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The invention pertains to an assembling device for setting up metal structures, characterized on the one hand, by the fact that the uprights are built as box-type elements having a front plane portion adjacent to two deep mouldings, which themselves are next to the side walls, to which aforesaid mouldings are connected by a semitubular edge, aforesaid deep mouldings being provided with spaced elongated openings, and on the other hand, by the fact that the hooking elements, which are integral with the cross-members, are provided along their height with alternate parallel and perpendicular protrusions with respect to aforesaid front face of the upright, aforesaid perpendicular protrusions fitting into aforesaid openings provided in the bottom of the deep mouldings in the upright.
1. In a metal structure having a plurality of upright post members and cross members extending between said post members, the improvement comprising:
said post members each having spaced parallel side walls curved inwardly at their forward edges to define semi-tubular front portions, then reversely bent to define channels adjacent said semi-tubular portions and a central planar front face between said channels;
a pair of vertical rows of first openings in said front face;
a vertical row of second openings in the bottom of each of said channels;
said cross members each having an end plate perpendicular thereto abutting a side wall of a post and having alternating portions extending across an adjacent channel into abutment with said front face with intermediate portions bent to closely embrace the adjacent semi-tubular portion and extend into said adjacent channel;
each of said intermediate portions having a downwardly hooked inner edge engaged in one of said second openings; and
said portions extending across said adjacent channel having upper edges generally coincident with lower edges of first openings of one of said rows.
This invention pertains to an assembling technique of uprights and cross-members for setting up metal structures which can be dismantled. The invention is more particularly concerned with such assembly by means of hooking elements which are integral with the cross-members. Such metal structures are intended to serve as supports for sets of shelves or for suchlike assemblies.
Aforesaid hooking elements are attached to each end of the cross-members, for instance by welding. The uprights and aforesaid hooking elements are conditioned so as to facilitate easy and fast assembly, or respectively dismantling, without in any way impairing the stability or the strength of the structures under consideration.
These results are obtained by a very particular shaping of the uprights and of the hooking elements which are integral with the cross-members. In the present case, the uprights are characterized by the fact that they consist of box-type elements which are open on the rear side and have an intermediate front flat surface which is adjacent to two deep mouldings, which are themselves close to the side walls to which aforesaid mouldings are connected by a semitubular wall, the bottom of said mouldings being provided with the spaced elongated openings. The hooking elements which are integral with the cross-members are characterized by the fact that they are provided along their height with a series of protrusions, which are alternately parallel and at right angles to the front face of aforesaid uprights, aforesaid perpendicular protrusions fitting into aforesaid openings provided in the deep mouldings of the uprights. The connection between aforesaid perpendicular protrusions and the integral wall of the cross-members is provided by a semitubular part which covers aforesaid semitubular walls of the uprights.
Aforesaid perpendicular protrusions are provided with notches in their lower edge. The height of aforesaid elongated openings in the deep mouldings of the uprights is slightly greater than the height of aforesaid perpendicular protrusions, in such a manner that besides freely entering into aforesaid elongated openings, said protrusions can also hook into same.
It is of course possible to build such metal structures to any dimension, whereby the described characteristics might be replaced by equivalent technical devices, without going beyond the scope of the present invention.
It is thus merely as an example that a form of embodiment is described hereinafter in greater detail and with reference to the appended drawings in which:
FIG. 1 is a partially cutaway perspective view of an assembled joint between cross-members and an upright;
FIG. 2 is a front view of the same structure;
FIGS. 3 to 6 respectively are cross-sections according to lines III--III, IV--IV, V--V and VI--VI in FIG. 2;
FIG. 7 shows, to a larger scale, that part of FIG. 4 which is indicated by F7.
In this form of embodiment, the uprights 1 are built in box shape with a wide opening on the rear side and the front surface of which have an intermediate plane portion 2, two deep mouldings 3-4, two semitubular edges 5-6, two side walls 7-8 and flanged rear edges 9-10.
The bottom of aforesaid mouldings 3-4 is provided with elongated openings 11-12. Aforesaid plane portion 2 as well as the extreme generatrices, respectively 13-14, of the curved wall elements are located in one and the same front plane. The hooking-in between cross-members 15 and the upright 1 is performed by particular hooking elements 16, each of which is integral with one end 17 of a cross-member 15. Ths hooking element consists of a wall 18 of which a longitudinal edge is provided with protrusions 19-20-21 which are perpendicular to aforesaid wall 18, i.e. parallel to the central plane portion 2 of the upright, as well as with protrusions 22-23-24 which are parallel to aforesaid wall 18, i.e. perpendicular with respect to the intermediate plane portion 2 of the upright. The connection between wall 18 and aforesaid protrusions 19-20-21 consists of a semitubular wall 25. Aforesaid protrusions 22-23-24 have a height which is slightly less than the length of the elongated openings 11-12 in the bottom of the deep mouldings 3-4. On the other hand, aforesaid protrusions 22-23-24 have, along their lower edge, a notch 26 which thus forms an attaching hook 27.
In order to provide such an attachment, aforesaid protrusions 22-23-24, which are projected into aforesaid openings 11-12 of the upright, are moved slightly downward.
This assembling device is characterized by the particular shaping of the uprights and of the hooking elements which are integral with the cross-members. The uprights are of maximum rigidity, or strength, due to their conditioning and to the relative location of the deep mouldings provided with aforesaid hooking openings. The originality of this hooking device consists of the semitubular shaping of the front parts, and of the hooking elements which are integral with the cross-members and of the corresponding parts of the upright.
In fact, the superposition of the semitubular parts, respectively of the upright and of the cross-members, assures a better covering and a self-tightening of the cross-members.
Subsidiarily, the uprights are provided in their front plane portion with two rows of openings 28, of which the lower edge registers with the upper edge of protrusions 19-20-21, so that a key can be fitted in the openings 28, thus in a way locking the upright to cross-member connection. This provides for an extra safety to prevent the cross-members from getting detached from the uprights, in the case for instance of shocks.
The invention just as well concerns the assembling device as a whole, as the individual constituent elements thereof.
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Minnesota Wine Country
Local (Wine) Tap: 'Minn. Wine Country'
Minnesota Wine Country is enjoying its new digs — and lauding the ever-growing industry of wine – at the 2013 Minnesota State Fair.
Local Craft Beer Hits The Fair
Minnesota craft beer will get a lot of exposure at this year's State Fair. A new exhibit at the Fair is dedicated to Minnesota's breweries, and a second exhibit is just for wine lovers.

