether or not Jones is motivated by a desire to conduct a legitimate form of protest, or if he's simply a crass political opportunist, playing into a rising tide of anti-Muslim bigotry in order to increase his profile from "obscure pastor of an outcast hick church" to "internationally famous martyr and warrior for Christ". Well, what is legitimate protest in this context? Yes, radical Islamists brought down the World Trade Center. But all Muslims are not radical Islamists, and all Muslims did not partake in, let alone condone, the 9/11 attacks. So if Jones's idea is that he's protesting Islam for 9/11, he's clearly throwing his net way too wide. The thing is, I suppose he knows it, but doesn't care. He's getting the publicity he wants.
The potential for hypocrisy in criticizing the upcoming burning has been much on my mind, and I've been forced to think about the similarities and differences between what Jones is about to do, and, say, Everybody Draw Mohammed Day. And then I've been forced to question whether or not any of my ideas are simply bullshit justifications I've been making up to feel better. I don't think they are. But I do think it's a positive thing, overall, that I'm willing to be self-critical. This is an advantage the godless life offers, I think, over the brazen certainties of God-botherers like Jones, who confidently assert that God (i.e., their projection of themselves upon the universe) truly wants them to do what they're planning.
Everybody Draw Mohammed Day, for one thing, was on the whole a creative rather than destructive act of protest. It was a response, not only to the real Islamist violence and threats of violence that erupted in the wake of the publication of a few innocuous (and not especially good, when you think about it) cartoons, but to the arrogant assumption on the part of Islamists that non-Muslims were somehow obligated to follow Islam's rules. Also, at the end of the day, what you had were a bunch of silly cartoons. While there was a little huffing and puffing about EDMD, in the end, the message I think got across (to the general public, if not to radicals) that taking someone's life over a lame doodle was both insane and pitiful in equal measure. Lame doodles themselves can't possibly hurt a fly. EDMD might have offended some Muslims. But in the end, no one killed anyone.
Now, piling up a couple hundred copies of the Koran and torching them — that would be a destructive form of protest. Furthermore, it's hypocritical of Jones to justify it by condemning Islam as a hateful, intolerant religion, when he has a history of hate speech (against gays, the usual suspects) and intolerance. While I think Jones has the right to go through with his speech, I don't think his motives are honest. He's exactly what he condemns, except that his religious radicalism wears a cross rather than a crescent moon and star. (The atheists who took part in EDMD might condemn Islam and Islamist violence, but we'd never want to deprive Muslims of their right to worship, as many right-wingers do right now.)
Could this event trigger more terrorist attacks and counter-strikes against our troops overseas? Yeah, I suppose it could, though it isn't as if they needed more reasons to do that. But if Jones ends up giving them one, the first such attack will be all the vindication he needs. "See, we were right about how violent Islam is!" Not caring that, in this instance, he threw the first punch. Yeah, it's entirely valid to condemn radical Islamists for doing what they actually do, which is kill people who aren't sufficiently "respectful" to their beliefs. But you limit your condemnation to those individuals and groups who do the violence. As has been pointed out to an indifferent Jones, it's absurd and dishonest as hell for him to suggest that he's only protesting the violent Islamists, and that "moderate Muslims" ought to support him, when it's their holy book he's burning too.
In the end, I think what we as atheists should take away from all this insanity is a sobering realization that this is the kind of world you get when religion runs the show. Belief pits us against our fellow man for the most absurd of reasons: failure to worship the correct invisible magic man in the correct way. And for all that defenders bleat about the alleged benefits of religion — that sense of charity, well-being, love and community we are told believers enjoy better than any of the rest of us — they always leave out the part about religion's innate tribalism. Whatever benefits religious beliefs confer are only enjoyed by those within that particular belief community. If you're an outsider…run.
We rationalists can only hope humanity outgrows its penchant for religious tribalism one day, and that all these vile superstitions are eradicated from our cultural landscape completely. (Not through violence, of course, but through intellectual and moral awakening.) There really ought to only be one tribe — humanity.
But until then…yeah, go ahead, burn that Koran. Whatever. I'll be at home that day. Let me know when the smoke clears and it's safe to breathe free again.


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by Kyle Collins, sports information student assistant
MILLEDGEVILLE, Ga. - The Georgia College
& State University men's and women's cross country squads are
ranked in the top-10 of the latest U.S. Cross Country Coaches
(USTFCCA) Division II Southeast Regional Rankings released Sept.
The women dropped one spot to seventh while the men came in the No. 10 spot in their region ending a two-week drought outside of the rankings Three Peach Belt Conference (PBC) teams rank above the Bobcats in both the Men's and Women's Southeast Regional Rankings.
Both teams competed in the RunFit Sports Invitational hosted by Mercer University this past weekend.
Pacing the ladies for the second week in a row was junior Heather Raines (Lawrenceville, Ga.) placing 33rd in the deep 5k field. Her 19:55 mark was the third-lowest time in school history. The lady harriers came in eight out of 24 teams at the meet.
The men finished 10th out of 22 schools led by freshman Rob Manning (Lawrenceville, Ga.) who turned in a solid 27:33 time. Every runner in the top five stayed within 45 sc. of Manning's pace.
Georgia College Cross Country competes for the sixth-straight week Oct. 4 as they make the long trip to Malibu, Calif. for the Pepperdine Invitational.


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Rewind Clip Of The Week: Drake Was A Really Big Clipse Fan! (Bought A Pusha T Autographed Mic On Ebay)
"Drake used to perform Clipse songs in his basement with his Pusha T autographed mic" - @IamMrHall
Please click the "Report" button below if the video on this page is not working properly.
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I use TeX Live 2012 on Windows 8 and would like to use an EPS image. I usually use PNG, but in this case PNG is too pixelated.
I found that
epstopdf is the preferred solution and that TeX Live (starting in 2010) converts on the fly. TeX Live thinks it converted the file, but can't find it because it doesn't exist (log file below). I tried using absolute file references and turning off all other graphics packages, but the symptoms don't change.
This is a little deeper than I've gotten in TeX and would appreciate any help.
File: epstopdf-sys.cfg 2010/07/13 v1.3 Configuration of (r)epstopdf for TeX Liv
Package epstopdf Info: Source file: <../figures/gz_figure_1.eps>
(epstopdf) date: 2013-03-08 09:16:48
(epstopdf) size: 80137 bytes
(epstopdf) Output file: <../figures/gz_figure_1-eps-converted-to.pd
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-converted-to.pdf ../figures/gz_figure_1.eps>
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gures/gz_figure_1.eps)...executed safely (allowed).
Package epstopdf Info: Result file: <../figures/gz_figure_1-eps-converted-to.pd
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not found.
