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Nonlinear mappings that are globally equivalent to a projection
Abstract | References | Similar Articles | Additional Information Abstract: The Rank theorem gives conditions for a nonlinear Fredholm map of positive index to be locally equivalent to a projection. In this paper we wish to find conditions which guarantee that such a map is globally equivalent to a projection. The problem is approached through the method of line lifting. This requires the existence of a locally Lipschitz right inverse, , to the derivative map and a global solution to the differential equation . Both these problems are solved and the generalized Hadamard-Levy criterion
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cuke.com - an archival site on the life and world of Shunryu Suzuki and those who knew him and anything else DC feels like - originally a site for Crooked Cucumber: the Life and Zen Teaching of Shunryu Suzuki - not crookedcuke.com
| home| what was new | table of contents | Shunryu Suzuki Index | donate | |DC Writings|
Notes on Crooked Cucumber - Ch. 18 Crooked Cucumber home page Notes on CC index page Notes on Notes on CC Next: Chapter Nineteen |
Chapter Eighteen The Driver 1971 a
can you practice zazen? Only when you accept yourself After returning from Japan, Shunryu Suzuki experienced a period of relatively good health and was enjoying life with his students at Page Street. He went to zazen, led services, ate frequently with residents and boarders in the dining room, and saw many students privately for dokusan and tea.
While full of
confidence in his sangha and in Richard still back in Japan, Suzuki was
not naive about shortcomings and stumbling blocks. In lectures he warned
about clinging to Buddhism and said that religion indeed could be an
opiate--let it fall away and just be yourself. He'd been reminded during
his 1970 trip to Japan of the decay inherent in institutions. "Don't
give me that old-time religion," he said, and urged his students to be
ever vigilant. One danger he saw was "losing oneself in a group." While
extolling the We know how we can develop Dogen's practice in Zen Center. Our practice is individual practice; at the same time it is group practice. It is hermit-like practice, and at the same time, it can be practiced in this modern world. This is the characteristic of Dogen's practice. This is the true meaning of settling oneself on oneself. Even though you are in this modern society, you should not lose your fresh experience moment after moment. We should not be caught. We should know the fresh vitality within ourselves. The most important thing in our practice is just to follow our schedule and to do things with people. Again, you may say this is group practice, but it is not so. Group practice is quite different; it is a kind of art. In wartime, when we were practicing zazen, some young men who were enthusiastic about Japan's militaristic mood told me that in a sutra it says, "To understand birth and death is the main point of our practice." They said, "Even though I don't know anything about that sutra, I can die easily at the front." That is group practice. Encouraged by trumpets, guns, and war cries, it is quite easy to die. That kind of practice is not our practice. We practice with people, first of all. But the goal is to practice with mountains, trees, and stones--with everything in the world, in the universe--and to find ourselves in this big cosmos, this big world. Suzuki led the City Center sesshin in February 1971. The buddha hall was packed when he spoke. His lecture on Saturday, February 27, left a number of students with an empty feeling. They would refer to it later as the Driver Lecture.
He started by
saying that the reason we practice is to be fully enlightened. The
problem is delusion--we don't have the eyes to see clearly. "Naturally
you are wondering how to find the truth, and you want to have some clear
map of which way to go. That is why
He talked about how to work with a teacher, how not to waste your time or the teacher's time. "When he goes fast, you go fast, and when he goes slow, you go slow. Maybe your teacher will be like your driver." He said that students may ask the driver to stop at a coffee shop, and that's okay, but then they may want to hang out there. In that way you may lose your driver, because it takes too long. If he is very old, he will die. In that case, in order to arrive at the city, naturally you must find another driver. You have an advantage, because you have already come so far. Ah, but you know, I think you will miss the driver. After he is no more you will miss him a lot. And there you have another advantage. Because you miss him, you will try hard this time not to waste your time. You will not disturb your driver anymore, saying, "Let's stop here!" Especially since you don't know how far it is to the city, this time you naturally will not disturb the driver. This was an unusual approach for Suzuki to use in a lecture. He was giving advice about how to relate to a teacher, and how to relate to someone else as a teacher. He was worried about his dear passengers and the drivers to come. He was worried that his health was failing.
On March 12
Suzuki flew to
Portland to visit a group associated with Zen Center. Okusan worried
about his health and asked Reb Anderson to accompany him. Reb had
studied with Suzuki since 1968, when he had driven up to the front door
of Sokoji in a grey Cadillac hearse to visit his best childhood chum,
Bob Halpern. Reb had been a championship heavyweight Golden Gloves boxer
and had studied psychology, philosophy, and math at the University of
Minnesota. Then he met Suzuki and through steadiness and persistence
became a close disciple. He was ordained as a priest just two years
later. In this short time Reb had already read more about Bud- Suzuki gave a lecture on the evening of the first day in Portland. Late the next morning, as Reb was carrying the stick, he saw Suzuki bent over on his cushion. Reb went up to him, and Suzuki said, "I have a terrible pain." He was immediately taken back to the house where they were staying. The next morning he was still sick and coughing up bitter bile. Suzuki managed to endure the flight back to San Francisco, and Yvonne and Okusan met him with a wheelchair. Though he could hardly walk, he refused it, stubbornly and uncharacteristically saying, "No, I am a Zen master." Back at Page Street, Reb knew things were really bad when Suzuki took off his robe and just let it drop to the floor, something he had never done in front of Reb, who was always watching and copying his teacher. For the ride to the hospital Suzuki had to be carried to the car. The doctor quickly discovered it was his gallbladder, and before long he was in surgery. a
understand Buddhism, direct experience, direct practice is In the winter of 1971 Dianne Goldschlag had been coming home to Page Street and crying almost every afternoon. She was unhappy with her job at an insurance company cafeteria in Chinatown, where she was working to save money to go back to Tassajara. In dokusan Suzuki suggested that when Dianne cleaned the tables she should talk to them as if they were her friends, telling them how much she enjoyed cleaning them and how she hoped
they felt better. It did help to talk to each table like that, Dianne found. But she still cried. Her room was over his room. One day she was crying hard in her room just before zazen. In the zendo Suzuki walked around with his stick, and when he came to Dianne he rested it gently on her shoulder but didn't hit her. He just stood there with the stick on her shoulder for a long time. One day Dianne got off early from her job with only one thing on her mind. She was going to visit Suzuki at Mt. Zion Hospital, where he was recovering from his operation. Okusan had said no students should visit him, but that wasn't fair, thought Dianne. She owed him a visit--and a dime. The previous summer, Suzuki had visited her in the hospital in Monterey when she had an abscess removed from her fallopian tube. Okusan was with him. After greeting Dianne and telling her to get well right away, Okusan went over to the window to leave her husband and his student alone and also to make sure they didn't visit too long. Dianne didn't say anything; she just looked at him. He leaned over and said, "I'll give you a dime to see your scar." Now he was in the hospital and she wanted to support him. When she reached the door of his room, some Japanese people were just leaving. Okusan looked harshly at her. Suzuki told Okusan, "I want her to come over here by me. You go away." Dianne went over to Suzuki-roshi's bed and, after inquiring about how he felt, reminded him that he'd seen her scar for a dime. She had a dime and wanted to see his scar. He showed her. It was fresh and red, with the stitches still in it. She asked what medication he was on, and he said none. He tried not to sleep during the day so he could sleep at night, in spite of the pain. She massaged his toes, gave him a poem that her friend Margaret had written for him, and showed him a funny little picture she'd drawn of multicolored fantasy animals. He marveled at her creatures. They were silly together for a while, and then she bowed and left him alone.
The way you study true Zen is not some verbal thing. You should open yourself and give up everything, and whatever comes up through practice, you should try it, whether you think it is good or bad. This is the fundamental attitude toward study. You should be like a child who draws things whether they are good or bad. Sometimes you will do things without much reason. If that is difficult for you, you are not actually ready to practice zazen. a How not to be lost in our problems is our practice. Suzuki remained in the hospital for a few weeks after his operation. The doctor had told him that people frequently feel a lot better and regain their former energy after their gallbladders are removed. So the hope was that he might get back the sort of health he had before his debilitating flus of the winters of 1969 and 1970. But while in the hospital he got another blow. The doctor came to talk to the Suzukis together. A routine biopsy had shown that the gallbladder was cancerous. This surprised the doctor, because gallbladder cancer is very rare. The doctor was confident they'd gotten all the cancer before it spread; the surrounding tissue was pink and healthy looking, so they shouldn't worry too much. Still, it was disturbing news. Suzuki feared he might not live the ten years he'd been hoping for--fearing not for himself but for his students. The cancer was kept a secret. No need to disturb people. A few days later Okusan brought her husband mail and messages. Among the get-well cards and notes was a letter from Katagiri stating his intention to resign soon. This was a completely unexpected blow, and it saddened Suzuki tremendously.
Suzuki was
already concerned that Zen Center was getting much too large for him to
deal with effectively, even with Katagiri's help.
Katagiri was at Tassajara translating for and assisting Tatsugami and hating it. To him Tatsugami represented everything he disliked about Zen in Japan. Katagiri saw the old man as imperious, condescending, and caught up in ritual. He wanted to get away from being the perennial second string. He loved and respected Suzuki, but it was a little hard on him to live and work constantly with people who, perhaps blinded by cultural differences, seemed to regard Suzuki as a flawless master. Suzuki had mentioned the idea that he might retire as abbot to work closely with a few people, that Richard would then become abbot, and that Katagiri would be Zen Center's senior dharma teacher. But Katagiri wanted to have his own group. Suzuki couldn't move out of his bed. He was so helpless, and now with Katagiri's impending resignation he felt even more so. Okusan could see what a disaster it was for him and worried that this news alone would kill him. Back at Page Street Suzuki did not get back his energy as everyone had hoped. He spent a lot of time in April recuperating in his bed. In May he began to get out. He gave a lecture one evening and went to the dining room for the regular question-and-answer period, told the students he was feeling fine, even opened up his robe and showed them his scar.
Suzuki's youngest
son, Otohiro, was
back from Vietnam. After a couple of years of depression and recovery,
he went to work for Japan Airlines. On Memorial Day he picked up his
father and Okusan at Page Street and took them to the annual ceremony at
the cemetery at Colma. There Suzuki found Katagiri, and they stood
talking at the edge of the crowd. Suzuki asked what his plans were after
Zen Center. Katagiri said he didn't have any idea. Suzuki was
A few days later Katagiri was back at Tassajara, preparing to leave. Suzuki was coming down from the city. Katagiri had asked Suzuki's attendant, Niels Holm, a carpenter and sailor from Denmark, if Suzuki had left the city yet. Niels assured him that he hadn't. He was lying. Suzuki had called and asked Niels to stall Katagiri at Tassajara till he got there. Katagiri didn't want to see Suzuki, because talking to him at Tassajara would be different from talking to him in public at Colma. It would be harder to say no or to say nothing. All of a sudden there was Suzuki in front of him. Katagiri looked at Niels and realized he'd been betrayed. Niels made tea in Suzuki's tiny cabin, and watched the two teachers act as he'd never seen them act before. They bowed prostrate to each other, sat in seiza, and spoke formal, polite Japanese with ceremonial sincerity, rhythm, and tones. It was quite foreign to Niels, but he could see that Suzuki was asserting his seniority. Katagiri agreed to stay a while longer and attend the upcoming board meeting. At the board meeting there was talk about Tatsugami, who had led the previous three practice periods and had been invited to do the next one. Tatsugami was controversial. Some students had warmed to him, others tolerated him, and a couple of students had left. He had guided Tassajara from a communal to a monastic style as much as he could, on the Eiheiji model.
Tatsugami was
treating the place as his own. He still saw Suzuki as a temple priest
who didn't have the training to run a monastery. To him Suzuki didn't
deserve such authority, but he himself did, having been ino, the priest