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New and loaded with questions
Hi guys! I'm Rob, I accidentally found foreskin restoration last night and after doing some homework I decided to give it a shot.
First off I'll tell you a little bit about myself. I'm currently in my sophomore year at the college of charleston, I am attending college with a full sailing scholarship. I live in a rented apartment with two roommates. I am very popular with the girls ever since 10th grade because I am very open and am a very good listener so girls have always come to me when they had issues. Because if this I tend to have alot of girls come and go from my room, my roommates think I am some kind of sex god but I honestly don't get very much action :/
Why do I want to restore my foreskin? Well mainly because I feel that we were put here for a reason and changing our bodies is slightly wrong. But also because my father was never around because he has been in jail since I was 6 years old so I always had to ask my mom about guy things and when I was 7 I asked why I was snipped when I was a baby and she said so I'd be like my father but me and my father are very different. My father was a flaming alcoholic and I personally don't see the point in alcohol, I don't have an issue with people that drink, I just don't see the point in it personally. My father was also big into war, he's full on wraith of god style blood and bullets and I'm anti war and believe war should be an absolute last resort because I don't believe dropping bombs on innocent women and children is the right answer to anything. I also like the fact that uncut penis has more protection so hopefully it won't hurt as bad when I get caught in the zipper
On the chart I would put myself on CL-1 I was really looking at the tlc tugger but it looks like to have to have some foreskin to begin with is that true?
If yes to the above, what it the best way to get a good base for getting foreskin? Manually pulling? How long would it take before I could use a tlc tugger if I did it everyday?
Being a college student I don't have very much money to buy devices like the tlc tugger, even if I cleaned them really well would it be really wrong to buy used? What would be the odds of finding some one willing to sale?
And just another comment about myself, I tend to get side tracked with things and I have learned I work best in a positive environment with positive encouragement and motivation, that is what I joined this forum.
I also made my own device that I use with no foreskin to try and stretch it while I'm in classes. I'm not sure that it works very well so would it be cool if I took pics and gave instructions on how to make to get advice and opinions on if it's actually working? It's uses some tape and a bungee cord.
Thanks in advance!
Re: New and loaded with questions
Good luck.
Re: New and loaded with questions
Yeah if you are CI-1 you should probably start with manual tugging. Cross taping is also recommended for beginners with a tight cut. It is basically rolling your skin up as far as you can on your glans, then making a cross with two pieces of tape so the skin remains in that position (this puts tension on this skin, which is what induces growth). T-Taping is another good intermediate step up from cross taping. Some links that are helpful:
Manual tugging:
Re: New and loaded with questions
Concerning starting at a CI-1, you are most likely not going to be able to use a device at this point. Cross tapeing or tape rings are likely your best bet.
As a word of encouragement, I was a tight ci-1 when I started restoration. Today my glans rarely sees the light of day. This process works. You can look and feel like a natural man once again. It just takes lots of time and patience.
Best wishes on your endurance. A site like this one is helpful for the support that it provides.
Re: New and loaded with questions
Manual and cross taping are the typical starting methods. Cross taping will only get you started, but manual can take you all the way. Devices require you to have enough skin, Ron gave good advice.
There is no good way to predict how fast you will grow skin. There are too many variables. But you can buy a device now, then if it doesn't work now due to too little skin, set it aside until it will work.
A device will not be more effective at growing skin than other methods. Tension is tension. But some methods may fit your lifestyle better than others. Think in terms of how spontaneous you want to be, how much you can spend, how much privacy you want to have (or do have), what you are most comfortable with, how much you like to tinker.
For someone in your situation, and based on what you have said, I would give manual a long hard look. No cost, nothing obvious, can be done at odd moments. If you are considering buying used to stay within your budget, then manual sounds especially good because it has no cost. You can always change later don't forget.
Greg B.
"The foreskin isn't the wrapper...it's the candy!"
Re: New and loaded with questions
Welcome, Rob. As you must be aware of it by now, you have found a site with friendly, caring, and helpful members. I can only reiterate that manual methods are most convenient and useful to start restoring with little slack skin. Check the methods section in this site, it will give you ideas and insights. Many restorers also use their own home-made devices, and other men try them, modify them and also give tips on proper fittings, etc. Do-it-yourself systems gave rise to the commercially available ones. After you decide, you may want to try something else, or use different methods to overcome the monotony. Many of us use two or more methods in conjunction. As long as you keep tugging, you will get results.
Best wishes in your endeavors.
Re: New and loaded with questions
Thanks for the warm welcome, positive encouragement, and friendly advice!
I has tried manual tugging but it hasn't been working out if I'm quite honest, after about 2 minutes I just end up masturbating lol..... Soafter reading the advice left from you I'm convinced that T tapping is the way to go. I will probably end up doing it during the night and during classes for a total of 14 hours a day with 10 hours to rest on while I'm practicing. What do you guys think? Perhaps too much time tugging? Please let me know because I tend to over think things when I get interested.
Also tomorrow I'll try posting up a progress thread so I can keep track on things and if I feel like I'm not getting any where I can look back and see my progress. And yes I'm over 18 (turned 22 in January)
Again thanks for all the advice and warm welcome!
Re: New and loaded with questions
But I do not think 14 hours is needed. Think about how little time manual tuggers apply tension for. I would suggest beginning with 2 or 3 hours a day and see how that goes. You may be able to fit that in to your day pretty easily while awake. Leave the time short, but experiment with the tension. Keep everything constant for a few weeks and observe progress. Then make a change and hold that constant for a few weeks. Compare to the previous trial. Better? Worse? Make another adjustment.
When you have some confidence that you are getting the best growth possible, then try experimenting with time under tension if you wish. I am currently doing 3-6 hours a day, 4 days a week, and making the best progress of my restoration career. I would experiment with less time, but this current regime is so convenient I have no incentive to do that.
Greg B.
"The foreskin isn't the wrapper...it's the candy!"
Re: New and loaded with questions
If you keep at it, you will reach a point where your sexual arousal from manual tugging will simply turn itself off, even with an erection, and the urge for an orgasm will be gone as you tug manually.
Re: New and loaded with questions
I tried taping and for me, it was too difficult until I had just a tiny bit more slack. Once I did some manual stretching for a few weeks, it seemed much easier and more effective. Ultimately I started with a DTR last week.
At first, you'll always get hard when trying to do this stuff because you're not conditioned to it. You think "play time". Over some period of a few days, you condition and get down to work. But you can play afterwards!
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Like most cartoonists, I started young, penning my first comic strip, "Orville," in the first grade. It featured the eponymous character and his dog Salty. None of the originals survive to this day, and this is as much of a blessing as a curse, since, this way, I can remember it being brilliantly witty rather than what it probably was a bunch of pointless drawings of the characters with their names emblazoned inflatedly above their heads, and that's it. Somewhere around 3rd grade there was a cartoon about another funny-named kid and his horse, and in junior high I did a whole folder full of gag panels, which got lost when some other kids and I tried vainly to start a neighborhood newspaper. Due to a falling out, I never got my folder back from the guy who was to be our publisher (i. e., whose dad had a copier at work).
The earliest cartoons I still have copies of, then, date back only to mid-high school, thirty-plus years ago. In my junior year, I saw my first cartoon published. Naturally, it was in our school paper, The Spectrum. I don't think I was consciously planning on being a cartoonist at the time. But, then again, I wasn't thinking of being anything else. When I was picking a college, I visited Notre Dame. It was there, on a tour of the campus, that our guide blithely mentioned that the school had an entirely student-run, daily newspaper, The Observer. My decision was made, right there on the spot, and I could lead you to that very spot if you're so inclined. I told my parents that it was because I could get to work on a wind tunnel as an undergrad, whereas at Michigan I would have to wait until grad school. My official major was Aerospace Engineering, but, truth be told, I was an undeclared cartooning major. I started out with a strip about campus life, but my then rival and later good friend, Michael Molinelli, was doing a much better job of it. So I did what I do best: something different. It turned out to be a gag panel called "Lobotomy." It was very controversial, and I think not a year passed when a bloc of editors didn't lobby to have me thrown off the paper. Sour grapes, maybe? After all, none of those editors was ever given a full page to do with as they please. About twice a year, I was. One was my Christmas page, the other was usually my "Nuclear Holocaust Page," a collection of grisly themed cartoons. I've grown out of that, thankfully.
When I got out of school, I worked as an aerospace engineer designing cruise missiles (speaking of nuclear holocausts), but I quickly sought out cartooning work, and ended up moonlighting a little during my year in San Diego. I stayed with engineering for that long, just to prove to myself that I could cut it. Then I took the first boat out of there. It was a copywriter's job at an ad agency in Detroit, the agency that launched another copywriter-turned-cartoonist, Cathy Guisewite. Though I had no advertising portfolio, I got the job on the strength of my cartoons and figured it was my stepping stone to a career in silly pictures. Until advertising sucked me in and I hardly lifted a cartooning pen for nearly a decade. I managed to win a Clio and a bunch of other awards for my efforts. Other than that, it was dark times for the soul.
Finally I left the ad world it was that or self-destruct for voiceover. I had been moonlighting in nightclubs doing comedy that wasn't stand-up and wasn't improv. It was, well, to strike a theme, different. A buddy of mine from high school, Jim (these days known as James Finn Garner, the best-selling author of the Politically Correct Bedtime Stories series), and I started out together on a lark a dare, actually performing as jazzpoetry...TRUTH! Performance Art Company. Tights, little dark glasses, slicked back hair. And meat. Raw meat. We ran around the stage spewing non sequiturs and bombastic nonsense, all in the name of Art. Bernie Sahlins, one of the founders of Chicago's famed Second City, once dubbed it the funniest thing he had ever seen done in improv. Meanwhile, one newspaper reviewer dubbed it "out and out painful in its sheer stupidity." We were proud of both remarks.