See the pdftex.def package documentation for explanation.
Type H <return> for immediate help.
l.6 ... \includegraphics{../figures/gz_figure_1}
Using draft setting for this image.
Try typing <return> to proceed.
If that doesn't work, type X <return> to quit.


text: We continue to be in awe of the horses willingness to forgive, move forward and become compassionate healers. They inspire us and teach us lessons in how to heal – and many come to them when all other avenues fail to help. Our goal is to become a place of "first choice" for people who [...]Read More


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fansfunsz said …
i have got it too finally at last Posted over a year ago
|more tudors polls >>
|more tudors answers >>
When the future Edward VI was born in 1537 there was much rejoicing – for his father King Henry VIII, the birth of a son was especially important. The joy at the birth was of course overshadowed by tragedy because it was to lead to the death of the mother of the child, Jane Seymour.
Jane's pregnancy was announced in February 1537 and she experienced a trouble free pregnancy up to the time thatshe went into labour. The birth of the child however was long and difficult, taking two days and three nights to be delivered. The baby was eventually delivered at around two o'clock on...
In 1545, the Duke passed away at Guildford. He died at the ripe old age (for that time period) of 61 years old, after an extremely successful and fulfilling life. In fact, throughout his life and up until his death, Suffolk was known as "a second king," because of his close friendship with Henry VIII and his great influence over the politics of the English monarchy.
After a life of sporting, flirting, and practicing politics at court, the Duke settled nicely into his third and final marriage to Catherine Willoughby - (he had previously been married to Anne Browne and Princess Mary...
Read to find about the SIX WIVES of Henry the 8th.
1. Katherine of Aragon - Divorced
The first of Henry VIII's six wives,Katherine of Aragon(1485-1536) was a Spanish princess who was married to Henry for 18 years before he began divorce proceedings in his desperation to re-marry and produce a male heir. Katherine had been pregnant six times but only one daughter, Princess Mary, laterMary I, had survived. Dying in 1536, Katherine wrote to Henry: 'Lastly, I make this vow, that mine eyes desire you...
>Who was Anne Boleyn?
> Where she belong to?
> How She Married Henry VIII?
> How She Died?
> Or Anyother Question?
Go Through this timeline to find every known fact in a short glimpse.
1501 (or possibly 1507): The birth
Anne is born at Blickling, Norfolk, to Thomas Boleyn and his wife, Elizabeth (daughter of Thomas Howard, later second Duke of Norfolk). Historians debate whether Anne was born in 1501 or 1507; the former is more plausible.
Anne Seymour, Duchess of Somerset
Born Anne Stanhope (c. 1497) to Sir Edward Stanhope of Sudbury and Elizabeth Bourchier, Anne was through her mother a direct descendant of Thomas of Woodstock, the youngest son of King Edward III of England and his wife, Queen Philippa of Hainault. Anne's father had been married once before, so Anne had two older half-brothers – Richard Stanhope and Sir Michael Stanhope. The latter was selected for the governorship of Hull, was knighted, and made Shelford Priory his residence.
When you think of Princess Mary you think of Bloody Mary that was the despised queen before Elizabeth. They hated her for her persecuations of protestants, her marriage to Phillip of Spain.
But I think if her background was filled with love, support, and guidance from her parents on how to be a fair and just ruler, i feel that she would have outshined elizabeth as her heir.
Before the "concubine" she was loved, adored heir,her life was easy and her stress level was probably pretty low. But after anne came on the scene that all changed she was torn from her mother...
So far The Tudors has done a good job of characterizing Henry VIII and the people around him. The many anachronisms are to be expected, unfortunately. I am very excited to see how far this show goes and what this new season holds.
That being said, there are some characters I am hoping to see very much.
1) Jane Seymour- she's been around for a while, as long as Anne I believe, and it'd be interesting to watch her throughout the tumultous marriage of Henry and Anne.
|contribute an article >>
|more tudors links >>


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I have recently made a few updates to Appetite for China so it can be more user-friendly. Inspired by Wandering Chopsticks' simple but useful indices for her recipes and reviews, I have created similar Recipes by Category and Restaurants by City archives, both prominent in the top menu bar.
In case you would rather bypass the browsing and go straight to a certain recipe or blog post, I have added the ever-more-popular Google search bar to find anything on this site within seconds. Hurray for (me catching up with) technology! Now I (and you) don't have to scroll through the archives to pinpoint something specific.
But I would still like to know your thoughts on improving the site. What would you like to see more of?
-Recipes from a particular region?
-Dining out?
-What to mix with baijiu to make it palatable?
Let me know in the comments below!


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Our Fairfax, VA Residential Center specializes in treating Selective Eating Disorder or Avoidant-Restrictive Food Intake Disorder (ARFID).
Selective Eating Disorder, commonly known as Avoidant-Restrictive Food Intake Disorder (ARFID), is an eating disorder characterized by the persistent refusal to eat specific foods or refusal to eat any type of food due to a negative response from certain food colors, textures or smells. Additionally individuals may refuse to eat due to fear of becoming sick or choking on food. This disorder is not characterized by an obsession with body shape or weight but rather is simply due to the disinterest and avoidance of foods. Selective eating disorder can result in excessive unhealthy weight loss and malnutrition leading to nutritional impairment or the need for tube feeds. Oftentimes, psychosocial impairments result from ARFID as well.
The Diagnostic and Statistical Manual of Mental Disorders, Fifth Edition (DSM V), recognizes selective eating disorder and avoidant-restrictive food intake disorder as an eating disorder that is clinically distinct from both anorexia nervosa and bulimia nervosa. ARFID most commonly occurs in children and was once considered a disorder of childhood and infancy but is now known to affect all ages. The following are four diagnostic criteria that must be met in order for an individual to be diagnosed with ARFID:
Selective Eating Disorder (Avoidant-Restrictive Food Intake Disorder) affects individuals of all ages starting from infancy. It was once thought to only occur in babies and young children but now studies have shown that it can occur in adulthood or persist up to adulthood from childhood. This disorder tends to present itself at a younger age than either anorexia or bulimia nervosa and affects more males than either of these disorders as well. ARFID tends to occur on average at 12-13 years of age.
Since Selective Eating Disorder is a relatively new disorder more research is needed in order to determine the most effective treatment. As with other eating disorders, cognitive behavioral therapy currently is the first-line approach and works to recognize negative thoughts as well as the underlying reason for these thoughts about food in order to transform this unsafe behavior into a healthier approach. Healthy coping skills, problem solving skills and communication skills are taught throughout our therapy approach. Exposure therapy is another approach used for children who have a fear of certain foods. Overtime, these foods are exposed to the individual on a gradual basis until their fear has diminished and they are comfortable eating.