in charge of monks' behavior and ceremony, for thirteen years at Eiheiji.
In a meeting at Eiheiji during the time Richard was a monk there,
Tatsugami bragged to his colleagues and assembled monks about his
monastery in America. Richard, who had originally invited him to come,
let it pass until Suzuki had made it clear to Richard in Japan that he didn't appreciate Richard's having invited Tatsugami to come to Tassajara in the first place; but he didn't complain to other students. Tatsugami definitely had his good points, and Suzuki did keep inviting him back. Tatsugami was like a choreographer who had taught the troupe the basic steps and rules of the song and dance, freeing Suzuki to work further with some students on fine points and essential spirit. Maybe Tatsugami had put a bit too much emphasis on ceremony, but Suzuki said his influence would be good "if you watch Tatsugami-roshi's practice carefully, with your mind open to learn something." It would not be so good "if you see him with your mind based on a gaining idea. Then what you learn is the art of Zen. It is not true Zen." Suzuki had let Tassajara evolve into something unlike anything that existed in Japan, but Tatsugami didn't necessarily appreciate this vision. It would disturb Dan Welch, who was often translating for him, when Tatsugami would say in an offhand manner that Suzuki's Zen was weak. Suzuki said he only taught what he knew, which was zazen. Similarly Tatsugami taught what he knew, which was Eiheiji's monastic form. But even if Suzuki wasn't completely pleased with Tatsugami's influence, the fox in him didn't mind a bit of confusion and doubt for his students to deal with. Suzuki clearly wanted Katagiri to stay. At the board meeting that May, the two problems converged. Suzuki used the leverage of the board meeting to ask Katagiri to please stay and help. He was being more verbal and definite than ever before. Katagiri was resisting. Then one by one all the board members, who were also students, told Katagiri what he meant to them, how much they loved him and wanted him to stay as a coteacher with Suzuki. It was heartfelt and tearful.
Then Suzuki
played his trump card. He asked Katagiri to lead the fall practice
period and said he'd disinvite Tatsugami--a serious slight which would
surely end Zen Center's relationship with him.
In Japan, Grahame visited Tatsugami. He kept to himself that he didn't like what he'd seen of Tatsugami's influence on Tassajara. Tatsugami told Grahame that he planned to retire at Tassajara and showed him a photograph of the attendant whom he'd ordained at Tassajara--an attractive young woman. It was obvious that they were very close. He said that each trip he brought more of his belongings and left them there. Someday soon he would go and not return, except to occasionally visit his wife and son, to whom he would leave his temple in Japan. But none of that was to happen. Soon Tatsugami would get the letter withdrawing the invitation, which surely would break his tough heart. When Tatsugami had first arrived in America, Suzuki met him with some students at the airport. As they watched him walk off the plane in his traveling robes, swaggering with confidence, Suzuki said, "I can see how much he's going to suffer here." a Our way is to see what we are doing, moment after moment. Despite the disastrous problems most of his students had encountered trying to study Zen in Japan, Suzuki continued to explore the possibility. Paul Discoe had gone there with his wife and son and was doing quite well, studying Zen and temple carpentry. Suzuki had ordained another couple before they went to Japan. The wife did fine at a nunnery, but her husband was forcibly sedated and shipped out of Eiheiji. A woman from Zen Center had such horrible experiences in Japanese temples that she rejected Buddhism entirely, bought a wig, and moved to L.A.
Suzuki had talked
to Reb about going to Japan, and he was studying Japanese in
preparation. A student named Angie Runyon was
Other students, including myself, who were less reticent about arguing with Suzuki, had refused to consider going, at least for the time being. Judging from those who'd gone, studying Soto Zen in Japan seemed to be exceedingly difficult. Only the renegades Uchiyama and Yasutani had attracted any following among Westerners. But Suzuki seemed willing to risk losing disciples in order to promote his old idea of exchanging students, of trying to establish this transmission of knowledge and understanding. He seemed to think it was necessary, that there was more to be learned about Zen and Japanese culture than he and his Japanese assistants could teach in America. Yvonne Rand argued with Suzuki about sending any more women to Japan. Suzuki said he was unsure of himself as a teacher for women priests, and thought a woman teacher would understand them better. Angie, though not arguing with him, said she could not hope to meet anyone who understood her as well as Suzuki. Yvonne told him that Japan was not a good place for women to practice, because they were second-class citizens there. She said to a friend that if he persisted, she would lie down and kick and scream on the tatami in front of him until he changed his mind. In the end, neither Reb nor Angie nor Dan went. But others went later, and in time the exchange did begin to become more fruitful. Earlier, Louise Pryor had been present when Suzuki, Okusan, and an assistant priest named Ryogen Yoshimura were discussing her husband Dan Welch's future. Dan, a priest who spoke good Japanese from his Rinzai training with Nakagawa, was to go to
Japan to live in a temple for two years. The discussion was proceeding as if she weren't there. "What about me?" she asked. Yoshimura explained that Louise couldn't go because she wasn't Japanese and would be a burden on the priest's wife. She should remain in America for a year or two while her husband studied in Japan. Louise became angry. "All of you think it's better to be a man than a woman, you think it's better to be a priest than a layperson, and you think it's better to be Japanese than American. But I will always be a woman, and I will always be a layperson, and I will always be an American, and here I am." Everyone was silent. Suzuki turned to her and said, "What you have just expressed is the spirit of the bodhisattva's way." a You cannot judge a teacher by your low standards. In early 1970 Shunryu Suzuki had been reading the book Meditation in Action by Chogyam Trungpa Rinpoche, a Tibetan teacher who had just arrived in America. Some of Suzuki's students had heard Trungpa speak, had met him, and had talked to Suzuki about him in glowing terms. One evening while sitting with students after dinner at Page Street, out of nowhere Suzuki said, "Someone is coming. After he comes, maybe no one will be left here at Zen Center but me." Then he laughed. Nobody had the faintest idea what he was talking about. He was talking about Trungpa.
Trungpa and
Suzuki met at Tassajara in June of 1970, and they immediately made a
strong connection. Trungpa, his very young British wife, and a few of
his students ate supper late the night they arrived. At the end of the
meal, Suzuki came in and sat down across
Suzuki asked Trungpa to give a talk to the students in the zendo the next night. Trungpa walked in tipsy and sat on the edge of the altar platform with his feet dangling. But he delivered a crystal-clear talk, which some felt had a quality--like Suzuki's talks--of not only being about the dharma but being itself the dharma. After that he asked Trungpa to come to Page Street and lecture when he was in the city, which Trungpa did. Suzuki had no relationship like this with any other teacher. They talked about the loneliness of being a teacher. Trungpa called him his new spiritual father, and Suzuki told him, "You are like my son." Suzuki's relationship with Trungpa disturbed some people, maybe because Trungpa, in addition to being a brilliant, inspiring speaker and the beloved teacher of many disciples, was also an outrageously heavy drinker who slept with some of his female students. One afternoon in May of 1971, Trungpa dropped by Page Street unannounced. He brought his newborn son to be blessed by Suzuki. Still recovering from his operation, Suzuki nonetheless put on a fancy yellow robe and high hat, quite appropriate for Tibetans, and performed a little ceremony in the buddha hall. Afterward they went to the courtyard for tea. Later a number of Suzuki's students started studying with Trungpa. Some, including Bob Halpern, went to Boulder, where Trungpa spent most of his time; others stayed at Zen Center and went to Trungpa's San Francisco place when he was in town. Suzuki was comfortable with this and even suggested to some students that they go study with Trungpa. He communicated to Trungpa by letter and through students who went back and forth. Suzuki was interested in Trungpa's ideas of exchanging students, starting a Buddhist university, sharing tapes and transcripts of lectures in their libraries, and founding a center to work with what Trungpa called "mentally extreme" students. Trungpa's scene was new and exciting. He was younger and more energetic than Suzuki. Suzuki expressed concern that be-
cause of his indulgent lifestyle Trungpa wouldn't live long enough to establish his way. As austere as Suzuki's own lifestyle was, and as controversial as Trungpa was, Suzuki did not reject him for his ways but always related to him with love and acceptance. In July 1971 Suzuki mentioned Trungpa in a lecture: Because emptiness has no limit and no beginning, we can believe in it. Isn't this so? This is very important. I am not fooling you! Okay? If you really understand this, tears will flow. You will really feel happy to be a Buddhist. If you struggle hard enough, you will feel how important this point is. The way you can struggle with this is to be supported by something, something you don't know. As we are human beings, there must be that kind of feeling. You must feel it in this city or building or community. So whatever community it may be, it is necessary for it to have this kind of spiritual support. That is why I respect Trungpa Rinpoche. He is supporting us. You may criticize him because he drinks alcohol like I drink water, but that is a minor problem. He trusts you completely. He knows that if he is always supporting you in a true sense, you will not criticize him, whatever he does. And he doesn't mind whatever you say. That is not the point, you know. This kind of big spirit, without clinging to some special religion or form of practice, is necessary for human beings. a
you do is right, nothing you do is wrong, In June 1971, during a sesshin in the city, Suzuki gave public talks for the first time since his gallbladder operation.
In his first talk
Suzuki-roshi said, "Our practice is just to sit." He explained that the
usual way of doing things is to expect something. From this point of
view, if his students kept sitting and applying themselves day after
day, their practice as well as their mental and physical health might
improve. "But that is not a full
To accept some idea of truth without experiencing it is like a painting of a cake on paper which you cannot eat. There is no taste, and you will give up, because it doesn't mean anything, even though you sit seven days. But our true zazen cannot be like that. If Zen was like that, it would have vanished from this world a long time ago. Zen is still alive because of the other side of the truth. Only when each one of us feels the truth, appreciates the truth, accepts the truth, and is ready to follow the truth, will it work. When someone puts himself outside of the truth in order to study the truth, he won't know what to do when something happens to him. Do you know the story of the true dragon? In ancient China, there was a person who liked dragons very much. He talked about dragons to his friends, and he painted dragons, and he bought various kinds of dragon sculptures. Then a dragon said to himself, "If a real dragon like me visited him, he would be very happy." One day the real dragon sneaked into his room. The man didn't know what to do! Whaaaah! He could not run away. He could not even stand up. Whaaaah! For a long, long time we have been like him. That should not be our attitude. We should not be just a fan of dragons; we should always be the dragon himself. Then we will not be afraid of any dragon. On the last day of the sesshin Suzuki recalled the time two years before when he had almost drowned at the Narrows of the Tassajara Creek, revealing what a pivotal experience it had been for him. At that time I realized that we will never have good practice until we become quite serious. Since then my practice has improved a lot. Now I have confidence in my practice. It was a very interesting experience. I was among
beautiful girls, and it reminded me of Buddha's overcoming demons. They were not evil demons, they were beautiful girls, but if I am dying, those beautiful girls will not help. Now I am really dying, not because of water, but because of my sickness. So we can sit with demons or with beautiful girls. When I am dying even snakes will not hurt me, they will be happy to be with me, and I will be very happy to be with them. In that situation, everything is with us, and we are happy to be with everything, without being hard or harsh or disturbed. Usually it is difficult to feel that way, because we are always involved in gaining ideas, expecting something in the future. The most important thing is to confront yourself and to be yourself. Then naturally you can see and accept things as they are. You will have perfect wisdom at that time. Suzuki's offhand comment about dying was disturbing. He seemed to have recovered from his operation and was having a lot of contact with students. But there was still an uneasiness, a fragility in his laughter. During one lecture that June, talking about the decline of Buddhism in Japan, he paused and said with emphasis, "But things, you know, teach best when they're dying." a A garden is never finished. At Tassajara, Okusan and her husband spent an evening writing haiku, a rare moment together. She was staying in the Japanese-style cabin next to his, teaching and doing tea ceremony with students. She had started both haiku and tea ceremony while in the States--both at the prompting of her husband. "They are the only things he ever gave me," she said. Along the creek we look for tea-room flowers dew-moistened trail