From there, perhaps out of a desire to appear on stage in proper trousers, we moved on to the Waveland Radio Playhouse. We performed original spoofs of old radio adventure genre shows, beginning with "Rip Whittingly, Fashion Designer of the Serengheti." We collected glowing reviews from the local press, Chicago Tribune, Reader, and Sun-Times, and we played long runs at the Roxy, the Elbo Room, Boombala and other now-defunct comedy rooms; and we landed a regular feature on WBEZ-FM, the local NPR outlet. Then we branched out into industrial shows, our favorite being at a national convention of Batesville Casket salesmen, until we retired the act in 1992 after earning literally hundreds of dollars.
Then came Theatre of the Bizarre, a three-and-a-half year adventure to the very fringes of comedy. It ran weekly in the richly atmospheric rathskellar of the Elbo Room in Chicago. It was an outgrowth of an earlier attempt at the concept, The Serious Art Comedy Show, and launched several careers. My buddy Jim penned a two-minute, throw-away schtick, to serve as filler between acts, which the barmaid suggested he expand into a book. He did. 30 rejections later, he hit number 1 on the NY Times list. Two decidedly outre comics, Matt Walsh and Matt Besser, saw what the other was doing and decided to team up. They went on to found the Comedy Central hit, "Upright Citizens Brigade." I, however, did not become famous through my various bits, not as the tortured torch singer, the inept acrobat, an all-growed-up version of Highlights Magazine's Goofus and Gallant, or the dozen or so other experimental oddities.
There were other spin-off shows, such as The Best of Blue Collar Art, in which I played Roy Turdych, workingman poet of the people (i.e., limericist); and I actually took a stab at reading my serious poetry sonnets, no less! in a revue or two elsewhere. Bad idea. They're best left to the page. Same with the limericks.
Meanwhile, I managed to subsidize my moonlight experiments by working as a voiceover. The work was demanding of my schedule, but not of my time. I found long stretches of time between auditions. In that silence, I was once again able to hear my art muses. I started out with a children's book idea, then took to painting seriously. Watercolors, then oils. I was sketching and doing fine art drawings. The only cartooning I was doing was for self-promotional ads for my voiceover work. The ads were wildly popular and were a watershed for the trade magazine that ran them, since everyone else jumped on the band wagon, thus boosting the rag's ad revenues. I made a couple of half-hearted submissions to The New Yorker, but nothing really came of it, mostly because I wasn't really committed to the work yet, and it showed.
Jim was going strong with his books, and I helped him out with writing gags for a couple of calendars that were meant to cash in on the books' success. Writing all those gags made me think that it was time I came up with that comic strip idea that I always knew would someday come to me. One day soon, it did. I simply woke up with it. I started making sketches, developing characters. Then I stood back and looked at it. It reeked. BUT!... a couple months later, I woke up with ANOTHER comic strip idea. And I mean I literally woke up with it; it all came to me in that crepuscule of semi-consciousness between waking and slumber. This was "Monkeyhouse." I was one mortgage payment away from broke at the time, so I had to let the idea steep for a spell, while I sold my brain to advertising for a few weeks, something I had hoped never to do again. But enough of that ugly sub-plot. A couple months later, "Monkeyhouse" was ready for submission to the syndicates. First stop, Universal Press Syndicate, from whom "Calvin & Hobbes" had just retired. They liked what I sent and wanted to see more. I whipped up four more weeks in a couple of days and fired it back to them. They pondered, then said it was too eccentric. This stung, because there were two characters I had shoved into the strip that were indeed too eccentric. I had forced them to be that way, and the operative word here is "forced." So I pulled back and rethought the characters before polluting any more waters. The problem characters were the parents, so I killed them. That left the widowed uncle living in the attic as the new guardian. This felt so much better. Universal thought so, too, enough to offer me a six-month development contract. They had some concerns about the cartoon being can you see it coming? "different," but their biggest hang-up was with a single uncle raising a 9-year-old girl. They thought "people" would infer bad things. Well, I'm not easily shocked, but this shocked me. It was too perverse even for me to think of it. So I tucked that note into the back of my brain and went on with the development. The uncle grew very naturally into the role of dad, but not in time. They turned down the strip for syndication. They didn't give much reason (to be fair, they weren't obligated to), but alluded to their hang-ups about the bad things.
In the meantime, however, my style had developed significantly from the daily discipline of drawing (let that be a lesson to you, you aspirants out there). I had begun freelancing as an illustrator, picking up decent work here and there. And it wasn't terribly long after that that I decided to launch another sortie at The New Yorker. Now, this is against every bit of advice anyone has ever given about breaking into the magazine market. But my reasoning was simple: if I wasn't good enough for The New Yorker, I didn't want anyone else to see my work. Predictably, my first batch was rejected. Then came the shocker. The phone rang. They wanted to buy a cartoon from my second batch. (Secret Tip for beginners: Here's how you break in at The New Yorker. You make copies of your cartoons, stuff them in an envelope, and send them in! Yep, it's that simple. Either you'll sell something or you won't. It depends entirely on the work. Okay, it's not quite that simple. You have to keep sending them, week after week, for as long as it takes.) After the dizziness wore off a few weeks later, I got into the regimen of submitting more stuff regularly, weekly if possible. And they bought another. Then another. Then it became semi-regular, roughly monthly, which is how it stands presently. (A major highlight of my cartoon career was being out to lunch with a bunch of New Yorker cartoonists and hearing them discuss a cartoon from the magazine which they didn't get. It wasn't mine, but I did have the rare honor of explaining the gag to them. Man, I felt so sophisticated!) After I had a backlog of a couple hundred cartoons, I started submitting them to other magazines, and they started buying them. It was very heady how quickly my résumé expanded.
Meanwhile, I had been sending "Monkeyhouse" around to the other syndicates, one at a time, every few sometimes a lot more than a few months, as it came back to me in the mail. I'd slap another cover letter on it and stuff it in an envelope. I had racked up maybe three more rejections when my luck changed. Another phone call. It had been a good week already, with calls coming from two or three magazines wanting to buy cartoons, but this call was from the Los Angeles Times Syndicate. They wanted "Monkeyhouse." And they got it. Then, no sooner did they launch their sales effort than they were sold themselves, and they were subsumed by Tribune Media Services. So I spent the first 18 months of the strip essentially without a sales force pushing it. Then when the TMS sales team got it, it was already old news. Awkward timing (or should I say comic?). In any event, it never recovered from its less than blockbuster beginning, and after three years and a game run, it was time to move on. On the up side, I got a couple of books out of it in Portuguese and proved to the powers that be that I can produce a consistently funny strip day in and day out, even if it isn't raking in the dough. So the door was wide open for whatever concept I came up with next. Except I never felt like coming up with it.
In the meantime, I still have the paying work, which is the illustration for books and advertising. I am likewise continuing with magazine gags and have published a couple of books of my own, with more book projects in the chute.
In 2008, however, I had an idea for a gag. Well, half an idea. I couldn't quite make it funny enough to invest the ten minutes it would take to draw up a rough and have it rejected. But as I was letting it die, I saw it from a different angle. And it sparked an idea. Now, I have let lots of great ideas go for lack of resources to pursue them and make my millions, but this one took only a cartoonist and someone with computer skills. I emailed someone I know with the latter. I asked if the idea was "crazy or just a joke." He suggested we talk about it over lunch. Three years later, I was on the stage at a major tech start-up venue in Silicon Valley, and that cartoon that never was was creating a buzz as the next big thing in market research.
Outside of cartooning, I used to sing in my church choir. It was through that activity that I stumbled into to writing musicals. Pitchmen, which featured most of that choir, chronicles what happens when the Devil hires an ad agency to boost his image. It led to others, Despairadise, My Dead Irish Mother, and Fässi Goboggan and the Curly Headed Girl. The economy crashed just as two of those were almost stagebound, but they're slowly getting back on track. The Smurks project was also somewhat derailing, truth be told.
At this point, you may be wondering about my personal story. Well, it's interesting, I suppose. At least, that's what recently occurred to me. Somehow I have stumbled into an interesting life (although it should be noted that it is less important to be interesting than it is to be interested). The most interesting part occurred when writing gags for cartoons, fittingly enough. It was in early 2001 at my favorite neighborhood sandwich shop. I met a girl. She had a job in local government, which was admittedly kind of interesting, but no big deal to an apolitical mook like me. I thought it was more significant that she was smart, pretty you know the cliché. Today it is sometimes hard to imagine that that girl is my lovely new bride. Okay, it's been enough years that I can't officially call it new anymore, but she's still lovely and it still seems new. Also surreal is that this lovely new-ish bride of mine is the same woman I see on TV or read about in the papers as the Attorney General of Illinois. "What, you were on CNN today, sweetie? That's nice. Pass the ketchup." She's too normal decent, down-to-earth, and just plain fun to be with to think of as a politician. Not to mention a terrrific mom. I can't think of anyone I'd rather have watching out for me, my kids, and my nearly thirteen million neighbors. (Is my uxorious pride showing?)
Of course, her job is very demanding of her schedule, while I make my own hours for mine. And that's what led me to the most challenging job I've ever known. But you probably know all about that one. Your mother told you more than once that it was the Hardest Job In the World. And guess what. Your mother was right. As usual.
Now, there are some tragedies I left out of this glossy account. You can probably guess at a few of them by reading between the lines. If you're that clever, you can also figure out that the reason I left them out was because they are not the focus of my life except when exploiting them for material. I have been truly blessed in life, albeit with a sometimes breathless adventure of a life. But that's what life is, an adventure. What will happen next? I can't wait to turn the page.