If ARFID is severe enough, complications such as electrolyte imbalances, low blood pressure, slow rate heart and digestive problems will begin to occur. It is important to seek treatment with a mental health professional at our Fairfax, VA treatment center if this disorder is suspected.
SHOW MOREFor more information, resources, or to consult with an eating disorder treatment specialist, call 631.593.0039


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Efforts to boost exports were among the successful beef industry initiatives of recent years, wracking up growth of 1,500% since 1980. And, American export officials hope to still carve large new markets from more than 50 countries that have curtailed or banned European imports because of bovine spongiform encephalopathy (BSE).
For the short term, however, exports have hit the doldrums. The biggest problem is Japan, where consumers have balked at beef consumption in the wake of their country's own BSE.
In theory at least, the discovery of BSE should boost Japan's taste for U.S. beef, which is free of the disease. For the moment, however, it's dampened Japan's appetite.
"They're afraid to eat it," sums up Philip Paarlberg, an agricultural economist at Purdue University.
The U.S. Meat Export Federation (USMEF) cites poll results that found a third of Japanese were eating less beef, while a quarter has stopped eating it altogether. This is a major problem for the U.S., as half its beef exports go to Japan.
Three other factors are also depressing exports:
Europe's long-term refusal to buy implanted beef,
the high value of the dollar in relation to foreign currencies and
the Sept. 11 attacks on America.
The attacks on America worsened worldwide economic troubles, which has a direct impact on a discretionary product like beef. But the biggest weight on exports may be the strong dollar, which has undermined American foreign trade prospects throughout the 1990s.
When the dollar is strong, it costs Americans less to buy foreign goods. And American exports, including beef, become more costly in foreign markets.
The trade between the U.S. and Canada is a case in point. In the early 1970s, one U.S. dollar was worth roughly one Canadian dollar. Now, it's worth about 1.5 Canadian dollars.
In today's environment, the Canadians have the clear advantage. The predictable result is that sales of Canadian beef to the U.S. have grown steadily, according to a North Dakota State University study.
The industry is hoping two measures will aid beef trade — a new round of World Trade Organization (WTO) talks and an emergency plan to reassure Japanese consumers about beef safety.
The trade talks won't help now. "This is definitely a long-term proposition," says David Orden, an agricultural economist at Virginia Tech University.
The last round of WTO talks took eight years to conclude, he notes. "We don't know that the new round will take eight years," Orden says, "but it could take more than three or four years."
The effort to reassure Japanese consumers, on the other hand, could yield timely results. The USMEF plans to launch a campaign to stress the safety of U.S. beef, and promote its consumption. To underwrite the program, the federation is seeking $8 million from the federal government, packers and other companies that do business with Japan, as well as beef checkoff dollars.
There's no time to waste, USMEF says. Japan spends $1.8 billion/year on U.S. beef, and the BSE scare is diminishing exports by $80 million/month.
While the immediate impact is severe, the Japanese problem may not persist.
"In the long run, I don't think it's going to matter," says Ross Korves, chief economist for the American Farm Bureau. "The Japanese will get a handle on it. Given their sophisticated system of handling meat, they have the ability to get on top of this thing."
While fear of BSE is damaging the Japanese market, it may help sell U.S. beef in other parts of the world. The export federation believes there are numerous potential markets among the 50 countries that have full or partial bans on European beef as a result of BSE in Europe. The primary targets are Egypt and Saudi Arabia. Secondary targets include the Philippines, other Middle Eastern countries and Russia.
Doug McInnis is a Casper, WY, journalist specializing in business management topics.
Trade Is An Industry Growth Machine
From just 88,000 tons in 1980, exports now exceed 1.3 million tons/year, and they account for one in every eight dollars the cattle business takes in.
Overall, beef exports total 2.7 billion lbs./year. Pull out exports, and that much extra beef would go into the U.S. domestic market. Moreover, foreign markets snap up cuts like short plates and liver that don't have much U.S. demand.
For U.S. beef producers, that means higher cattle prices than what the domestic market alone could provide, says Wendy Radokovich of the U.S. Meat Export Federation.


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Inspired by Pick From the Past from designer Marcie Patch of Patchalot Patterns
Quilt tester: Laura Boehnke
5/8 yard white print (blocks, middle border)
1/3 yard light blue tone-on-tone (blocks)
1-1/8 yards dark blue tone-on-tone (blocks, inner and outer borders, binding)
7/8 yard total assorted prints in blue, red, yellow, and green (blocks, middle border)
3/4 yard train print (sashing)
Scrap of railroad sign print (middle border)
1-1/8 yards train border print (middle border)
3-1/4 yards backing fabric
57" square batting
Finished quilt: 48-1/2" square
Finished block: 9" square
Quantities are for 44/45"-wide, 100% cotton fabrics.
Measurements include 1/4" seam allowances. Sew with right sides together unless otherwise stated.


text:
This is FRESH AIR. I'm Dave Davies, filling in for Terry Gross. Steve Martin has a new DVD set of some of his television work featuring standup and variety specials dating back to the '70s, as well as some more recent guest appearances, speeches and music videos. Here's Martin in a 1974 appearance on "The Tonight Show."
STEVE MARTIN: See, this is not a Vegas act. You know, I'm not Vegas. Places I play usually cost like $3 to get in, you know, and people are going: Gee, I've got $3, I think I'll throw it away.
Oh, I can come in here for $3? Oh OK. But in Vegas, it's like $15 to get in, you know, and there's a reason for that because the acts are really good. You're like, you go in, you pay the money, you sit down, and the opening act is usually like a singer, you know, and they really keep it moving. That's what you're paying for. You'd never - you can't understand what they say because it's going so fast, you know, but you're just entertained.
You're sitting there going - you know?
And they introduce you, they say: Hello, the (unintelligible) hotel here in Las Vegas is proud to introduce Johnny Duke(ph). Let's bring him out. Hey, (unintelligible).
(Singing) I gotta be me, I gotta be me.
DAVIES: The new DVD collection is called "Steve Martin: The TV Stuff." Martin started doing standup in the '60s. His first big break on TV was as a writer for the "Smothers Brothers Comedy Hour." His career took off in a big way with his appearances on "Saturday Night Live." Steve Martin has also established himself as a screenwriter, novelist and playwright and an actor. His starring film roles include "The Jerk," "All of Me," "Roxanne," "Dirty Rotten Scoundrels," "Parenthood," "Father of the Bride" and "It's Complicated."
Terry has spoken to Steve Martin several times on FRESH AIR. This is from their 2008 conversation after the publication of his memoir, "Born Standing up."