Summer 1971, Tassajara: Hojo and I stay in Tassajara during the month of August. Dharma talk evening after evening. There's blood and sweat. Hojo and I write haiku together. from Temple Dusk by Mitsu Suzuki Suzuki was a regular dynamo that summer. He was following the whole schedule--zazen, service, silent breakfast with oryoki bowls, seeing students for dokusan, giving lectures almost every night. He worked in his garden in the mornings and afternoons with one or two students at a time. He didn't spend much time preparing for lectures, tending to find what he wanted to say when he sat down on his cushion. Instead, in the hottest part of the day after a nap and in the evening after dinner, he wrote with a brush in sumi ink on the white backing of rakusus for fifty-five students who were to receive lay ordination in late August in San Francisco. On each rakusu he wrote the four-stanza robe chant, the date, his name with red ink seal, and the four-character Buddhist name he'd chosen for the student. Okusan was trying without much luck to get him to rest more. Working alone, Suzuki leaned into a large stone in his garden, turning it slightly while his attendant, Niels, stood by the bridge looking down the road past the zendo. Suddenly Niels whistled--the sign that Okusan was on her way back from the baths. Then Niels took Suzuki's place wrestling with the stone while Suzuki went to sit in the shade on the bench by his cabin, taking on the appearance of a supervisor. She eyed them with suspicion. The next day she sneaked back before her bath and caught him working with Niels. "Hojo-san!" she yelled at him in Japanese. "Working out here in your garden on a hot August day with a shovel taller than you are! You are cutting your life short!" "If I don't cut my life short, my students will not grow." "Then go ahead and cut it short, if that's what you want!" she scolded, wagging a finger. "Stop that racket!" he said, returning to his task.
Okusan had reason to be upset. She knew and he knew he had not recovered from his operation. His urine was brown and so was his Japanese underwear. She'd wash it right away so his cabin cleaner, Maggie Kress, would not see it. But she would show Maggie his perspiration-soaked, robelike undershirt, wring it out and say, "Look, he's sweating blood. He must rest more," as if Maggie might be able to control him. Once at morning tea Suzuki was discussing the menu with senior students. At the request of the head cook, he agreed to demonstrate how he made udon, thick Japanese noodles. Before long he had a whole batch of people mixing rice flour and water and rolling dough while cooling breezes came through the screened windows. Some people worked the flour into dough on the long sycamore worktable, others kneaded away on bread boards on the tile floor, while Suzuki kept adding more flour. Okusan came into this chaos, and they snapped at each other in Japanese till he pushed her out of the kitchen, laughing and undaunted. More people joined in--some preparing lunch, one making bread for guests, another washing pots in the corner, another passing around cups of tea and coffee. Suzuki kept adding more flour and water to give the new arrivals work to do. "Who's running Tassajara?" asked one of the officers. "We have a guest season going on." "You go run it!" laughed Suzuki. After some hours, as the dough was being rolled out thin and cut into strips, Okusan returned, fuming. Suzuki waved goodbye, all smiles, as she dragged him out the door. What had started as a meal for a dozen older students ended up as dinner for sixty people, with seconds and thirds, two nights in a row. "Why don't you ever talk to me?" Okusan said one evening, exasperated. "What are you always thinking about?" "Buddhism in America," he answered. "Why can't you be like other husbands and tell me you love me?"
He looked at her. "Honey, honey, honey," he said. "That's already too much," she said and went back to her cabin. Yvonne came to Tassajara to drive Suzuki to a doctor's appointment in San Francisco. Okusan came along. As Yvonne was now president of Zen Center, she mentioned Jean Ross's recent resignation from the board. Zen Center had gotten too big and institutional for Jean, who felt she didn't get enough support for her little Carmel zendo. But the main reason she had quit the board was because Richard, who was living in Japan, still seemed to be running things at Zen Center in absentia. Jean had always admired Richard's energy and intelligence; indeed, it was she who had nominated him for president back in 1965, but everything had gotten to be too much for her. Suzuki nodded, not saying much. He asked Yvonne how her children were doing. He talked about his family and expressed regret. "My focus was always on being a priest. It might have been better if I'd never gotten married. I have been a very bad family man. A bad father and a bad husband." "Oh yes, veeeery bad husband," said Okusan. "Gooood priest, but baaaaad husband." She often said that. People with children were coming to Tassajara for "family practice." Pauline Petchey spent the summer there with her and Grahame's three children. Beat poet Diane diPrima, an old student of Suzuki's, spent a month with her four children. Toni and Tony Johansen brought their two children and ran a little summer school down in the barn. With Katagiri's help a children's ordination was arranged. Twelve of them sewed their own rakusus with their parents, and Suzuki performed a lay ordination, telling them they were the good children of Buddha.
Alan Watts
came to Tassajara for the first time that summer with his wife, Jano. He
had been a great help to Suzuki from the first, sending him students and
introducing him to colleagues in the San Francisco Asian studies scene.
Several of Zen Center's major
Watts was a heavy drinker. He had ended a long dry period that summer on the drive down to Tassajara. Suzuki sat with him and Jano that night on the back porch of a century-old stone room overlooking the creek. Niels, attending Suzuki, joined them. Watts, usually so confident, able to improvise lucid spiels on live radio when he couldn't even walk straight to the mike, had lost his cool and was chattering nervously. Suzuki was being terribly quiet, which just made Watts talk more. Jano was being quiet, too. Watts kept getting up to "have some of your marvelous water," and he'd come back smelling more of alcohol each time. Niels, unable to take it any longer, started talking with Watts and kept a running patter going for an hour while Suzuki and Jano sat silently. The next day, as Niels helped Suzuki in his garden, they could hear Watts on the bridge expounding his understanding of all-that-is to some dazzled guests. He had regained his composure and was standing tall with a toga and a staff. Niels expressed regret at having talked so much the night before, saying he'd been a very bad student. Suzuki said, "Oh no, you were a very good student last night. Thank you very much." "Well, we used to think he was profound until we found the real thing," Niels said. "You completely miss the point about Alan Watts!" Suzuki fumed with a sudden intensity. "You should notice what he has done. He is a great bodhisattva." One day while walking in the vegetable garden at Tassajara, Suzuki noticed a student who was sitting on a stone looking at a sunflower growing nearby. He went over and sat by her.
"What are you doing?" "Meditating with the sunflower," she said. "It rotates with the sun." Suzuki sat with her for a long time. That night Suzuki referred to his garden visit. Unless you get through to emptiness, you are not practicing. But if you stick to the idea of emptiness, you are not a Buddhist yet. Someone was sitting in front of a sunflower, watching the sunflower, a cup of sun, and so I tried it too. It was wonderful; I felt the whole universe in the sunflower. That was my experience. Sunflower meditation. A wonderful confidence appeared. You can see the whole universe in a flower. If you say, "Oh this is a sunflower which doesn't really exist" [laughing], that is not our zazen practice. a
stick to naturalness too much. When you stick to it, I was having tea with Suzuki in his cabin and asked him the meaning of the scroll behind him. "Stones in the air." "Stones in the air?" "Yes. It was given to me by my master Kishizawa-roshi. It means don't create some problems which are extra. Just the problems you already have are enough." "You mean like you can't ride a horse on a horse?" I asked, referring to another proverb that Suzuki sometimes mentioned, which likened problems to horses. You can ride one horse but you can't ride a horse on a horse. It was a point he made in various ways--that if we don't compound our problems we'll be able to deal with them.
"Yes, same thing," Suzuki answered. "Oh!" said I, excited. "I understood something!" Suzuki laughed. "Is that unusual?" "Yes! I never understand anything." "What do you not understand?" "What you talked about last night in lecture--ri, the first principle. Every time you talk about that I give up. I think it's impossible for me to understand." "No, no, no," he said, like a mother consoling a hurt child. "I don't mean to discourage you. You can understand. You can understand completely. It's just that the way you're trying to understand is like going south to get to San Francisco." Suzuki lectured almost every night at Tassajara that summer, more than he'd ever done before. On August 17, the night before he left, he spoke to his students about something he'd been returning to--the first principle and the second principle. He warned about confusing the *first and second principles. He'd become aware that many people didn't understand what he was saying. The problem was that one couldn't talk about both sides, emptiness and form, at once. He especially emphasized not confusing these two aspects when it came to rules. There are two completely different viewpoints. One is to say that everyone, everything has buddha nature, nothing is great and nothing is small. When we speak in that way it means we are talking about our original nature, from the standpoint of the first principle. Everything has buddha nature, period. No idea follows. We shouldn't say therefore or but. That is the first principle. The other viewpoint is to put emphasis on rules, on actual practice, on the second principle. Practice is the way to attain direct experience of the first principle. But when we talk about it we cannot say both sides at once. We always smile. Even though the way that we practice is hard, we know it is the second principle, it is something to help us. Even though
your teacher is angry, you do not take it so seriously [laughing]. You know that is the second principle, not the first principle. So when I say something about rules, I say it smiling, so you don't take it so seriously [laughing]. "You talked about the first principle again, but I still don't know what it is," I said to Suzuki. "I don't know," he said, "is the first principle." a There is no special path which is true. It had been over five years since Shunryu Suzuki had first traveled the winding, dusty road to Tassajara with Richard in April of 1966. In that time he had come to know intimately the stones in the creek and the plants and trees on the hillsides. He had delighted in the natural setting: stopping on the Hogback Trail to gaze across the valley at the waterfall and breathe the clean wilderness air, soaking in the large mineral-water plunge. Suzuki savored the sights, sounds, and smells of his hidden paradise, but he was only there because of the people who had joined him and helped him to establish his way. Tassajara represented everything he loved: a place to listen to the birds, to move rocks, to sit zazen with his Buddhist friends, and to extend that zazen everywhere endlessly. Tassajara was Suzuki's reward and at the same time his gift. Whenever he arrived or departed, students would stop what they were doing to come stand on the road to bow in gassho as the car pulled up or away, and he would bow with them. At those times it was most obvious how Suzuki's heart was planted there at Tassajara. Maggie was packing Suzuki's bags. He was supposed to leave before lunch, but since morning tea all he'd done was work in his garden. Maggie had gone out to question him a few times: Did
he want her to pack this or that? Did he want some tea? But he wouldn't answer or even look up. He just kept nudging the stones this way and that and moving a few of the plants. He was getting his garden the way he wanted it and doing so with a sense of finality that had echoed in his lecture the night before. Finally he stopped. He stood looking for a while. At least for now, his work had come to an end. Yvonne had driven in from the city to pick up the Suzukis. She accompanied Okusan to get her things. Niels and Maggie went with Suzuki into his cabin to do the last bit of packing. Suzuki untied his work clothes and let them drop to the tatami. In the subdued light he stood in the middle of his room in his white underwear, exhausted, almost unable to move. Suddenly he looked sickly and weak, his skin yellow. It seemed to have just happened, as if he'd used himself all up. He could hardly dress himself. He walked slowly with Niels to the baths and then to the zendo to offer incense, something he always did when arriving or departing. Dan, the director, brought Yvonne's Volvo over the little bridge, and they loaded the back. A dozen students stood around silently. Suzuki came back from the zendo and smiled at them. He looked so weak. Okusan helped him into the back of the car as Dan, his wife, Louise, and Angie Runyon got in. Maggie was standing at the side, crying. He kept bowing, and everyone was bowing back. Faintly he said through the open window that he was sorry to leave and would try to be back soon. People said, "Yes, come back soon." Yvonne drove off with Suzuki still smiling. The Volvo slowly crossed the wooden bridge over the small creek, passed the narrow stretch below the upper garden and above the stone kitchen and zendo, curved up the dirt road past the shop and the screened junkyard, drove under the roof of the gatehouse and up the bumpy road in a cloud of dust, Tassajara disappearing behind. |
Crooked Cucumber home page Notes on CC index page Notes on Notes on CC Next: Chapter Nineteen |
contact DC at <email@example.com> |