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Aaron: Robin WHO? they asked
OLLERTON, England — If your travels should ever place you for the night in this tiny village at the edge of Sherwood Forest, you might wish to ask the portly, pompous innkeeper if he remembers one J. Aaron from Indiana, U.S.A.
If he hesitates, just tell him J. Aaron is the baldheaded gentleman he got into an argument with that time about Robin Hood.
Then I expect he will inform you somewhat acidly that while J. Aaron may be baldheaded, he is no gentleman.
Simply to make small talk one desultory afternoon, while waiting for my typewriter to cool after producing a bumper crop of columns about our European jaunt, I told him I was surprised — and disappointed — that Nottinghamshire had chosen to ignore, almost totally, its best-known citizen.
He was leaning genially behind the counter, and I was posed majestically on the carpeted stairway, about to return to my room.
But our pleasant chat instantly changed directions. He subsequently declined further communication with me, talking only to Bernice — even bringing her bigger portions and thicker steaks than mine.
"Robin Hood," he said that afternoon, "is only a myth ... pure nonsense indulged in by children." Nottinghamshire, he added, simply did not care to lower itself to keeping such nonsense alive.
Well, it got under my skin to tell you the truth, for he was insulting one of my favorite childhood heroes. I KNEW beyond question that Robin Hood once existed.
And here was this plump, pompous innkeeper with squeaky shoes, telling me it was all childish hogwash.
I told him, in a manner still chatty and cordial, of our difficulties the day before locating Sherwood Forest because of all the conflicting and incorrect directions we were given by locals — and of our surprise that Robin Hood was briefly mentioned in only one book on sale there.
Robin Hood and Sherwood Forest, I told him, "are the only things that have put Nottinghamshire on the maps of the world."
Well, the innkeeper simply exploded. KABLOOEY! And he began enumerating for me all the history, all the antiquity, all the Roman fortifications, for which Nottinghamshire is noted.
"You in America," he said stiffly, "simply have not conception of ancient history because your country is still an infant."
It was the same kind of condescension directed at me several times since I set foot on this island.
"Antiquity," I told him, putting it into a vernacular I hoped he would understand, "is a pence a pound. I have traveled Europe for three months, wandering where the wind blew me, and I have found nothing BUT antiquity. Nottinghamshire is scarcely unique in that respect."
I told him that in Robin Hood, Nottinghamshire at least had something that nobody else can claim.
I added that I had come there hoping for a statue, like the statue of the totally fictitious Peter Pan in London, but would have been satisfied with a mere plaque dedicated to the legendary exploits of Robin and his band of merry men.
Then he told me, with an appreciative chuckle at his own cleverness, that Nottinghamshire was perfectly content to leave Robin Hood to "Oh, that American chap — what's his name? Oh, yes — Walt Disney. He can take Robin Hood and welcome to him."
With our confrontation having reached a chilly impasse, I turned to go. But he stopped me with a conciliatory suggestion for a pleasant afternoon's outing.
"We have a spectacular bird sanctuary nearby," he said, "that I believe you and your madam would enjoy strolling through. Oh, it is MOST pleasant."
I didn't laugh in his face, but my tongue was sore for a week from NOT laughing.
Not only was the weather that summer's day so cold that all the birds were huddled in hollow logs to keep warm, it was just not the adventuresome kind of day I had visualized for my madam and me smack in the middle of the magical country where Robin Hood — the sound of his happy laughter echoing through the oaks — used to wander.
n This Morning Assignment column was published originally published in The Evansville Courier in 1977.
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Video:Avoid and Treat Heartburnwith Dr. Mona Khanna
Are you plagued by frequent heartburn? Here are just a few tips on how to avoid and treat it.See Transcript
Transcript:Avoid and Treat HeartburnIf you've ever had a burning sensation in the middle of your chest that works its way up toward your throat, then you're all too familiar with heartburn. Also called acid indigestion, heartburn is extremely common. Estimates are that 60 million Americans suffer from heartburn at least once a month. For many people it's an occasional nuisance. For others, it's a daily misery that makes eating and sleeping difficult. Left untreated, it can lead to serious complications.
Different Types of HeartburnEverybody experiences heartburn differently. Besides that painful burning sensation, it might feel like food is coming back into your mouth, or you might have a bitter taste in the back of your throat. Often, the discomfort gets worse when you bend over or lie down.
Heartburn CausesHeartburn strikes when stomach acid flows up into your esophagus, the tube that connects your mouth to your stomach. At the top of your stomach, there's something called the lower esophageal sphincter that is supposed to let food into your stomach and keep what's in your stomach from flowing back up into your esophagus. When it doesn't work properly, acid spills up into your esophagus.
Many things can trigger heartburn, including:
- Fatty and fried foods
- Chocolate
- Citrus
- Tomatoes
- Caffeine
- Alcohol
- Tobacco
- Large meals
- Tight clothes
- Eating two to three hours before going to bed
Heartburn TreatmentThe good news is there are things you can do to prevent and treat heartburn. Start by tracking what you eat and then limit foods that seem to cause the problem. Eating smaller, more frequent meals, and avoiding alcohol, caffeine, and cigarettes will make a difference.
It also helps to avoid lying down for about two hours after you eat. There are some over-the-counter medications that can prevent heartburn from occurring. They come in two types: acid blockers that reduce the amount of acid your stomach produces and protein pump inhibitors that stop your stomach from making acid at all. To be effective, you need to take these medications before heartburn starts. Once the symptoms start, antacids can help ease the pain.
Determining Whether you Have HeartburnSometimes it can be difficult to tell the difference between pain caused by heartburn and a heart attack. Chest pain that radiates out to your neck, jaw, or arms, shortness of breath, an irregular pulse, and sweating are all signs that you should seek emergency medical treatment.
Check with your doctor if your heartburn becomes more severe or frequent, you have trouble swallowing, or you experience nausea or vomiting. Drastic weight loss, severe hoarseness, extreme stomach pain, and black or bloody bowel movements are also reasons to see your doctor. For most people, heartburn is an occasional uncomfortable nuisance. But, if you suffer from chronic heartburn, you shouldn't just ignore it. Left untreated, it can cause serious permanent damage to your esophagus. Fortunately, the odds are good that changes in diet and lifestyle combined with the right medication will help you get it under control.
I'm Dr. Mona Khanna, About Health.
About videos are made available on an "as is" basis, subject to the User Agreement.