Steve Martin, welcome back to Fresh Air. I love your new book.
MARTIN: Great to be here. Thank you. Thank you very much.
GROSS: I'd like you to open with a reading from the beginning of the book, and we've edited this slightly to make it just a little shorter for the broadcast.
MARTIN: Great. Be happy to.
(Reading) I did stand-up comedy for 18 years. 10 of those years were spent learning, four years were spent refining, and four years were spent in wild success. I was seeking comic originality, and fame fell on me as a by-product. The course was more plodding than heroic. I did not strive valiantly against doubters, but took incremental steps studded with a few intuitive leaps. I was not naturally talented. I didn't sing, dance, or act, though working around that minor detail made me inventive.
I was not self-destructive, though I almost destroyed myself. In the end, I turned away from stand-up with a tired swivel of my head and never looked back until now. A few years ago, I began researching and recalling the details of this crucial part of my professional life, which inevitably touches upon my personal life and was reminded why I did stand-up and why I walked away.
In a sense, this book is not an autobiography but a biography because I am writing about someone I used to know. Yes, these events are true, yet sometimes, they seemed to have happened to someone else, and I often felt like a curious onlooker or someone trying to remember a dream. I ignored my stand-up career for 25 years, but now, having finished this memoir, I view this time with surprising warmth. One can have, it turns out, an affection for the war years.
GROSS: Thanks for reading that. That's Steve Martin reading from his memoir "Born Standing Up." You know, I guess I didn't realize how much you'd closed the door on your comedy years, how much there was like a before and after. It ended. You were done, and that was it.
MARTIN: Right. I - it was about 1981. I still had a few obligations left, but I knew that I could not continue, but I guess I could have continued if I had nothing to go to. But I did have something to go to, which was movies. And, you know, the act had become so known that, in order to go back, I would have had to create an entirely new show, and I wasn't up to it, especially when the opportunity for movies and writing movies came around.
GROSS: Why would you have had to create an entirely new show?
MARTIN: Like I say, the act was really - there was a passage in the book which I cut because it was so hard to explain. But the act, essentially, besides all the jokes and bits and everything, was conceptual, and once the concept was understood, there was nothing more to develop.
It's like painting the same blank canvas over and over and over and over and over. Once the concept is known, you don't see - need to see two. And that was in the back of my head, that I was really done artistically with what I had created or pastiched.
GROSS: Now, you got your start working in Disneyland. You were living in Southern California, and when you were 10, you were selling guide books there. Then you later worked for a magic shop demonstrating magic tricks.
And I get the sense from your memoir that demonstrating those magic tricks, you know, hours a day and really getting them down because you were doing them so much, that that gave you a sense that performance required a great deal of craft, that even comedy wasn't just a question of going out on stage and saying funny things, that there was enormous amounts of work and practice and thought that would have to go into it.
MARTIN: Well, that idea that you really had to work at this stuff didn't necessarily come from Disneyland. It - I mean, yes, in terms of presenting a trick, but having it so well-honed in your mind was really giving me a sense of security. It was, I don't want to go out there half-baked, and, you know, you'd learn that through the years.
You know, you do a magic show with a friend, and you rehearse it a couple of times, and, yes, every - all the timing has to be exactly perfect, but while you're out there, it's a different world. It's not your mirror. You have to make on-the-spot adjustments, but that's just, you know, what every entertainer does.
But actually, working at the magic shop really gave me a sense of comedy because it was all jokes. We did the tricks, but we had all these jokes. I had a friend, Jim Barlow(ph), who - you know, he was the guy I worked with there, but he had patter worked out, you know. He would go up to customers and say, may I take your money - I mean, help you? And, you know, call them suckers, and it was really funny and kind of friendly-rude.
GROSS: What was your patter?
MARTIN: Oh, I just took all of Jim's patter.
MARTIN: I'm trying to think of other ones. Oh yeah, I'd say - somebody would buy something and would say, and because you are our 100th customer today, you get a free paper bag. You know, it's little silly things like that, but at Disneyland and I'm 15.
GROSS: Right. Now your early act was a combination of banjo playing, juggling, magic tricks, and comedy, and some of that stayed in your later act, too, but it sounds like a vaudeville act.
MARTIN: Yes. I was very interested in vaudeville. It was the only sort of discipline that was a five-minute act on stage, which is what I really enjoyed and saw myself doing. And I bought books on it. I went to the Long Beach Pike, which was a carnival fair, you know for - it's really a place for drunken sailors to get tattoos. But there was also side shows. I was very interested in that. You know, there was these - oh, and there were these short acts.
There was - one of the employees at Disneyland that I worked with was named Dave Stuart(ph), and he worked in vaudeville. And he did his act for me one day on the floor of the magic shop, and I - he had a couple of great gags. One was - that I actually used, and I asked him if I could use them because I was very strict about using any material that wasn't mine or that was taken from somebody else. Well, let's put it this way, I became strict. I wasn't strict at first.
There was one trick that - one joke that Dave Stuart did where he said and now - he had a glove, white glove in his hands, a magician's glove, and he said, and now, the glove into dove trick, and he threw it into the air, and then it hit the floor, and he just looked at it and, you know, said, for my next trick, and he went on. And it was the first time I saw comedy created out of nothing, of nothing happening. And I glommed on to that.
GROSS: But what you were doing, I think, is not only making comedy out of nothing but making comedy out of people's expectations, which you were going to fail to fulfill.
MARTIN: Well yes, exactly. And I really started that when I became a semi-professional, meaning I was working the local folk-music clubs, going around either working for free or for a week.
And I quickly decided that, you know, the material was, you know, good or weak or whatever, but I decided whatever it was, I was going to pretend like it was fantastic and how great am I, how great is what you're seeing. And I think that's what the audience tuned into because they couldn't believe that someone actually was that confident.
GROSS: With such weird, you know, like, bad material because some of the material was, like, consciously not funny.
MARTIN: Right. Well, I had one bit that I opened with. I'd say, and now, I would like to do the nose on microphone routine. And I would lean in and put my nose on the microphone and then stand and, you know, hold my arms out, like, ta-da.
And the laugh came not then but when I said "and next" - you know, because nothing had happened and, you know, I found that you could laugh at something that happened 30 seconds ago now, only because you change the subject.
And at one point in my show - these are the local folk clubs around Orange County - I had trouble figuring out how to end, so I just dragged the ending out walking through the audience saying goodnight. It was so great. Thank you so much. I have to leave. I have to leave. I'm sorry I have to leave. I have to beg off, and it went on for, you know, five minutes. And eventually, I could never end it, and I ended up taking the audience out into the street and walking around with them.