text:
Looks cool and colourfull.
Here's a batch of new screenshots for Space Station Tycoon.
Space Station Tycoon is scheduled for a release in the 3rd Quarter of 2007.
Space Station Tycoon utilizes the creative and unique functionality of the Wii by allowing gamers to emerge themselves in a type of tycoon gameplay never before experienced Makoto Iwai, Executive Vice President and COO of NAMCO BANDAI Games, said. Its fun loving characters and off-the-wall space station scenarios should have Wii owners scrambling to get their stations thriving.
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Looks cool and colourfull.
The key to immortality is first living a life
worth remembering. - Bruce Lee
PSN ID: Byuakuya
Graphics don't look that good imo, I hope they improve a lot from these pictures. I know it has a cartoony look but it could be waay better.
Yeah graphics are probably all they are doing now I hope it has some RTS with the ships that would be awesome
Spoiler Alert!Spoiler Alert!Spoiler Alert!Spoiler Alert!Spoiler Alert!Spoiler Alert!Spoiler Alert!
No Longer Have A Wii
Looks Good
Release date - Is that subject to change or official? might actually get this one
looks kinda like time of defiance with those floating isles 8-)
Looks very cool.
Artistic stylings look fun too.
Well do you?


text:
Any advantage in using idle-up for scale/sport flying?
A bit of background: I've been flying CP (Walkera Super CP and V120D02S V2 with a Devo 10) for around a month, though I have almost a year's worth of micro FP and quad experience. My goal is to become proficient at graceful scale-like sport flying, and I have no interest in 3D. So far, I'm able to fly reasonably precise, slow and consistent figure-eights with very few unplanned landings.
I'm currently running my helis with around 20% positive pitch at mid stick. I tried zero pitch for a while, but the Super CP doesn't want to lift off until I've reached around 3/4 of my throttle stick travel (even with 100% head speed) and I find that awkward from an ergonomic standpoint. Perhaps it's a bad habit, but my quads easily lift off at mid stick, so that feels like the sweet spot for me in terms of throttle and rudder control, but I'm concerned that when/if I switch to idle-up, the sudden drop from 20% pitch to zero at mid stick may be too abrupt. I've assured that I have good blade tracking and zero mechanical pitch at the zero setting on the TX. I'm running 15% negative pitch in normal mode, which seems adequate to fight the wind and get a general feel for it. I still have a ways to go before I trust my throttle-hold reflexes (since I seldom crash, I don't get much practice) but I know what happens if I panic and zero the throttle stick in idle-up. Which (finally!) brings me to my question: Is there any advantage in switching to idle-up for my preferred flying style or should I just stick with normal mode and forget about large doses of negative pitch? |
The 3D is NOT for everyone thread should help you answer your question.
Idle up isn't just for 3D. All full size helicopters spin up to speed, then apply collective as a separate function. You can do the same with idle up. There is nothing that states you have to have a 3D pitch curve in idle up. Set up a gentle 2 or 3 degrees negative up to 8-10 degrees positive, set your zero pitch where you have it in normal, and just enjoy flying. What idle up will give you is the fact that you are only controlling collective pitch, the motor rpm will stay fairly constant. In normal mode you are dealing with changing motor rpm along with changing pitch. Much simpler, and usually smoother, using idle up.
I fly everything in idle up now, and my helis have never been intentionally inverted. |
Joined Dec 2012
393 Posts
one thing worth mentioning though. Electric motors have all torque available at 0 rpm. gas engines spin up to speed so they are in their power band when you need the torque its there.
so unless you are doing 3d, or need high head speed to fight major wind, you are just draining your battery faster. |
hmm...i don't get all this concept of having those governors and constant RPM for normal flying....
i just made my throttle curve go higher slightly with more pitch on the blades, so because the load increases, RPM pretty much stay the same. Also, who needs a lot of negative pitch...? the heli will very happily lose altitude even at 0 degree pitch....in fact, because of the weight, it will heftily drop like a heavy size object at 0 degrees.....why go for a full negative pitch band...? I think it's probably because cool guys say you need negative pitch to fight winds in landing....hehe, must be flying inside a twisteryeep, gotta love 'em diddly gyros. |
norcalheli...i didn't mean to say it only at you. We all know you're the best:P I've seen many guys who say straight pitch curve -max to +max is the way to go because it's easier to land, and I am always thinking...why ?(don't worry, i love everyone here....umm, guy hug, nothing slurry)
original poster also wrote..... Quote:
New Zealand, Canterbury, Christchurch
Joined Jun 2013
160 Posts
A symmetric pitch curve doesn't make landing easier, it does make inverted flying and 3D flying possible. 15% negative pitch at bottom stick is about -2 degrees if you've got your heli setup for 12-13 degrees of collective travel, that's a scale type pitch curve and certainly does help with landing.
As for governed RPM, the heli responds in a very linear fashion if you only change pitch while RPM remains constant. My brain handles linear behaviour far better, non-linear behaviour is what I use fancy maths and computers for. |
Cyclic response is mainly a function of RPM - that's why constant rpm feels a little better. A governor or constant-rpm throttle curve reduces pilot workload.
Our pitch and throttle curves work together to form an electronic correlator. |
Thanks, guys - some excellent info here. I'm slowly working through your various suggestions in idle-up, trying to find a good balance between solid handling characteristics and decent flight times. The brushless V120D02S makes this kind experimentation easy because it has plenty of power, and especially torque (comparatively speaking), but I find that the Super CP's coreless motor is a torque-less little thing that tends bog down pretty easily as the pitch increases, so I'm trying to compensate with higher RPMs to keep it in my preferred mid-stick hovering range.
I'm still trying to wrap my head around the proportionate relationship between normal and Idle-up settings. Using the Super CP as an example, if I'm running a 0 - 80 - 100 throttle curve, and a -15% - +25% - +60% pitch curve in normal mode, which idle-up settings would be appropriate for improved scale-like flying performance? Keeping the suggestions in percentages would be helpful, as I don't have a pitch gauge (I've read that accurate readings are problematic with micro helis). |
stick pitch throttle ----- ----- -------- LOW -15% 0% 25% *-20% *40% MID -25% 80% 75% *17% *90% HIGH 60% 100% Do you see why you're not getting any lift until high stick? (Your zero pitch point is way above mid-stick.) |
I'm sorry Jasmine - my fault. I should have written -15% - +25% - +60%. My hyphens look too much like minus signs . The 15% is the only negative pitch I'm using. I'm hitting zero pitch at -63% on the throttle stick and +25% pitch at mid-stick.
My personal opinion is - I don't fly like that. However, I suspect the problem, if there is one, is your throttle changing too much in the hovering area. This can cause tail control problems and makes the helicopter feel punchy. All you need to do to fix that is level out the throttle curve in that area. For example use a curve of 0-60-80-80-80. Without getting into why, because you can read it elsewhere, I'm against setups with zero pitch anywhere but mid-stick, so I don't have a ton of experience flying the way you're trying to do it, but I have enough general experience to know that it's probably the jumpy throttle that's bothering you if anything. |
Thread Tools | |
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text:
By our regional editor in China, Zhang.
In less than four years the village of Taiping in Chengdu, the capital of Sichuan province in south-west China, has seen over 70% of its residents expelled by the authorities. Despite fervent protest on the part of the inhabitants, there are now only 300 houses where 1000 used to stand, and still the project continues. The most recent development in the programme has seen 33000 square metres of collectively-owned land sold - in secret - to developers for 1.2m RMB (€115,000). This amount is considered to be extremely low for such an area and, furthermore, the villagers who live on the land will receive almost nothing from the payment.
Forced out of their homes by riot police last Friday afternoon, two of the residents ended up in hospital - one of them 82 years old. Cut off from electricity and water by the government, the entire village had slowly become more and more inhabitable every day.
And the villagers' part of the deal? Three percent of the payment divided between all of them. Any right to complain? Petitioners against the plans were either imprisoned or silenced.
posted on YouTube by 'RFAVideo', 18 January 2008.
This video was taken after the residents of Taiping were banned from their village. They were prevented from returning to their homes by riot police.
posted on YouTube by 'RFAVideo', 11 January 2008.
In a similar case, over 400 officers were sent to demolish two villagers' houses in Chengdu. More than 200 local residents came out to protest, but they were ignored and the inhabitants were unable to re-enter as the buildings were demolished.
posted on YouTube by 'RFAVideo', 31 December 2008.
On 26 December last year, the government of the Baima community in Dongguan City (south) forced 1000 home-owners to sell their houses to them for €800 each. The government then went on the sell the plots of land for over €8000 each. The villagers came to the area to protest, but were faced by riot police. Ten of the protesters ended up in hospital.
He Weihua is a blogger from Leiyang City, Hunan Province:
The developments started after the National Council gave permission to developers to plan in rural areas. In September, the Department for National Development and Reform announced that they 'aimed to promote urbanisation'. The project plans to move 75% of peasants out of their villages and into urban areas.
While three thousand million peasants swarm into the cities, three thousand million farms and homes will become national property. This is all to do with accumulating capital for people who are already wealthy.
The fact that rural, collectively-owned lands have suddenly become state-owned simply means that the government is depriving their people of human rights. They took that land with force! Land-law is human rights!"