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Music producer Bobby Owsinski interviews studio designer Hanson Hsu about his career, influences, and world-class studio designs.
Tips for making music, podcasts, and sound effects, including production techniques, hardware, software, and sound theory.
"Your tutorials move at just the right pace for me to work alongside and take notes. So I am learning things that my campus class will not have time for." —Toni M.
more from our members »


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The Walking Dead
The Walking Dead Spoilers: Will Baby Judith Die? Show's Writers Want to Kill Her, But…
This is what happens when you change a baby's name from Little Ass-Kicker to Judith. She loses her badass appeal and becomes a vulnerable mini third-grade teacher.
The Walking Dead Season 3 has seen the arrival and departure of several characters, including the death of Lori and the birth of Lori's and … uh … someone's daughter, Judith/Little A-K. (Judith sounds very Rick; Little A-K sounds more Shane.) It's not easy raising a baby, period, but especially during the zombie apocalypse, without access to medical care, a steady stream of supplies, clothes, etc. Plus, babies are loud and noise attracts attention — walkers and humans.
In the original source material, both Lori and the baby died. But the TV version of the show has been very different, and showrunner Glen Mazzara isn't sure AMC's crowd would be up for something so "bleak" and depressing, especially on top of so many other losses. Still, a lot of people have been asking about it.
"Every single one of my writers has asked us to kill off that baby," Glen told the L.A. Times of the heartless people he employs. "I'm dragging my feet. [...] That baby is a victory for this group. Rick set up the mission, saying, We're going to take this prison so that Lori has a place to give birth. And Daryl when he steps up as the leader in Rick's absence, says, We're going to keep this baby alive, we're not losing any more [people]. One of the things that I've been very mindful of is that our group has to have victories. If they are just staying beaten up every week and there's absolutely no win, it's going to feel very, very bleak for the audience. That baby's survival right now is a necessary win because otherwise it is too bleak and that's not something I'm interested in doing. I don't think people will tune in. They'll tune in for an exciting horror show, but they're not going to tune in for a very, very bleak thing that you can't imagine these people are able to survive. I just don't believe that the show can get that bleak."
That sounds like a no to killing the baby, but it may turn into a yes in the future, if we need another reminder that No One Is Safe. We'd never be happy to see the death of a baby, but if they did it, it would probably make sense in this world. It depends on how they do it, though. It would probably have to be off screen. Nothing graphic.
But they could use a living Judith in some interesting plot points. Her arrival is a pretty strong argument for Woodbury — if not a Woodbury run by The Governor. All those happy, healthy people with supplies … as much as it may hurt Rick's pride, he'd have to recognize that that's a much nicer place to raise a family than a walker-strewn prison.
Source: L.A. Times
Catch up on all kinds of Walking Dead recaps, spoilers, news, videos and polls at Wetpaint.com/the-walking-dead.
Fall in Like with us! For the latest from Wetpaint Entertainment, Like us on our Facebook page at Facebook.com/Wetpaint, or follow us on Twitter at Twitter.com/WetpaintTV.
Gina Carbone is a contributing writer at Wetpaint Entertainment. Follow her on Twitter @ginacarbone.


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Families are homeschooling ADHD and ADD children in increasing numbers. This growing trend shines light on the benefits of the homeshool environment for children with attention deficient disorders.
Many parents become frustrated trying to make public school work for their ADD/ADHD child. If you have gone through the motions of public school before and/or after your child was diagnosed, you probably know all about the complications. Teachers are not always patient and understanding, and keeping up with the pace of classroom learning can be more frustrating than educational for your child. This has brought many parents to the conclusion that homeschooling an ADD/ADHD child is much less hassle and far more beneficial to the child.
When you think about the key differences between homeschooling and the public school environment, you see the key benefits to keeping an ADD/ADHD child at home for schooling:
These are some of the big advantages to homeschooling a child with ADD/ADHD, but there are some lingering questions that many parents have about removing their child from public school and starting the home school process.
Following is a quick list of the biggest concerns and tips for overcoming the problem:
Some curriculum options work better than others when homeschooling ADHD or ADD diagnosed children. Due to the distinctly different environment of your home vs. a busy and distracting classroom, most students do well with almost any top curriculum options.
Computerized curriculum often is especially effective in holding their attention and engaging students who learn to love school again!
It is ultimately up to the parent to decide whether an ADD/ADHD child will do better in the public school system or at home. Many children with these struggles do tend to do better when the curriculum and the environmental factors are structured to better meet their learning needs.


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Get into shape, get Fighting Fit and achieve your goals with the Lincoln Fight Factory
We offer a full range of classes including Kickboxing, Mixed Martial Arts & Muay Thai to suit all ages and abilities, no matter what your reason for training.
For children we aim to increase confidence, focus, fitness and physical well being
For adults, whether you wish to get fit, train for fun or persue a competitive career, the Lincoln Fight Factory has a class to suit you.
The Lincoln Fight Factory is fully equipped and professionally staffed, we have a Boxing ring, full range of punch bags, pads and everything you need for successful training.
Why choose Lincoln Fight Factory?
- Develop new skills, gain confidence
- Get in shape, improved fitness levels
- Feed your competitive edge
- Excellent stress relief
- Make new friends
Where to find Lincoln Fight Factory
Check out the page for the Find Us page for full location details..


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NOTE: guys, moddb is dead for me, fucking dictator admins removed some of my contents + removed my rights to upload anything and comment anything, so i can NOT upload anything anymore or commenting anything anymore... the admins told me that the reason is : this is a gaming site.. well @admins : then why is yuri that zionist bastard able to post political things ?! fuck u admins !
Posted by FreeIntlArmy on Sep 13th, 2012
for all who think that russia, china, iran, north-korea etc... are against the NWO and resisting the NWO : you are wrong, trusting kim jong il, ahmadinejad, putin, medwedew or assad or other from that region is like trusting obama, tony blair, bush etc... and now, since we know that every state is part of it and all the citizens of the world have to help themselves and each others against such a huge army of police, government forces etc.... let me sing this song : Its the end of the world as we know it...and I feel fine.dum dum dum dum dum dum


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(Season 5 | Episode 5) 47:11 minutes
Ends 12/31/15. \'Let\'s Boot and Rally.\' Bill and Eric enlist Sookie to probe for clues on Russell\'s hiding place. Unable to deal with the demon magic inside him, Lafayette calls out to Jesus\' spirit for help. Patrick Devins and Terry are held hostage in the bunker of their Iraq War buddy Brian Eller. Jason wakes to a disturbing dream; Jessica gives Tara advice on adjusting to vampire life.


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#33 Drew Baxter | Defensive Back
Height: 5-11
Year: Senior
Hometown: Rockwall, Texas
Previous School: Rockwall Heath
Major: Business Administration
Career Stats
2013 Honorable Mention All-GPAC
2014: Redshirt Senior
Limited by injury, Baxter appeared in four games, making nine tackles ... concluded Concordia career with 125 total tackles and eight pass break ups.
2013: Redshirt Junior
Baxter played through injury and recorded 42 tackles (21 solo) as an outside backer ... recorded a half a sack, 3.5 tackles for loss and four pass break ups ... set a career high with nine tackles in the win over Hastings on 9-14-13 ... made eight stops at Northwestern on 10-19-13.
2012: Junior
Baxter was limited to one game in 2012 due to injury...made seven total tackles (six solo, one assisted) ... redshirted after suffering an injury.
2011: Sophomore
Drew was fourth on the team with 53 total tackles on the year...had one tackle for loss and three passes broken up on the year...made career-high eight tackles vs. Doane College on 11-12-11...made seven stops at Dordt College on 9-24-11 and vs. Morningside College on 11-5-11.
High School
Played for Rockwall Heath high school ... Earned All-District safety first team honors.
Son of Steve and Shawn Baxter.


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Gear Review
I got this a few seasons ago when it first came out and its still one of my favorite shirts to ride in. I usually wear it as a mid-layer and I'm good to go. I just recently pulled the trigger on the Ladyluck and Bright White colors and I'm happy that I did.
View More Details on Burton Player Flannel Shirt - Long-Sleeve - Women's