DAVIES: Steve Martin, speaking with Terry Gross in 2008. We'll hear more after a break. This is FRESH AIR.
DAVIES: We're listening to Terry's 2008 interview with Steve Martin. There's a new DVD box set of his television appearances over the years, it's called "Steve Martin: The TV Stuff."
GROSS: When you started in comedy, it was before the comedy club era.
MARTIN: Yes.
GROSS: So you couldn't play the comedy clubs; there weren't any.
MARTIN: There weren't any.
GROSS: But there were a lot of, like, folk music clubs. Did the fact that you had the banjo in the act give clubs the opportunity or the excuse to hire you, even though you weren't a conventional musician?
MARTIN: Well, looking back, I - I never thought of that, but I think they - the clubs would hire comedians. They were always the opening act, unless they were big names. But, you know, I put the banjo in, I put the magic in to fill time because I didn't have enough comedy material, and all that just stayed.
But I liked to play the banjo, and it - like I say, it filled time, and I could get - eventually, I worked out bits with it. I loved doing my surreal sing-along that had words that no one could follow.
GROSS: Let's play an example of that. And this is the one "Be courteous, kind, and forgiving." Before we hear it, tell us about writing it. Yeah.
MARTIN: Well, there's that one, but - as much as I remember, I just thought, I want to sing a song that starts normal and ends crazy, and that's all that was.
GROSS: It not only starts normal. It starts so kind of like - aphorisms. It's just like...
MARTIN: Yes, yes, tender. It starts tender.
GROSS: Tender and aphoristic, and then it gets, it gets nuts. But let's hear it because you recorded this on your first album. So this is Steve Martin from his first recording, "Let's Get Small."
MARTIN: You know, folks, when I was a kid, I was very close to my grandmother. And she used to sing a song to me when I was just so high, and it's always meant something to me. I'd like to do it for you right because it does have meaning in today's world.
Even all these years, you know, this - even during the hip drug days, you know, when everybody is supposed to be so cool and everything has double meaning, it's a little simple tune, would keep coming back to me. I think it kind of guided me through those years.
MARTIN: I'd like to do the song for you right now. I think it might have a little meaning for you.
MARTIN: (Singing) Be courteous, kind and forgiving. Be gentle and peaceful each day. Be warm and human and grateful, and have a good thing to say. Be thoughtful and trustful and childlike. Be witty and happy and wise. Be honest and love all your neighbors. Be obsequious, purple, and clairvoyant.
MARTIN: (Singing) Be pompous, obese, and eat cactus. Be dull and boring and omnipresent. Criticize things you don't know about. Be oblong and have your knees removed.
MARTIN: (Singing) Be tasteless, rude, and offensive. Live in a swamp and be three-dimensional. Put a live chicken in your underwear. Get all excited and go to a yawning festival. OK, everybody.
GROSS: That's Steve Martin from his first album "Let's Get Small." He's written a memoir about his days as a stand-up comic, and that's called "Born Standing Up."
On your first album, "Let's Get Small," you do a bit about the spotlight. And before we actually hear the recording of it, I want you to tell us about the first time you did it.
MARTIN: Oh, I'd just had this - when I worked at Disneyland, I worked with a woman named Irene(ph) who was from Biloxi, Mississippi - Missouri? - Mississippi. And she had an expression that she used all the time. She'd say, well, excuse me for living. It was just kind of funny. And it always stuck in my head, so I thought, I think I could use something - do something with that.
And so I told the spotlight operator, I said, whatever I say, do not change the spot. I'm going to ask you to change the spotlight to blue. Do not change it to blue. I had a friend that night up in the - next to the booth, John McEwan, whom I still work with, we're recording a banjo album, as a matter a fact. And I started telling the spotlight operator to change the spot. And...
GROSS: This is on stage you're telling him this?
MARTIN: On stage, I started telling him.
GROSS: Yeah.
MARTIN: And at one point - this is the first time I ever did it on stage. And at one point, he was so convinced that I was sincere, he started to reached to change it, and John said no, don't. I don't think he wants you - anyway. So this is the bit.
GROSS: OK. So let's hear it. So this is the spotlight bit, and this is Steve Martin, and he has a new memoir...
MARTIN: By the way, I don't stand behind any of these routines 40 years later, but go ahead.
GROSS: OK, so here's Steve Martin.
MARTIN: Can I have a little mood lighting on this, please? I'd like to do a thing now that's kind of a departure for me. It's kind of more into this - it's mood lighting, like a blue spot or something. Hello?
MARTIN: Nobody back there? That's OK. Thought there might be somebody back there. OK, I guess, I figured, closing night, you know, doesn't make any (beep) difference.
MARTIN: Um... Kind of pissed off about this because we've been going on all week, and I'd think, by now, we'd have it under control. But I don't know, it's - you see, this club has been in business about five or six years. First, actually, the Troubadour at first, and then it became the Boarding House. And then, you know, they still have a lot of, um, hippies working here. And...
MARTIN: And I can understand the drug thing, you know. So they feel that it's more important to take the drugs than to do a good show for the people.
MARTIN: You know, I'm really up to here with this - it's just the matter that I am on stage, and it's my ass out here, you know what I mean? And I come out, and I'm giving, and I'm giving, and I'm giving, and I keep giving, and I give some more, and I make a simple request. I say, hey, could I possibly have a blue spot? But I guess the lighting crew feels they know a little bit more about show business than I do.
MARTIN: Although I've been in the business a few years. And I think I know what works best! I'm sorry! But I am angry! I come out here, and I can't get a little cooperation from the backstage crew? Excuse me!
GROSS: That's Steve Martin from his first album "Let's Get Small." Now, people seem to be with you throughout this. Were they already hip to what you were doing?
MARTIN: They were in San Francisco because that was a home base for me. And I was really stupid in that it took me a while to figure out, oh, this act doesn't work everywhere. I was just reading in the book before we started, the passage about the Hub Pub Club in Winston-Salem, North Carolina, which was a members only, bring-your-own-booze, you know, club that I just died. I just died so badly, and I was just rereading it.
I remember one night, I was on stage getting no laughs, and a guy said to his date, I don't get any of this, really loud. And I heard it. The whole audience heard it. It actually made me laugh because I didn't either.
At that time, I was - it was going so badly. But then I would go to San Francisco and where the audience was younger and more with it and more stoned, and it would go great. And it took me so long to figure out, oh, it's a different type of audience.
I shouldn't be playing these other places. They're soul-killing to me. So the Boarding House and the Troubadour in L.A. were very good and the Ice House and different clubs around the country.
DAVIES: Steve Martin, speaking with Terry Gross in 2008. He'll be back in the second half of the show. I'm Dave Davies, and this is FRESH AIR.