text:
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Situated in Champniers, this hotel is within 6 mi (10 km) of FRAC Poitou-Charentes, Museum of Comics, and Musee du Papier. Angouleme Hotel de Ville and Angouleme Museum are also within 6 mi (10 km).
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Information missing or incorrect? Tell us!Hotel Amenities
Hotel Amenities
Hôtel Kyriad - Angoulême Nord Champniers features a terrace, gift shops/newsstands, and a garden. High-speed wireless Internet access is complimentary. A bar/lounge is on site where guests can unwind with a drink. This Champniers hotel also offers complimentary newspapers in the lobby, laundry facilities, and room service (during limited hours). Complimentary self parking is available on site.
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text:
In Season 1 of HBO's vamp fest "True Blood," Jason Stackhouse had sex by a Dumpster, suffered a drug-induced genital dysfunction, was accused of murdering four women, and ... well, he got naked (at least partially) in 11 of 12 episodes.
"I led the way in the sexual-shenanigans department in the first season," says the 32-year-old Aussie. And that says a lot, considering the amount of sexual shenanigans astir on the set of "True Blood."


text:
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Chris Coste Rumors
Jake Peavy Rumors: Tuesday
11:07pm: Paul Sullivan of the Chicago Tribune has Phillies sources saying the deal is in place if the Cubs will pull the trigger with the Padres. Sullivan also talked to chairman Crane Kenney, who implied the Cubs included Peavy's contract within projected budgets to bidders.
Sullivan adds that the Cubs have not had talks for Bobby Abreu yet.
9:17pm: Stark says there's no way such a complicated trade will get done before the end of the Meetings. He adds that extra teams are not necessarily requirements. The Cubs will need to move a contract and get ownership approval, though.
8:39pm: Ruben Amaro Jr. came close to acknowledging the Phils are involved in the Peavy deal, says Jayson Stark.
8:31pm: Jeff Passan: the lone holdup in this complicated trade is the Cubs moving Marquis. A deal is not imminent, though, according to Towers.
7:26pm: Brock talked to Towers, who met today with Hendry and said a trade seems more likely today than it did yesterday. They'll meet again tonight. If a deal is reached, it'd be announced after Thursday's Rule 5 draft. Brock says the Phillies are believed to be the third team.
3:31pm: MLB.com's Corey Brock says nothing is imminent and the Cubs appear reluctant.
2:25pm: The saga continues…Kevin Towers does not think this deal lost steam in the last 24 hours, according to Yahoo's Tim Brown and Gordon Edes. However, they say the Cubs are having second thoughts about this four-team mess. The Cubs source says the price is too steep for them right now and they're looking at another short-term option for the rotation (Randy Johnson maybe).
2:02pm: Tom Krasovic says the Padres are not seeking J.A. Happ or Chris Coste as has been previously rumored. Also, Ronny Cedeno is not the Padres' first choice to replace Khalil Greene at short. Krasovic adds that the Braves apparently are now happy the Padres didn't take their offer for Peavy.
Kras adds that the Padres did some fact-finding with Mark Grudzielanek's agent. Grudz wants to play for a winner though.
1:10pm: Roman Modrowski of the Chicago Sun-Times says Peavy sang "Go Cubs, Go" at a Vegas bar last night. Good times. But did Roy Oswalt sing along? Also, Modrowski believes the Cubs would be willing to eat as much as $6MM of Marquis' $9.875MM.
Jayson Stark says an Aaron Heilman-Marquis deal appears unlikely, as the sides cannot agree on what portion of Marquis' contract the Cubs would assume.
12:08pm: Rosenthal says the Cubs maintain they're not close on Peavy. And they still need to identify their new owner before a deal can get done. The Cubs are mulling Randy Johnson as a backup plan, and continue to prioritize the lefthanded bat.
10:36am: Phil Rogers says the key to this potential four-team Peavy trade would be the Phillies or Orioles taking on Marquis and some of his contract. Rogers says "it will be a stunner if the Cubs don't acquire Peavy."
1:00am: Chris De Luca says a source close to Jim Hendry characterized a Peavy deal as "very close." De Luca's sources say a Cubs-Orioles component is set (Felix Pie for Garrett Olson). This runs counter to Roch Kubatko's report below. De Luca says the Cubs still want to trade Marquis and acquire a lefthanded hitter before closing the Peavy deal.
12:41am: Ken Rosenthal's source says the Cubs' attempts to bring in a third team have involved "probably 20 names with four to five clubs." So it's not necessarily DeRosa or the Phillies. Rosenthal says an agreement is still not close.
12:30am: To summarize yesterday: Kevin Towers has facilitated an apparent three-team Jake Peavy trade that he will present to the Cubs. I say three because Roch Kubatko says the Orioles don't know of any agreement. So the best guess right now (based on reports) is that the Cubs would send Mark DeRosa to the Phillies, and both teams would send young players to the Padres. The Cubs could offload Jason Marquis in the deal, and the savings from Marquis and DeRosa would seem to neatly equal Peavy's $11MM salary for '09.
Full Story | Comments | Categories: Aaron Heilman | Atlanta Braves | Baltimore Orioles | Bobby Abreu | Chicago Cubs | Chris Coste | Felix Pie | Garrett Olson | J.A. Happ | Jake Peavy | Jason Marquis | Mark DeRosa | Mark Grudzielanek | New York Mets | Philadelphia Phillies | Randy Johnson | Ronny Cedeno | San Diego Padres
Jake Peavy Rumors: Monday
11:02pm: Jim Salisbury backs up the idea that the Phils could receive DeRosa and the Padres could get Happ. It's worth noting that the Cubs could trim $5.5MM off the payroll by sending out DeRosa and using Fontenot at second base.
10:31pm: MLB.com's Lyle Spencer says the Angels have not taken themselves out of the Peavy sweepstakes.
Also, Tom Krasovic of the San Diego Union-Tribune supplies more info. A third team would definitely be involved in a Cubs trade. DeRosa could wind up a Phillie, and Michael Wuertz is a new name of interest for the Padres. Peavy's agent Barry Axelrod said again that Peavy will require a full no-trade clause upon a deal. One more thing – Towers said trading Peavy could free up money for Trevor Hoffman.
9:00pm: MLB.com's Corey Brock says the legwork on this trade "has essentially been completed." No deal has been reached, but Towers says he's facilitated a three or possibly four-team deal. The third and possibly fourth teams (Orioles, Phillies) have agreed to players. There could be some haggling remaining on players sent from the Cubs to Padres.
Brock says all Towers needs now is the go-ahead from Hendry. Peavy, by the way, was spotted at the Meetings.
8:35pm: Jayson Stark gives his take on the Peavy-Cubs situation. He says Hendry is dealing with restrictions due to the team's ownership situation, despite his comments.
8:01pm: Scott Miller of CBSSports.com says Jason Marquis and Angel Guzman (among others) could end up with the Padres in the three-team deal. The Padres could get J.A. Happ and/or Chris Coste from the Phils. Miller adds that the Phils are known to have interest in Mark DeRosa.
6:53pm: Rosenthal says the Phillies are now in the mix as a possible third team in a Peavy trade. Those talks are preliminary. Rosenthal says the Cubs can't complete a deal for Peavy until their new owner is decided.
5:33pm: Roch Kubatko says the O's are still interested in Pie, but may only get him for Olson straight up if Olson is to be flipped to San Diego in a Peavy trade.
2:37pm: Joel Sherman learned from Towers that if he doesn't reach an agreement on a Peavy deal with the Cubs at the Meetings, he will keep the pitcher to start the season. The Dodgers are apparently the only other team to which Peavy has approved a trade.
Sherman adds that the Cubs "are willing to let [Peavy] keep his no-trade clause." Not sure if Sherman is trying to say the Cubs would replace Peavy's partial no-trade rights for 2011 and part of 2012 with full no-trade powers.
2:33pm: Kevin Towers told Ken Rosenthal he's talking to only the Cubs about Peavy. He expects to have a good idea on whether to drop it or move forward by the end of the Meetings. Towers approached Ned Colletti but talks didn't get far.
12:22pm: Jerry Crasnick says Kevin Towers and Peavy's agent Barry Axelrod drove together for the 4.5 hour ride from San Diego to Las Vegas, but Axelrod says they only talked about Peavy for about three minutes. Also, Axelrod brought a sweet mix CD.
11:44am: Bruce Miles of the Daily Herald says the Cubs and Padres did not talk about Peavy on Sunday but will today. He's heard the Padres might be concerned with Vitters' hand/wrist.
1:14am: Gordon Wittenmyer of the Chicago Sun-Times says the Cubs first want to trade Jason Marquis and acquire their left-handed hitting outfielder before Peavy. Wittenmyer's sources do believe the Cubs will eventually acquire San Diego's ace. However, his sources say the Tom Krasovic report about a five-for-one framework being in place is exaggerated.
Wittenmyer hears that the Orioles would be willing to swap Garrett Olson for Felix Pie; the Cubs would then send Olson to the Padres in the Peavy deal.
12:54am: According to SI.com's Jon Heyman, Padres GM Kevin Towers "envisions a way to do a [Jake Peavy] deal now only with the Cubs." We've heard rumors of the Padres and Cubs trying to rope in the Orioles or Rays as a third team.
Heyman adds that Peavy would approve a trade to Chicago "without any significant reworking of his contract or other major concessions." Does that imply that the Cubs would not have to guarantee Peavy's 2013 option ($22MM) or grant him a full no-trade clause?
Keep in mind that despite all the virtual ink that will be spilled on Peavy over the next four days, Jayson Stark sees "just about a zero chance" he's dealt at the Meetings. Still, the Cubs and Padres seem to already have a framework in place involving Sean Marshall, Kevin Hart, Josh Vitters, and maybe Ronny Cedeno.
Full Story | Comments | Categories: Angel Guzman | Baltimore Orioles | Chicago Cubs | Chris Coste | Felix Pie | Garrett Olson | J.A. Happ | Jake Peavy | Jason Marquis | Josh Vitters | Kevin Hart | Los Angeles Angels of Anaheim | Los Angeles Dodgers | Mark DeRosa | Michael Wuertz | Ronny Cedeno | San Diego Padres | Sean Marshall | Trevor Hoffman