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Application procedure for international students
- How to apply for coursework courses
- How to apply for research courses
- How to apply for individual subjects via non-award or cross institutional study
- English language requirements
- Closing dates for international applications
- Offer of admission
- Non-acceptance of an offer
- Deferral of commencement
- Credit for previous study
How to apply for coursework courses
If you are a future international student ask a question here or phone 1800 793 864 (within Australia) or +61 2 8627 1444 (outside Australia) regarding face-to-face, distance, non-award and cross-institutional study
All applications are now made online - follow the 'apply now' links from the course description for the program of your choice
Essential documentation:
- Evidence of Citizenship i.e. front page of passport. Note applicants residing in Australia must also provide a copy of the Australian visa
- Marriage certificate or other documentation to verify name change if applicable
- Transcripts of all academic qualifications except for studies completed at the University of Sydney
- Curriculum vitae (CV) outlining employment history and relevant experience
Additional documentation required for:
- Biostatistics applicants:
Evidence of mathematical aptitude and evidence of previous study in statistics. Applicants will also need to complete the Biostatistics unit of study form and student contact details form, which can be found here.
- International Ophthalmology, Ophthalmic Sciences and Refractive Surgery applicants:
Evidence of your current employment.
Documents must be in English or accompanied by a certified English translation
- Surgery applicants:
Documentary evidence regarding level of surgical training (FRACS, SET, or SSTN) or equivalent
Documentary evidence from any other professional associations or for examinations completed (if applicable)
Masters candidates must specialise in one of the following streams: Breast Surgery, Cardiothoracic Surgery, Colorectal Surgery, Endocrine Surgery, Endovascular Surgery,Hand Surgery, Head and Neck, Neurosurgery, Orthopaedic, Otorhinolaryngology, Paediatric Surgery, Plastic/Reconstructive Surgery, Surgical Oncology, Surgical Outcomes, Transplant Surgery, Upper Gastrointestinal Surgery, Urology, Vascular Surgery and Endovascular Surgery
How to apply for research courses
To apply for one of our research courses please see the University's admissions procedures for international applicants to research courses, or follow the 'apply now' links from the course description.
Please note that you are also required to attach a detailed description of your proposed research topic which includes a synopsis, objectives, methodology, resources and references.
Before you do this, please contact the Faculty research office via the online Research Enquiries form in order to discuss potential research topics, ensure that appropriate research facilities are available and to find out about potential supervisors with expertise in the relevant field. You can also find current research opportunities at Research Supervisor Connect. This is a vital step which you should make prior to submitting your application – admission to research programs will depend on the availability of resources, facilities and supervisors with relevant expertise, as well as your qualifications and experience.
How to apply for individual subjects via non-award or cross institutional study
You may enrol in and undertake individual subjects or "units of study" rather than a full award course. In most cases this is considered to be "non-award" study, but if you are doing the subject for an award course for which you have enrolled at another institution then it will be called "cross institutional" study.
To apply for non-award study please click here
To apply for cross institutional study please click here
The units of study available are all delivered at a postgraduate level and therefore applicants are requested to provide a copy of transcripts. Some units of study are specifically designed for students with specific assumed knowledge and therefore applicants may be asked to provide additional information.
Fees vary depending on an applicant's citizenship or permanent residency and therefore applicants are asked to provide copies of their passport or birth certificate.
If you are granted an offer of admission you will then need to enrol in the subject and undertake all the necessary study and assessment requirements. The University of Sydney enrolment and assessment policies will all apply to your study and your enrolment and results will be recorded on your academic transcript.
In some cases it is possible to "audit" a subject, in which case you would not need to enrol or undertake the assessment. Please contact the unit of study coordinator to determine if this is an option, if you wish to audit a unit of study. It should be noted that the University of Sydney will not provide credit towards an award course for an audited subject.
Student visa:
If you do not have a visa that allows you to study in Australia then you will need to apply through the
International Office and you must study full-time (18-24 credit points) to be eligible for a student visa.
For more information click here to ask a question or phone 1800 793 864 (within Australia) or +61 2 8627 1444 (outside Australia)
The units of study available through Sydney Medical School are all delivered at a postgraduate level and therefore applicants are requested to provide a copy of transcripts. Also fees vary depending on an applicant's citizenship or permanent residency and therefore applicants are asked to provide copies of their passport or birth certificate.
Essential documentation:
- Copy of passport or birth certificate. Note that international students residing in Australia on temporary residency visas must also include a copy of the visa as well as the front page of the passport.
- Marriage certificate or other documentation to verify name change if applicable.
- Transcripts of all academic qualifications except for studies completed at the University of Sydney.
English language requirements
If English is not your first language, you MUST demonstrate English language proficiency by one of the following means before admission can be confirmed.
- Provide evidence of satisfactory achievement in tertiary studies in which the exclusive language of the institution and the exclusive language of instruction, examination and assessment was English. These studies must have been undertaken no more than 5 years prior to the submission of your application.
- Achieve the required grades in "English for Academic Purposes" at the University's Centre for English Teaching. The course must have been completed no more than 2 years prior to the submission of your application.
- Achieve the required grades on an IELTS or TOEFL test. The required grades are listed below. The test results must be achieved less than 2 years prior to the submission of your application. For more information on these tests, please visit the IELTS website or the TOEFL website.
The Academic Board policy Postgraduate English Language Requirements is available at Policy Register.
Closing dates for international applications
Please note the dates below refer to applications for ON CAMPUS degrees. If you are planing to study a distance course please refer to the Domestic application closing dates.
University of Sydney closing dates for international applications, (on campus degrees) are as follows:
31st January for commencement in Semester 1 (i.e. commencement in March)
30th June for commencement in Semester 2 (i.e. commencement in July)
Offer of admission
The International Office (or Student Services for distance courses) will contact you in writing once a decision has been made regarding your application.
If your application has been successful, you will be sent an 'offer of admission' letter providing details of your candidature. This letter should be checked carefully and any questions about the terms of the offer should be referred to the International Office(or Student Services for distance courses).
Unsuccessful applicants will also receive written notification.
The letter of offer only offers you a place in a course; it may be a conditional offer, requiring you to provide further information. You must still enrol if you accept the offer. If details of enrolment are not included with the letter of offer then the Unit will contact you closer to your commencement date with details on how to enrol.
Please note: The electronic confirmation of enrolment issued by the International Office is a document for you to use when applying for a student visa, showing that you intend to enrol. You must still come and enrol at Student Services before you can commence your study, whether by coursework or research.
Non-acceptance of an offer
If for any reason you are unable to accept an offer of admission, please notify the International Office (or Student Services for distance courses) as soon as possible.
Please note: The University of Sydney is unable to keep unsuccessful applications or applications of students who do not accept an offer of admission. Therefore, if you wish to reapply in the future, you will be required to lodge a new application.
Deferral of commencement
If you have been given an offer of admission but can't enrol for the semester of the offer, you can apply to defer your enrolment until the next intake. Note that deferrals are not automatically granted, particularly for research applicants as the funds to support the research project may only be available for a limited period.
If you have a Sydney Student Portal, please complete your request through it. Others can complete a request for deferment by:
International students in face-to-face courses including research degrees should follow the deferral instructions provided by the International Office.
All distance education students should submit a deferral request through their Sydney Student Portal
- your name
- your student number
- the course you have been made an offer for
- which semester you wish to defer until (e.g. semester 1, 2014)
- and a brief reason why you are asking for the deferral.
Credit for previous study
You can apply for credit at the same time you submit your course application via Sydney Student. Such requests must be supported by documentary evidence of having enrolled and satisfactorily completed the relevant subject, such as certified transcripts, and course outlines to show the relevance of the subject. Your previous study must be relevant to the course to which you are applying. The granting of credit is limited and for further details please refer to both your Course Coordinator and the Advanced standing, credit, waiver and exemption policy of the Combined Board of Postgraduate Studies for Sydney Medical School and the Faculties of Dentistry, Nursing and Midwifery, and Pharmacy.


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This ensemble takes percussionists in grades 6-8 beyond the challenge of middle school band and helps them gain experience playing with others. Students learn in a small group environment with two highly trained percussionists. They play beyond the typical middle school band repertoire, giving each student an advantage for high school.
This class is taught by Ty Forquer.
Contact the office for more information.
**This program is not offered in the summer.
*Adobe Acrobat Reader is required to read PDF documents.