DAVIES: This is FRESH AIR. I'm Dave Davies, in for Terry Gross. We're listening to Terry's 2008 interview with comedian, actor and writer Steve Martin. There's a new DVD set of some of his television work, featuring standup and variety specials dating back to the '70s, as well as some more recent guest appearances, speeches and music videos. It's called "Steve Martin: The TV Stuff." Terry spoke to him when his memoir, "Born Standing Up," was published.
GROSS: Did you feel like you had kindred spirits in the performance world when you were getting started, who had a more, like, conceptual or avant-garde approach to what they were doing, like you?
MARTIN: Well, I'm trying to think. I just respected comedians, whether they were or they weren't, you know, from, you know, new or old - about Bob Newhart, I loved, and George Carlin was hilarious at the time and Bill Cosby. And there was a comedy magician, Carl Ballantine, who did an act of all magic tricks that didn't work. And it was, still is, one of the funniest things I've ever seen.
And of course, there was influence there, too, because, you know, he was already doing it, and I took that concept. I don't know if I took it from him, but I took that concept into gags and comedy routines.
But talk about kindred spirits, I thought I was alone. And that was uplifting. I thought, I'm the only one doing this, and then I saw "Saturday Night Live," and I thought, oh, oh no. There's somebody else doing it.
GROSS: Good thing how that worked out for you. I mean, you found your people there and your audience and fellow comics who were on the same wavelength.
MARTIN: Well, yeah, right, and I was so fortunate to have been invited into that group, too, because now we were all one, or at least I - you know, they were on a roll. I was lucky to be accepted. Lorne Michaels has been a longtime friend, but I went in there, and then my career exploded.
GROSS: I love the review that your father wrote of your first "Saturday Night Live" appearance, and this is in his newsletter - in his column in the newsletter for the Newport Beach Association of Realtors. He was the president of the association. And you want to quote the line, or should I read it?
MARTIN: You can go ahead, and I'll comment on it.
GROSS: He wrote, his performance did nothing to further his career.
MARTIN: Right.
GROSS: Of course, nothing could be further than the truth. But did that - like, what was your reaction when your father gave you a bad review?
MARTIN: Well, you know, first, he felt terrible about it later.
GROSS: Well, he couldn't figure it out beforehand that that was a bad thing to do?
MARTIN: That was my father. But he always thought he had to speak the truth. But, you know, when I was a kid, and I would listen to, let's say Little Richard, and I'd listen to Little Richard and say, God, he's great but - and I'd see photos of him and everything, and I'd think, what does his mother think when he's singing, wop-babalu-bop-doo-wop-bam-boom? Is his mother proud or embarrassed?
Well, I think my father - you know, he couldn't quite be proud of an unconventional showbiz act that he didn't quite understand. And I think he was kind of embarrassed by it among his friends, and I think this was a, you know, misguided effort to say to his friends look, I know it's not very good.
You know, but by that time, I had been so kind of alienated from my father that these negative comments and reviews were actually my encouragement. Like, I talk a moment in the book about being - I was a writer for "The Smothers Brothers Comedy Hour," and I was going to - I had moved on to "Sonny & Cher," and I decided, I'm going to quit this because it's keeping me from my performing career. I'm going to go on the road.
And I went to an agent in Hollywood, my agent, my writing agent. I said, I'm going to do this. He said, stick to writing. But I didn't take it as an insult or discouragement. I took it as encouragement because I saw it as, oh, this is that classic showbiz moment when you say, Jolie, you're never going to be a singer.
GROSS: It's good you'd seen all those movies.
MARTIN: Yeah. Yeah.
GROSS: So, was it hard for you to change your image from, like, the wild and crazy guy of the stand-up years when you decided to give up stand-up and devote your life to - professionally to movies?
MARTIN: Well, it took a long time, but I did know this: that one day, it will be forgotten. And so I just did what I was going to do, and there was this hangover effect of wild and crazy guy, wild and crazy guy.
And now, it's a dim memory, and I was able to transition into whatever it is I'm - you know, I'd say three different transitions I've been in my professional life. And it was actually with the film "Roxanne," that I wrote and performed in, and I sensed something new. Before, there was kind of celebrity - it's not worship, but the celebrity effect. But I sensed something new with that movie, which was respect.
GROSS: That was your, like, Cyrano de Bergerac film.
MARTIN: Yes. Exactly. I thought, oh, I like this better.
DAVIES: This is from Terry's 2003 interview with Steve Martin, when he'd published his novel "The Pleasure of My Company." She asked him about one of his essays, which had appeared in the New Yorker.
GROSS: Well, I'd like to mention an essay of yours that I particularly liked, and it was a personal essay about your late father.
MARTIN: Yes.
GROSS: And, you know, it was about how he had wanted to act and had done some amateur acting when he was young and how you had, you know, kind of a rocky relationship. And one of the things you talk about is how you decided to take your parents out to lunches every Sunday so that you could get to know them better, and you realized that they were bickering all the time when you took them out to lunch, so you really weren't getting anywhere.
MARTIN: Right, they were contradicting each other. So I decided one time to take them out alone, each - you know, one at a time.
GROSS: And that worked.
MARTIN: Without the other person there, I could get stories and, you know, anecdotes and opinions and attitudes that I never would have gotten if they'd been there together.
GROSS: I thought that was so smart to think of that. And then you also wrote about how your father, when he was basically on his deathbed, said to you: You did everything I wanted to do.
MARTIN: Right.
GROSS: I thought: Wow, that's - what a zinger for...
MARTIN: Well, it's quite a moment, really.
GROSS: Yeah. Did you ask yourself - did you ask yourself whether he would think it was OK to say that, you know, to write that? I guess one of the questions I'm asking is: Do you think the standard does or should change when someone is no longer with us about what's too private to say about them? Do you know what I mean?
MARTIN: Well, I did not feel that that was too personal. I was very particular about what I said. In fact, I ran the essay by my sister to get her opinions, anything that might be too personal, but I didn't think that was too personal because he was really demonstrating a kindness there at that moment.
GROSS: Because he'd been so critical, comparatively, in the past of you.
MARTIN: Yeah.
GROSS: Right. You haven't written a lot of personal stuff. Most of your stuff is, most of your writing is fiction or humor. And there's something that you wrote in an essay in the New York Times that really meant a lot to me. I mean, I wrote it down and stuck it in my computer so I could refer to it.
GROSS: I've mentioned it in a talk. And this was in the context of talking about why you decided to have a show of art from your art collection, something you used to be very, very private about. And you said: Being a celebrity can cause an accidental cheapening of the things one holds dear. A slip of the tongue in an interview, and it's easy for me to feel I've sold out some private part of my life in exchange for publicity.