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HorrorRelease Date
November 09, 2007MPAA Rating
After Dark FilmsOfficial Site
click hereREVIEWS RATE: Critics Readers [Rate It]
Cast and Crew
Matthew LeutwylerProducer
Miranda Bailey, Francey Grace, D.J. Marini, Jun TanScreenwriter
Matthew LeutwylerStarring
- Emmanuelle Vaugier as Sheriff Annie Flynn
- Luke Goss
- Beau Garrett as Caya
- Charles Q. Murphy
- Tonantzin Carmelo
- Whitney Able
- Tommy Dewey as Charlie
- M.C. Gainey
- Russell Means
- Miranda Bailey
A vicious creature that's been trapped for 900 years, gets unearthed during an archeological dig in the middle of a desolate town. As the carnage escalates, the local sheriff and a group of stranded civilians must find a way to destroy the creature that only has one mission -- complete annihilation.
No pictures available


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BHB40 and BHB41 Folding Knives
BlackHawk! Blades, a division of BlackHawk Products Group, introduces the BHB40 and the BHB41 folding knives. Intended for both tactical and general utility use, these knives are both built on a framework of 420J stainless-steel liners and fiberglass-reinforced nylon handle overlays. The blades of both knives are a distinctive drop-point tanto design ground from 9Cr13CoMoV stainless steel and feature a slotted hole that balances a slim design package with a positive purchase for one-handed openings. The BHB40 boasts a 3.75-inch blade and measures 8.85 inches overall. The BHB41 features a 2.95-inch blade and measures 6.95 inches overall.