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This 1951 Mercury Convertible has a 255 C.I. Flat Head V8 w/ Dual Down Draft Carbs, Merc-O-Matic Automatic Transmission, Dana 44 Rear w/ 3.23:1... More
When it comes to '50s cruisers Chevrolet definitely isn't the only shop in town. While the hallowed Bel Air might be the best known... More
SUMMARY454 cubic inch Chevrolet V8700R4 4-speed automatic transmission / 2500 RPM stall converterFiberglass body / Porsche Basalt Metallic paintCustom ultraleather interior / Vintage Air... More
Mercury began in 1939 and released just a single model line which was created to compete with medium-priced competitors. With success along the way... More
stunning very original '52 Monterey. Solid top and bottom, sheetmetal, floors, frame all good. This '52 has been displayed in a museum for many... More
1956 Mercury Montclair - Original V8 engine with uatomatic trans. Original continental kit, A/C, Power steering, original interior still in plastic covering. Excellent rust... More
The Mercury brand was born with a single-vehicle line as an answer to the competitors who had started before Mercury's inception year of 1939.... More
1955 Mercury Monterey Station Wagon; the 1955 was the start of the second generation of Monterey's. The Monterey Wagon was an 8 passenger... More
This 1951 Mercury 8 Sedan commonly known as a Lead Sled has the great Classic looks and style that Mercury lovers have come to... More
1955 Mercury Eight Top ZustandThis Mercury is a beautiful Classic with original details. The 2 Tone paint of mint green and dark green is... More
1956 Mercury "Phaeton" four door hardtop; rare body style; only year with stylised door relief; Body mounted on a Mercury "Grand Marquis" chassis; loaded... More
Gorgeous frame-off restored '56 Montclair! Red/White with matching interior! Equipped with power steering & brakes, power seat, power windows, and more! Strong 235 horsepower 312ci V8... More
1955 Mercury Custom The Mercury proved to be a huge success for the Ford Motor Company, and for 1955, there were more changes made that... More
1953 Mercury Monterey 2 Door Hardtop Mild Custom Streetrod.**The 1953 Mercury had a smoother, cleaner good look, with the lower, longer, ready-to-go appearance of... More
1956 Mercury Custom 2dr Post - 75% original paint. Original V8 engine and automatic transmission. Excellent original interior. Wide white tires. Drive or show... More


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Abstract available in
Claims available in
Description (OCR text may contain errors)
assonsmw PAD Filed June '7, 1967 ym m 26" 2 6 24" 24 INVENTOR JOHN P. GALLAGHER ATTORNEY? United States Patent 3,468,311 ABSORBENT PAD John P. Gallagher, 2415 Foxhall Road NW., Washington, D.C. 20007 Filed June 7, 1967, Ser. No. 644,345 Int. Cl. A611 15/00 US. Cl. 128-296 3 Claims ABSTRACT OF THE DISCLOSURE An absorbent pad comprising a pneumatic cellular cushion top layer, a liquid absorbent layer and a bottom liquid impervious layer.
This invention relates to an improved absorbent pad having particular utility in hospitals, convalescent homes and the like.
It is a principle object of the present invention to provide an absorbent pad comprising a plurality of discreet layers each having an independent function which functions cooperate to provide an absorbent pad that is very comfortable, highly absorbent, and will retain fluids between an upper cushion layer and a lower liquid impervious layer.
It is a further object of the present invention to provide such an absorbent pad wherein the cushion layer consists of air cells separated from each other by partition walls which partition walls are provided with a plurality of liquid permeable perforations to thereby provide an extremely comfortable cushion zone that will permit the passage of body fluids to a lower highly absorbent layer and the circulation of air to the patient sitting or reclining on the pad.
A further object is to provide such a structure wherein a liquid impervious layer is secured to or formed on the lower surface of the highly absorbent layer to prevent the passage of body fluids from the absorbent layer to a supporting structure.
A further object of the present invention is to provide such an absorbent pad which is relatively inexpensive to manufacture and which is disposable thereby eliminating the laundry problems heretofore associated with absorbent pads.
These and other objects and advantages are provided by an absorbent pad comprising a plurality of layers and including at least a pneumatic cellular layer, a liquid absorbent layer and a bottom liquid impervious layer, said pneumatic cellular layer comprising a pair of plastic sheets having a plurality of air cells extending between opposed surfaces thereof, a portion of the opposed surfaces of the sheets being sealed to each other to form partition walls between adjacent cells and a liquid permeable perforations extending through the sheets in the partition walls.
The invention will be more particularly described in reference to the accompanying drawings wherein:
FIGURE 1 is a top plan view of an absorbent pad constructed in accordance with the teachings of the present invention;
FIGURE 2 is a sectional view of the structure illustrated in FIGURE 1;
FIGURE 3 is a top plan view of a modified form of the present invention; and
FIGURE 4 is a view like a FIGURE 1 of a further form of the present invention.
Referring to the drawings, the improved absorbent pad 10 comprises at least three layers. The uppermost layer generally designated 12 comprises a pneumatic cellular cushion layer; 14 represents a bottom layer comprising a liquid impervious plastic sheet or the like; and 16 genice erally designates a highly absorbent layer sandwiched between the cushion layer and the liquid impervious layer. The topmost layer comprises a pair of plastic sheets 18 and 20 assembled to provide a plurality of air or other gaseous or fluid filled cells 22, which cells are spaced from each other by partition zones or walls 24 formed by sealing the opposed surfaces of the plastic sheets 18 and 20 together.
In general the cells 22 are uniformly spaced about the top layer 12 and provide the primary cushioning feature of the invention. Between the cells 22 and in the partition walls 24 are a plurality of perforations 26 which perforations are large enough to permit generally unrestricted flow of body fluids from the top surface 18 of the cushion layer 12 into the absorbent layer 16. Further, the number of the perforations 26 is such that uncontrolled bladder emptying of a human may readily pass through the perforations 26 to the absorbent layer 16 without flooding over the marginal side edges of the pad when the dimensions of the pad are approximately 24 by 36 inches.
The absorbent layer 16 may comprise substantially any of the highly absorbent natural or synthetic fibers, woven, non-woven or porous members. Very satisfactory results may have been provided by the use of mats or batts of synthetic fibers, mixtures of synthetic fibers, non-woven cellulosic batts or open cell sponge-like sheets. In a specific embodiment of the present invention the absorbent layer 16 comprising a batt of cotton linters or slivers which have been treated with a conventional wetting agent to assist in drawing body fluids from the exposed surface of the air cushion element 12 into the fibrous batts.
The absorbent layer may comprise a mat or mass of hydrophobic fibers wherein the liquid retaining function of the batt takes place along the large surface area of the fibers. Non-water wetting fibers such as Dacron and nylon have the characteristic property of being non-water absorbent from the standpoint that water generally does not penetrate the fibers, however, such fibers have the char- ,Iacteristic of permitting fluids to wick along their surface and in this manner a batt of such fibrous material will retain or hold a large quantity of liquid upon its large surface area when disposed in batt arrangement.
The lowermost layer of the composite pad preferably consists of a thin layer of water impervious plastic such as polyethylene, polypropylene and the like. The primary function of the layer 14 is to provide a barrier for body liquids contained in the liquid holding or storage zone 16.
In FIGURE 1 the air cells 22 are generally spheroidal in transverse section; however, the shape of the cells is not critical and the cells 20' and 20" may be diamond shaped as shown in FIGURE 3, or hexagonal as shown in FIGURE 4. The actual shape of the air cells should be such that the body of a person may be retained by the air cells in generally spaced relation to the partition zones 24, 24', 24" which contain the perforations 26, 26, etc. By supporting the body of the patient spaced from the partition walls 24, 24' insures rapid drainage of body fluids into the absorbent batt-like layer 16 and prevents wicking of fluids from the batt to the body of the patient.
From the foregoing description, it will be seen that the present invention fully accomplishes the aims and objects hereinbefore set forth. For example, the top surface 28 .of the pneumatic cellular cushion layer 12 may be covered with a soft woven or non-woven fabric-like material; short soft fibers or flocking, etc. to provide a comfort layer between the plastic and the patient. Further, it will be recognized that the plastic film or sheet 14 may be formed by spray coating the under surface of the batt or mat 16.
I claim:
1. An absorbent pad comprising a plurality of layers and including at least a pneumatic cellular layer, a liquid absorbent and a bottom liquid impervious layer, said pneumatic cellular layer comprising a pair of plastic sheets having a plurality of air cells extending between opposed surfaces thereof, portions of the opposed surfaces of these sheets being sealed to each other to form partition walls between adjacent cells and liquid permeable perforations extending through the sheet in the 1 partition walls.
2. The invention defined in claim 1 wherein the liquid absorbent layer comprises a fibrous batt.
3. The invention defined in claim 2 wherein the liquid impervious layer comprises a sheet of polyethylene.
References Cited UNITED STATES PATENTS 0 CHARLES F. ROSENBAUM, Primary Examiner US. Cl. X.R.
Patent Citations
Referenced by
Original Image


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LightSquared tries to keep its 4G LTE dream alive
Tue, 10/02/2012 - 2:55pm
The hedge-fund backed LightSquared isn't giving up on its plan to build a nationwide 4G wireless network. But the path forward is likely to be a long one.
Last week, LightSquared, which was backed by billionaire Philip Falcone and his hedge fund Harbinger Capital, filed proposals with the Federal Communications Commission that would help it satisfy interference concerns and allow the company to build its nationwide 4G LTE wholesale network.