I really thought that was so well-put, and I'm in the position, you know, of asking the questions, usually, and I know that that's always a possibility, do you know what I mean, that both the interviewer and the interviewee risk cheapening things. At the same time, I don't - I mean, I don't want that to happen, that's like the unintentional occasional result.
But, you know, I think you try on both ends to be really sensitive to that, but I thought you just put it so well.
MARTIN: Well, I think - you know, the problem with, you know, being interviewed as a celebrity is that - for example, you and I are talking now, we're talking on NPR, and it's a very special circumstance. It's much more detailed. It can be way more personal than, say, I would be on "Entertainment Tonight."
But - and so I'm willing, much more willing to talk about private things in this circumstance, but what happens is this I might pay for three years from now in an interview on "Entertainment Tonight" because they will bring up something maybe, something I said that's personal.
Now actually that's kind of diminished because I'm at a nice stage of my career where, you know, I can get around, and there's no sort of, you know, crazy invasion of privacy or - and I also learned to keep relationships to myself because I realize that that kind of - I mean, I realized this a long time ago, that kind of focus on your personal life actually damages it.
GROSS: You know, at the same time, I'm sure when you're doing an interview, even if you just see it as a promotional interview, you want to be as interesting as possible. So then again there's the kind of tradeoff between, well, this will make it more interesting, on the other hand, it's personal, I'd just as soon not talk about it. So does that equation play out in your mind?
MARTIN: No, it doesn't.
MARTIN: It doesn't because there's almost no way for me to make an interview about a movie interesting, I've realized that. You know, I've listened to Howard Stern, and he always plays celebrities' interviews, and we all just sound ridiculous. And, you know, and I know that as I'm giving these interviews, I am that person who will be mocked because there's just - you know, it's just not ultimately that interesting, you know.
So you have to kind of make up things. And, you know, it's just a funny, funny business. It's like the worst day of your life, you know, when you have to go talk about the movie you've made.
GROSS: Oh, you're making me feel terrible.
MARTIN: Pardon me?
GROSS: You're making me feel terrible because...
MARTIN: No, no, it's not you. I'm talking about the soundbite industry.
GROSS: Do you get obsessive about things, where you really, once you get into it, you're into it?
MARTIN: Yes, but I think that's - there's other terms for that.
GROSS: Devoted.
MARTIN: Well, yeah. Well, I remember an article in the New York Times years ago called "In the Zone," and he talked about when, for example when a basketball player is hot, and he's just sinking these, you know, baskets one after another. And they talked about people who are in the zone losing consciousness of time and that - or if you're - I mean, we've probably all been stuck with a computer problem, and you looked, and suddenly four hours have gone by while you're trying to solve it.
And that to me is what writing is. It just is so absorbing that time goes by. Time goes by quickly, or it stops.
GROSS: Yeah, but the problem is with writing, if time goes by quickly, and you don't like what you've written in that time, you feel like you've lost something. Maybe that doesn't happen to you.
MARTIN: Well, you know, I don't write unless I'm ready. So usually I find if you're in the zone, you usually like what you've written. And if I'm not in the zone, I generally don't write, I will edit at that point, using the - what we call the monkey mind.
GROSS: What do you mean?
MARTIN: Somebody gave that to me years ago, it was like the monkey mind was - you know, there is your creative mind, and then there is your monkey mind, and your monkey mind was really consciousness. You know, and the monkey mind should do the editing. It's the one that's not original. It's the one that's imitative. And that's just, you know, a term for doing the slave work of writing.
GROSS: Boy, the editor community is going to be very angry at that description.
MARTIN: No, no. No, I rely heavily on editors.
GROSS: You know, when you're very funny onstage and onscreen, as you are, people expect that you're just going to be, you know, a laugh riot when you speak in person, too. And did you have to deal with the expectation that you were just going to be, you know, a real cutup in person?
MARTIN: Well, you know, I guess a little bit, but sometimes I can be a cutup. You know, there's a...
GROSS: Oh, yeah. Right. No. I realize that.
MARTIN: Yeah, yeah. And, you know, I couldn't do in private what I did onstage. People would not want to be around me. You know, that hyper all the time. And, you know, I've kind of worked it out now, kind of figured out how to be.
GROSS: Well, you had the responsibility of having to be funny at the Academy Awards when you were hosting right after the start of the war in Iraq.
MARTIN: Right.
GROSS: How did you work through in your mind how to handle that?
MARTIN: I'll tell you. It goes back - I was working - 1963, I was working at a theatre doing comedy show at Knott's Berry Farm, California and, that day, Kennedy was assassinated and everyone was stunned and shocked and, of course, we weren't going to go on. And then the owner said, we're going to do the show, anyway. And we just couldn't believe it. We didn't even know how we'd get through it.
Well, to my surprise - I said, this is going to be the worst show ever. To my surprise, the audience was riotous that they wanted to laugh or something took hold of all of us and this memory of this tragic day stuck in my head and I knew somehow that this could be overcome once the show started and all I needed to do was to acknowledge in some way with exactly the right tone and then get on with it.
And it was a tough day because I remember, just before the show began, it was - I had just turned on the news for three minutes and turned it immediately off because it was one of the worst news days for our troops. And I - you know, I didn't want to be infected or know until later. And we went on and did some acknowledgements and then went through with the show and I really did feel - at one point, I think one of the writers - I had some great writers with me - said, they will be watching, meaning the soldiers will be watching. And that's when I thought, if I were they, I'd like to see a good, funny show.
GROSS: So how did you decide what your opening line should be? Because that's the real ice breaker.
MARTIN: Oh, that was - it was a line about - I looked around at the, you know, Oscar set, which is always, you know, really overblown and I think I said something about - well, I'm glad they cut back on all the glitz. And, you know, it was just that simple little release and then I just went on with the show. You know, just something you think of and it seems like the appropriate moment. It's not hilariously funny or anything, but it sort of gets you over that hump.
GROSS: Listen, thank you so much for talking with us.
MARTIN: Thank you. I really enjoyed it.
DAVIES: Steve Martin, speaking with Terry Gross in 2003. There's a new DVD box set of his television appearances called "Steve Martin: The TV Stuff."