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On Vacation at Horseshoe Falls, Dawn
PHOTOGRAPH INFO This photograph was taken last Thursday morning in Niagara Falls, Canada, where we went on vacation last week. Horseshoe Falls is 167 feet high and 2500 feet wide. 600,000 gallons of water per second flow over the edge! Thank you for visiting Durham Township, by way of Niagara Falls! --Kathleen Comments
This is so beautiful. I'm happy to see you're done with the flour photos, and I'm really really glad to see some color in this picture. I was having withdrawl due to a lack of beautiful Durham Township color. Posted by Steve on August 16, 2006 12:55 AMAn amazing photo - the best I have ever seen from the falls. Posted by Mark on August 16, 2006 1:17 AMGreat shot! I was there for a few days last October(?) and during that entire time, the wind was blowing the spray over the point where you were standing. It was like standing in heavy rain, so my camera had to be kept tucked safely away in that vicinity. Posted by Gary on August 16, 2006 3:16 AMWow, brilliant shot Kathleen...If only that sky had been clear blue...still, a beautiful scene. Posted by Deano on August 16, 2006 3:20 AMLove the light on this one. Posted by Jon on August 16, 2006 3:41 AMi love those colors. so nice and lovely they are. but what captured my eye directly is that lovely sunset on the right side. its perfect detail in this image and gives it more color. when i see photos like this i feel inner peace and happiness. i think that this one really is one of you best. have a great day K. :) Posted by bruno on August 16, 2006 6:08 AMBeautiful shot of the falls, out of the many images that I've seen taken here this has to be one of the best. Posted by Steve W on August 16, 2006 6:13 AMWelcome to Canada :-) Posted by Sean Galbraith on August 16, 2006 6:31 AMBeautiful shot. I love how the mist brings your eye up to the sky. Posted by laanba on August 16, 2006 7:05 AMNicely done! Posted by Ted on August 16, 2006 7:12 AMExcellent tones, love this shot! Posted by Craig Wilson on August 16, 2006 9:06 AMthat is too funny! i just got off the phone with some hotels trying to get a room in niagara falls. i thought it'd be nice to take my 6 year old daughter up there for quick trip (we live in erie, pa) before she goes back to school next week... great shot... the falls are certainly beautiful Posted by ron on August 16, 2006 9:11 AMAbsolutely, amazingly, stunningly, lovely! Every element in this shot is wonderful. The tones the details, the timing, the view, everything. This has to be one of the most beautiful places on earth and you captured it perfectly Posted by Laurie on August 16, 2006 9:32 AMAllow me to add my own "Wow! Spectacular!" to the list of already fabulous comments. This image is truly superb - I'm particularly struck by the light you've captured. So beautiful. Posted by Daniel Seguin on August 16, 2006 9:49 AMAmazing. Beautiful shot of the falls. Just as I remember it. Thanks :) Posted by Noreen on August 16, 2006 10:16 AMStop using Photoshop I can't take your work seriously Posted by Brian on August 16, 2006 1:13 PMhard not to like one of the seven wonders of the world, but that dark vignetting in the upper right is distracting...considering it travels down the right side a bit too. an awe inspiring image for an awe inspiring scene is the best way I can describe this! you've done a great job. Love the colours :D Posted by JD on August 16, 2006 3:22 PMHoly cow, that is incredible, just incredible. Would make a great large print. Posted by Jason on August 16, 2006 7:14 PMbreathtaking. Posted by Lama on August 16, 2006 7:16 PMJust a wonderful photograph.The mist rising up,caught up in the sunlight makes this work very well.And the immense water falling over makes this a wonderful shot. Stunning, as always. :-) Posted by Rick on August 16, 2006 11:36 PMThis is a beautiful. Hope you had a fun vacation :) Posted by Jeet on August 16, 2006 11:55 PMBeautiful _ i wish I could do this! Lovely. Posted by LwS on August 17, 2006 3:50 AMBeautiful colors. Posted by chiara on August 17, 2006 6:35 AMstunning light and colors... i've been there to a couple of years ago, so this one brings back some good memories of (ontario) canada! Posted by javga on August 17, 2006 6:09 PMNothing short of breathtaking. Great work Kathleen. Cheers! Posted by Noor Hazmee on August 17, 2006 10:57 PMimpressive image as always! love the colours through the mist of the water.. Posted by david kleinert on August 18, 2006 2:28 AMSimply stunning, your work in general lately has been super. Posted by Garth on August 18, 2006 3:33 AMThis is an amazing use of light. I could stare at it all day. Posted by Bonnie on August 18, 2006 11:25 AMWow!! Fantastic shot. I love the colours and the lighting. Nice piece of work. Bravo! Posted by Claude on August 18, 2006 1:53 PMThis one makes me think of Jeanette Winterson's "Lighthousekeeping", where the Author is astounded by the unlimited powers of the Nature. She's right – only human has the obsession of measuring. Simply spectacular. Posted by Simon C on August 18, 2006 7:17 PMThat's very surreal but fantastic. Posted by Jamey on August 24, 2006 10:27 PMWow, wow, wow! Amazing. Mist is difficult to get but you did it very well. Posted by kristarella on August 31, 2006 6:02 AMAbsolutely beautiful! Thank you for sharing your gift with us... Posted by Mrs C on August 31, 2006 5:28 PMbeautiful!! Posted by kubinglee on August 31, 2006 9:56 PMBeautiful! Posted by Paxton Prints on September 3, 2006 5:46 AMmagnificent! Posted by marie on September 8, 2006 11:03 PMShare your thoughts!
Please note: After you press the "Post" button, it may take a full minute for your comment to register. There's no need to re-post your comment - just give it a minute. Thanks for your patience with my antique software and slow server! |


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Cooking School Stories
Day Two: International Cuisine
It's day two of International Cuisine, featuring the spicy flavors of Mexico and the Caribbean. Larn about Bryan Lague, an exceptional culinary student who has overcome tremendous odds to be at Johnson & Wales. (Episode: SL1A02)
Recipes from this episode
All Cooking School Stories Recipes-
Fried Plantains with Spiced Beef: Piononos
Recipe courtesy Bryan Lague- Cook Time:
- 30 min


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Just got this with svn:
Digest mutual authentication failure: client nonce mismatch
more people have seen this, no one knows what it means, in the sense of why it occurs.
New HTML Parser: The long-awaited libxml2 based HTML parser code is live. It needs further work but already handles most markup better than the original parser.
Keep up with the latest Advogato features by reading the Advogato status blog.
If you're a C programmer with some spare time, take a look at the mod_virgule project page and help us with one of the tasks on the ToDo list!


text:
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Your gentle eyes glow
Like the stage lights
Illuminating the show.
There's music in your movements,
As graceful as a violin,
With such beautiful intent.
The softness of your voice,
Challenges a clarinet,
With each fluid note of choice.
A stream of harmony lives within your soul,
Like each gentle piano moan,
A beautiful, melancholic toll.
Every part of you
Assembles an orchestra,
Glorifying everything you do.


text:
how to get on a reality TV show; Real World casts "heav[ily]" at colleges.
Want to get on a reality TV show?
Entertainment Weekly examines how to get on a number of different shows, from The Bachelor 2 to Survivor 6 to The Real World. The magazine talks to producers and casting directors to see what they're looking for, and details the application process. Among the revealations: The Real World "do[es] heavy recruiting" on college campuses, which probably explains the why the show has featured predominately younger, jobless people for the past few seasons.
+ plus: editor of Psychology Today "has a development offer from a TV network to create a reality series on how to actively choose to fall in love with someone."


text:
GRAND RAPIDS — When Frank Lynn moved to Grand Rapids in 1977, he had little intention of staying in the city very long, let alone the semi-isolated neighborhood where he rented a home atop the river bluff north of downtown.
Well, "not very long" soon became nine years.
"The view is just fabulous," said Lynn, a coordinator with Kent County Disability Advocates and one of the original late 1970s organizers of the Belknap Hill neighborhood association known as Neighbors of Belknap Lookout (NOBL).
In Lynn's time, the historic community atop the bluff had largely transitioned from owner-occupied houses to rental units populated by white college students, lending to the nickname "Hippy Hill."
It's one of a grab-bag of nicknames for Belknap Hill ('Observatory Hill,' 'Sand Hill,' 'Lookout Hill'), dating back to the antebellum era when the city was being established by pioneers like Louis Campau and Samuel Dexter, who were carving out space along the Grand River rapids for settlement. A large retaining wall mural fronting the eastbound Gerald R. Ford Freeway depicts these early origins.
The hill today is a distinctly unique place that boasts sturdy housing stock, expansive public green space, a fully-restored historic elementary school and unmatched views of both the city skyline and the river valley; all on the edge of a rapidly-expanding medical industry corridor.
But due to access issues, "the bluff" as it was mostly known until the 1930s, was a sparsely-settled portion of the city's 1850 platting until the mid-1870s when the city's population was in the middle of a surging expansion in all directions.
Originally neighbors to the nearby apple orchards and small farms, early residents included the mayor, city attorney, school principal, superintendent, bankers, newspaper editors, physicians, musicians, furniture carvers and factory foreman.
Ironically, the homes atop the bluff became less desirable around the turn of the century because smoke and dust from the furniture factories below on Monroe Ave ruined the view and drove residents to other parts of the city.
Built in 1880, the historic Coit Arts Academy at 617 Coit Ave. NE is the oldest operating school building in the state and has traditionally served as a community center due to the lack of churches in the area in the neighborhood's early days.
Sections of nearby Trowbridge Street and North Avenue NE are the only two original true field cobblestone streets in the city, which are a bumpy ride these days.
"I've always appreciated the historic value, but in the wintertime, you try to avoid Trowbridge," said Lynn.
Hill development has been closely tied to municipal services ever since early settlers discovered the hill was an excellent source of potable water. Today, a 6 million gallon natural spring-fed reservoir occupies the hill's summit, containing the city's emergency and evening water supply.
The reservoir failed in 1880 and 1900, sending a cascade of water down nearby streets and causing more than $1 million in damage to area homes.
Because of the topography, there's an estimated 400 steps on four staircases in the neighborhood, although the city has blocked some off due to disrepair. The elevated spot has traditionally made the hill's Lookout Park a popular place for men to drop to a knee and propose marriage.
"What's really great about Belknap is that it has more park land than any other neighborhood in the city," said Lynn.
In the 1930s, baseball fields and a scenic drive at Belknap Park were constructed by workers in city manager George Welsh's scrip labor program, a precursor to the nationwide Works Projects Administration during the Depression Era. In the early 1960s, approximately 2 million cubic yards of dirt from the park was used in freeway construction around the city.
The Ford Freeway actually cuts off the neighborhood from what was traditionally its business district on Michigan Street (then East Bridge Street). Talk of folding the neighborhood into the formation of the adjoining Heritage Hill Historic District never fully crystallized, said Lynn.
In the early 1980s, the neighborhood began to suffer the effects of drug-related criminal activity, making Clancy Street NE one of the more dangerous blocks. According to interviews in "Heart & Soul: The Story of Grand Rapids Neighborhoods," tensions began to ease in the mid-1900s, helped by efforts like Clancy Street Ministries, under the direction of Steve Faas.
These days, the bluff community is taking part in the revitalization effort going on in Grand Rapids. Neighborhood leaders created an area-specific plan for future land use and development in 2009.
"Although there are still challenges in the neighborhood, I think the area has seen some stabilization that didn't exist in the 1970s," said Lynn. "It really is a great place to live."
E-mail Garret Ellison, or follow him on Twitter.