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Urban Camo Utility Boxes by Joshua Callaghan ~ Los Angeles
Joshua Callaghan had returned for another round of street beautification by use of expert urban camouflage. All of the utility boxes, which are a favorite of street artists of all stripes, are wrapped in vinyl that as been expertly created digitally by the artist to mimic the surroundings as much as possible, including (in some cases) cars. Depending on the angle, the effect is either magical or disconcerting. All photos by the great Lord Jim.
Comments (1) to "Urban Camo Utility Boxes by Joshua Callaghan ~ Los Angeles"
Thanks for the coverage, but I only take credit for some of these. I guess there are some other people doing it too. I did the good ones though! Ha!


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Stream it now
Holy Smoke 1999
While on a journey of discovery in exotic India, beautiful young Ruth Barron falls under the influence of a charismatic religious guru. Her desperate parents then hire PJ Waters, a macho...
- Release Date:
- February 22, 2000
- Duration:
- 115 min
- Director:
- Jane Campion
- Cast:
- Harvey Keitel, Nalini Krishan, David Franco, Charles Manson, Kate Winslet, Robert Joseph, Mark Gray, Brent Eccles, Kerry Walker, Simon Anderson, Geneviève Lemon, Pam Grier, Dan Wyllie, George Rafael, Tim Rogers, Paul Goddard, Jeff Silverman, Dhritiman Chatterjee, Patricia Lemon, Sophie Lee, Tim Robertson, Julie Hamilton, Les Dayman, Samantha Murray, Sandy Gutman, Eva Martin, Mira Wright, Polly Wright, Lior Aizenberg, S. Samaran, Michelle Abel, Adina Kumar, Andreas Wagner, Vandana Mohindra, Savrash, Saurabh Srinivasan, Valerie Thomas, Arif, John Samaha, Jane Edwards, Miranda Cleary, Tamsin Carroll, T'mara Buckmaster, Ante Novakovic, Diana Kotatko, Ethan Coker, Ellie Burchell, Morgan Watt, Luke Testa, William Mackay, Eleanor Knox, The Angels, Doc Neeson, Rick Brewster, John Brewster, Jim Hilbun, Cameron McAuliffe, Johannes Brinkmann, Eric Schussler, Joan Bodgen, Marshall Applewhite, Susan Atkins, Mary Brunner, Lynette Fromme, Sandra Good, Leslie Van Houten, David Koresh, Patricia Krenwinkel, Sun Myung Moon, Jeff Silverman, Robert Joseph, Robert Lee, Robert Lee, Julie Hamilton, Osho ...
- Language:
- English
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Jane Campion's film Holy Smoke! is so bland, predictable and lacking in any electricity, it makes the audience wonder how a supposedly-daring director could feel satisfied with this work. The film is supposed to be a battle-of-the-sexes comedy, I imagine, but Campion is also interested in making larger points about cultural assimilation. The result is not a comedy with depth, but an utterly unfunny film that meanders from one pointless scene to another. Kate Winslet plays Ruth Barron, an Australian woman who has separated from her family and moved to India...and in the process, become intoxicated with elements of Indian culture. Fearing that their daughter will become a new-age quack, Ruth's parents hire PJ Waters (Harvey Keitel), a counselor who is an expert at "de-programming" people and hopes he can "cure" Ruth. Predictably, Ruth does not turn out to be an easy case, and the film develops into a battle of wits charged with sexual tension between the two. Unfortunately, Campion has forgotten to make this battle particularly interesting: there is absolutely nothing memorable about the dialogue, and Ruth's theories about the male psychology are cliche and occasionally offensive. Keitel and Winslet are both actors capable of creating unique characters, but they seem to be sleepwalking through the picture, perhaps because they realize how inept the script is. As if to distract us from the fact that nothing much is happening, Campion injects certain bizarre scenes that only succeed in adding to the tedious nature of the movie. Holy Smoke! is so tepid and timid, it is difficult to believe that it was made by the same director who helmed 1993's film The Piano. While that film is certainly overrated and occasionally dull, it is at least a work of art that takes chances and doesn't settle into formulas. Campion seems to think that Holy Smoke! is such a work as well, but the audience knows better.
Just saw a documentary on Akira Kurosawa, does anyone else out there think he was a total genius? Ok, just me...
And is anyone else in love with Coldplay's second album? Ok, just me again...
Anyway, time for some new movie reviews! It's been a while since the last one, but i'm Australian, so hey! lol
Movie Ratings:
Willy Wonka And The Chocolate Factory - :fresh: 8/10
This movie is so fun and fresh! The sets are fantastic, and the acting is definitely first-rate, especially Gene Wilder. I get put down for liking this movie, but I really think everyone can enjoy it! The plot can sometimes get a bit over-the-top, but in the end it just adds to the whole quality of the movie. This is a classic, and I reccommend it to absolutely everyone.
Holy Smoke - :fresh: 6/10
I was a bit disappointed by this movies ending (which was were I was traumatized by Harvey Kietal in a dress...), but the start was so great. Full of twists and "what the?" moments, Holy Smoke was beautifully filmed, and the scenery was amazing, and the actors were superb (especially Kate Winslet, who is great in everything). The last third of the film turns into a weird, dream-like vision, and this brings the whole movie down. But all in all, this was the only bad thing. Writing, acting, photography, casting- all great. Worth a look, but really not a favourite of mine.
Full review to come.
Best in Show: Kate Winslet
One for the future: Kate Winslet
Stand-out scene: Keitel donning a dress
Brainer or no-brainer: Brainer
Stands up to one viewing or repeated?: Repeated
DVD commentary any good?: n/a
I adored Jane Campion's Sweetie when I caught it on TV a few years ago and have subsequently actively sought out her work. While this carries the same distinct obtuseness that polarises opinion on her films, she remains one of the most important female writer/directors plying her craft today. Once again this is a story with a strong female character at its heart. In this instance Sydney-born Ruth Barron is travelling in India when she falls under the influence of a Guru figure. Alarmed that she has joined a religious cult, her mother joins her and persuades her to return home to Australia by claiming that her father is terminally ill. With the Barrons enlisting the services of American exit counsellor P. J. Waters, Ruth is forced to undergo a three-day one-on-one intensive exit programme at an outback shack. However, the one-on-one attention becomes more than psychological when Waters falls for his young charge. Brave performances from Winslet and Keitel in which they physically and psychologically subsume themselves in their characters render this a movie with real impact, the sun-drenched locations adding a welcome extra dimension to its charm. We need more intelligent, thought-provoking films like this.
Girl joins cult. Family doesn't like it. Call in Harvey, acting very much like Mr.Wolf, to deprogram.
Watch 39 minutes of TV time. Get bored with it. Turn off.
That was my experience. What could have been interesting was not.
Well I did get to see Kate Winslet nude which is a big plus. And suprisingly Keitel shows a little flesh ;). Thats all I have to say about it as I found to be pretty bland and uninteresting.
oh its ok but too pissing movie....
Loved this movie-- one of my all-time faves. Winslet and Keitel are perfectly matched for these roles. Campion is revolutionary.
While I will give the film some props for the fact that the movie was well shot and well acted, but at times, I just couldn't figure out what the fu*k was going on throughout the movie. It went from India to wierd group orgies. Wierd
I only watched this movie because Kate Winslet was in it, and her acting was phenominal - but the storyline itself was neither here nor there....


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George Steele and Johnny Depp in Ed Wood
George Steele and Bill Murray in Ed Wood
This is Jason Norman. I interviewed you for a book I'm writing about acting a few years ago. I'm moving on publication, and I need your approval for the profile. Please contact me at email@example.com. Thanks for your help.
Jason Norman
I loved that scene with Bill Murray!
Do you have any good stories about working with him?
From day one in the wrestling business I was on stage.
Those old commercials are classic.
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Okay, so we all know that keeping a kid's room tidy is not always happening! Here's some simple, stylish items to help make your life easier, and help them keep organized.
baskets - These lined wicker baskets are a great place to store your baby's toiletries.
storage bins - Containers are a great way to quickly clean up your child's room and make it look neat and tidy.
hooks - For little shirts, dresses and coats...hooks from attica kids help to keep things off the floor!