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Moving Pictures (2000)
The horrors of war, the art of producing pictures, the autobiography of a master filmmaker and the parallels between the mass production of weapons and violent media images–all come together in Moving Pictures, a rich, multi-layered documentary. Over the course of a 50-year career, Colin Low has directed or produced 200 films, and has garnered a remarkable nine Oscar nominations. During the same period, he has collected images of war–etchings and woodcuts, including extremely detailed miniatures. But the images that have so fascinated and haunted Low are nearly impossible to accurately capture on film. So Low shot Moving Pictures in 35 mm and developed techniques–used here for the first time–to show the fine lines of stamps and the microscopic details of tiny copperplate etchings with startling clarity


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The Gospel Cure
Upon brief reflection it's easy to see that the remedy du jour for treating depression solely with medication is based upon very specific assumptions: that its genesis is always within the body (primarily the brain) and that we do not …Read More
Regarding Depravity
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The ten year anniversary of the Montana Snowkite Rodeo is nearly here. Based out of the Jackson Hot Springs in Jackson, Montana, conditions for this year's Rodeo are looking prime. New snow over the past few weeks have fattened up the snowpack in the Big Hole. My visit there this week rewarded me with fully lit 10m conditions and balmy 28 degree(F) temperatures.
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It all begins Friday Feb 15. Hope to see you there! Here's a few photos from this week:
And, a recap of last year's Rodeo: http://www.flyozone.com/snowkites/en/ne ... ines/19904


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On raising a son on the autism spectrum, progressive politics, pop culture, and coffee addiction.
Sunday, June 12, 2011
Think hopefully, write locally
Philosophically, my affiliation with Hopeful Parents was a natural fit, but structurally, it just didn't work for me. I've always viewed blogging - used blogging - as an outlet - a way to process through complicated issues and emotions in the moment. I've had long stretches of time when I didn't write at all. I've had times when I seemed to be writing constantly. I have come to trust the flow - to know when I need to be here - to know when I need to stay away.
So, the monthly deadline at HP was a jarring reality to me. Even when the deadline was weeks away, it hovered on my radar, accelerating my heart rate and making me feel unequal to the task. When I was inspired to write about a particular topic, I would look at the calendar and think "I'd better not post this on my blog right now. What if I don't have another idea before the 11th?" Then, instead of writing and posting and engaging with this online community on whose insight I have come to depend, I would hold the thought, stop the internal composition, and wait. Inevitably, by the time the HP deadline arrived, that original thought was gone - or was stale - or was representative of a moment that had passed. So I would develop something else to post at Hopeful Parents, and leave this page largely untouched - frozen and static.
As you might imagine, after a few months of that, I lost my blogging center. I fell out of the groove. It stopped being fun.
So, I'm walking away from the have-to and I'm hoping that the want-to will find me again. I think it will. I'm excited about the summer ahead. For the first time in a couple of years, I'm taking a break from teaching in the fall, so I will not spend the summer building courses. Instead, I plan to dust off some writing projects that have been sitting on the shelf, calling to me - their voices, lately, louder and more insistent. And maybe - maybe - with them as a catalyst, I will find myself here more often, too. Not because I have to be, but because I want to be.
I'm not sure if it will happen. But, maybe - hopefully - it will.
16 comments:
If they made a movie about this time in your life, it would be called "When Mom-NOS Got Her Groove Back." I'm sure like me, all of your readers are looking forward to hearing more from you. Enjoy your summer, Mom-NOS!
- June 12, 2011 11:28 AM
- Jordan said...
I totally get this. I left a collaborative mom blog for the same reason a few years ago. You were a wonderful addition to Hopeful Parents, but you have to do what works!
- June 12, 2011 11:37 AM
- Apples and Autobots said...
I'm like you in that I prefer to blog in the moment. Sometimes you just shouldn't try to force it.
- June 12, 2011 11:48 AM
- Alysia said...
I will read you anywhere. If you weren't true to yourself, you wouldn't be you.
- June 12, 2011 12:13 PM
- Jaxmom said...
Welcome back, Mom-NOS! I understand the feeling. Writing can be hard work, especially when you have a deadline to meet. The pieces you write when you're in the moment and reaching out to the rest of us special moms are the best. We can all relate to those moments! Have a great summer!
Debbie K.
- June 12, 2011 3:13 PM
As we, the parents of special needs children so often forget, sometimes you need to do what's best for YOU and damn the guilt, most often unfounded. I'm sure I speak for all of your readers when I say thank you for your inspirational posts that always seem to come at just the right time. We're ready and here for you when the time is right ... for you.
Love and light to you both.
- June 12, 2011 4:41 PM
- Niksmom said...
I think I will simply redireect folks here to THIS post to explain why I stopped writing at HP, too. This life we live is so unpredictable —despite our best efforts to create structure and predictability for our children— to allow the added pressure to bog us down.
I've said it before and I'll say it again, I'd read the phone book if you wrote it. Welcome back...I hope.
- June 12, 2011 5:23 PM
- Kim said...
I hope you do write here more often, as I love reading everything you write!
- June 12, 2011 10:28 PM
- kim mccafferty said...
Good for you, there's enough "have-tos" in our lives. Looking forward to (hopefully) reading your posts more often!
- June 13, 2011 9:27 AM
- Robin said...
I love to read you here there and anywhere
- June 13, 2011 12:27 PM
I always love when you post. I think I've shared with you before that you were the first autism blog I ever found (and shortly thereafter ran screaming from -thank you denial).
I hope that inspiration finds you posting here more often. :)
- June 13, 2011 10:53 PM
What they said ^^^^^.
Your words have resonated with me many times, and I was sad that you had been quieter than ususal.
Here's hoping you have a wonderful summer, full of sunshine and laughs with Bud, and less pressure so that spontanaity (???) will be your guide!
- June 14, 2011 9:45 AM
- Laura D said...
Do what you need, just please don't stop writing!!
- June 14, 2011 11:20 PM
- KAL said...
Just glad to read you! Sounds like this summer will be a great one :) Happy writing!
- June 15, 2011 7:32 PM
- Brenda said...
Good for you. "What if I don't have an another idea before the 11th?" cracks me up! What if I don't have another idea before my child hits 21?!
- July 08, 2011 2:27 PM
- daria said...
I totally know how you feel. And I hope you had a fantastic summer of what you wanted to do when you wanted to do it!
- August 12, 2011 6:43 PM


text:
Three large jumbo cards (7" x 10 1/2") are shown to have printed crosses on them but the center card is in a different color easily depicting it as Christ on the cross between the two thieves.
A helper is asked to come to the platform and hold a large folder with a picture of THE TOMB printed on it. The three cards are placed in the tomb as the crucifixion story is told.
The two thief cards are removed leaving only the Christ card in the tomb. However when the Christ card is removed, it is a card with the words, "HE IS NOT HERE". When the audience thinks that the Christ card is on the reverse side and indicate they would like to see it turned over, the words "HE IS RISEN" appears on the back.
It is very visual and easy to do, packs flat and will last a lifetime.
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