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Thread Tools | Search this Thread |
28th October 2008, 12:06 AM | #1 |
diyAudio Member
Join Date: Apr 2008
quick solid state amp question
form a component durability standpoint (especially OPS transistors), when not listing to music, is it better to:
- leave your amp in hot standby (power on no signal applied but idling) - power it off i always thought that it was the thermal cycles (heat up then cool down) that wore out components, so i have always left my amps on continuously. but i was talking to a stereo guy i met recently and he advised to always turn amp off because its the heat itself that kills, not the cycling between hot and cold. which is right? |
28th October 2008, 12:14 AM | #2 |
diyAudio Member
Join Date: Mar 2002
If your amp runs (idles) at a comfortable, slight, warmness then leaving it on is better. If it runs real warm or hot (you can get a whiff of warm parts) then turn it off. Amps (like lightbulbs) do tend to blow at turnon so if in doubt, leave it on.
28th October 2008, 01:30 AM | #3 |
diyAudio Member
Join Date: Apr 2008
hey thanks for the reply. yeah it idles pretty cool when i touch the heatsinks when nothing's been playing for a while i barely feel warmth. just enough to let me know its on. in fact, i use the 3 second rule on all of my amps ... if i can't keep my fingers comfortably on the component for 3 seconds without pain, its too hot.
some may say thats overly conservative but i like my stuff to run cool enough to touch. |
28th October 2008, 05:10 PM | #4 | |
diyAudio Member
Join Date: Nov 2005
Location: East Coast of South Africa
I agree with you that leaving an amp on it is always ready to play. My trusty 50 watt class A is hot to touch but has never been turned off in eight years. I guess it will fail one day. Nico |
29th October 2008, 05:13 AM | #5 |
diyAudio Member
There is a term called "Working hours lifetime" for all components.
It may be better to leave your amp on for a short time (few hours) if you know that you will be listening again very soon, however if the design is made right, the transistors won't suffer from switching the amp On/Off when not listening. Much worse is it for the electrolytic caps (PSU caps etc.)! These have normally only a working lifetime of 2000 hours, so by leaving your amp On all the time quickly eats up the caps lifetime.
Free Schematic and Service Manual downloads www.audio-circuit.dk, Company: www.dupont-audio.com, Joint venture: www.DupontMantra.com |
29th October 2008, 11:04 AM | #6 |
Design engineer, consultant
diyAudio Member
Jan, 2000 hours is at maximum operating temperature, i.e. +85°C or +105°C, according to type used. At some 40°-50°C, the cap life time is much much longer.
29th October 2008, 01:48 PM | #7 |
diyAudio Member
Join Date: Aug 2005
Location: K-town
What about metal fatigue, would it be an issue particularly the bonding wires that connect the pins to the die? Hot/cold/hot/cold ect will take a toll on the wire bond strength, just like the filament in a light bulb. Incandescence bulbs tend to last longer if they are left on continuously compared to intermittent use. I saw a program once about an old firehouse light bulb that has been on for like 75 years. Nobody dares turn it off because the filament may break from temperature change and age and no one wants to be the one responsible for its death. They just don't make 'em like they use to anymore.
All the trouble I've ever been in started out as fun...... |
29th October 2008, 02:02 PM | #8 |
diyAudio Member
You are absolutely right I was not really awake when I replied to this thread
Free Schematic and Service Manual downloads www.audio-circuit.dk, Company: www.dupont-audio.com, Joint venture: www.DupontMantra.com |
29th October 2008, 02:31 PM | #9 |
diyAudio Member
It depends a bit on the amp.
ClassB-amp: no thermal cycling to speak of when switching on/off; only thermal cycling is caused by listening to music. Leaving it on all the time will hurt your power supply caps (as ACD already wrote). (By the way there's the old rule for temperature: every 10°C temperature increase cut lifetime of the part in half. So a 85°C cap with 2000 hours lifetime translate into 32000 hours at 45°C - in about 4 years permanent on the caps are outside their specified lifetime.) ClassA-amp: thermal cycling due to Class A; however there's not much benefit again for leaving it on as the caps have to endure high ripple current and higher ambient temperature. Both reduce lifetime. In short: switch it off at least for the night. Have fun, Hannes
fresh matched IRFP240/IRFP9240 fets || AlephJ/JX-kits F5 transistor kits || Burning Amp BA-1/2 transistor kits |
29th October 2008, 05:40 PM | #10 |
diyAudio Member
Join Date: Jan 2005
Location: near london
I guess I go along with ha and ACD. In practice I have found that the longest use I have had from a piece of equipment was from a Sony professional tv. That lasted 20 years. If you assume 2 hours per day that gives 600 hours per year ( time off for hols ) or 12,000 hours. I have also assumed that electrolytic caps dry out slowly over the years and this is exascerbated by keeping them warm. ( find thaty electrolytics last a long time if stored in a sealed plastic bag.) I switch equipment off at nights. Don |
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1981 35 (ft.) Bristol 35.5
Inactive - This listing is not for sale at this time
General Information
Listing# 152519
General Details
The Bristol Yacht is ready to go sailing where ever her new owner wishes! Her home is presently in beautiful Ensenada, Mexico, a short distance from San Diego, Ca. She was built in Bristol, Rhode Island by master craftsman. This Yacht has had great reviews by two professionals, one being the "Practical Sailor" and the other by Boat Us magazine. Most owners of the Bristol have full trust and loyalty to their boat. Despite significant production runs, you find precious few Bristol's on the worldwide markets.
- Accommodations
- Sleeps 6
- Electronics
- Raytheon Autohelm Autopilot Richie Glovemaster compass Garmin GPS maps and Sounder 168 Verizon Intrepid Marine VHF Radio
- Galley
- Propane Shipmate 3 burner stove with oven Adler Barbour Refer with Freezer partition Raritan electric waterheater Shur-flo pressure water pump
- Head
- PH11 Marine toilet
- Deck
- 3 Anchors with chain and rode, Bruce 22 lbs, Delta 22 lbs, and a quick set.
- Sails
- Genoa headsail on a Hood System Seafurl 2 Lewmar #42 double speed, self tailing winches 2 Lewmar jib winches
- disclaimer
- The Company offers the details of this vessel in good faith but cannot guarantee or warrant the accuracy of this information nor warrant the condition of the vessel. A buyer should instruct his agents, or his surveyors, to investigate such details as the buyer desires validated. This vessel is offered subject to prior sale, price change, or withdrawal without notice.


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Get your own copy
Don't hesitate! Just download and test it all by yourself for free!
(Requires: 3.1+)
This option enables you to replace things like åäö to aao. Diacritics will normally not function properly in a web environment so this is a nice feature.
$mcImageManagerConfig['upload.replace_diacritics'] = true;
<add key="upload.replace_diacritics" value="true" />
Search documentation.


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01-23-2012, 12:58 PM | #1 (permalink) |
Senior Member
Join Date: Sep 2010
Posts: 147
HELP! Never summer SL or arbor wasteland?
Going to Coloradao for the first time in 2 weeks and want to take 2 boards.. I am taking my T. Rice for sure but am stuck on which of the other 2. I had a burton custom x and took it on a 3 day trip with my wife and hated it... Went to a shop and heard good things about the never summer SL so I got one Saturday night before they closed and rode it Sunday...OMG!!!! Love it ..
I can haul straight ass on that wasteland but like riding and doing a little buttering on the SL and still was going pretty fast but couldn't push it because of the crowds. Help me dudes |
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01-23-2012, 01:43 PM | #3 (permalink) |
Veteran Member
Join Date: Nov 2011
Location: North Seattle
Posts: 880
The t-rice is a good hauling ass board and the SL will be a little softer but better for powder as I think it has some setback right?
Dude, suckin at somethin' is just the first step to bein' sorta good at somethin' Last edited by Riley212; 01-23-2012 at 01:46 PM. |
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