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"I was very impressed with the quality of this card. My son was so excited to have his picture and name on the card. He is really looking forward to giving these out on Valentine's Day."
"Such a cute design... the form factor is small and adorable, perfect for a valentine. Loved how we could personalize the photo and the name. Quick service, great quality. Fourth time getting these kids valentines and not disappointed. Will order again!"
"We ordered for my daughter's 1st grade classroom valentine exchange. These were cute and fun and the kids loved them. They are smaller than I expected, but a great size. I will have 2 in school next year and plan to order these again."
"My 8yo son wanted cards that were not too sweet or cute. I wanted a card that wasn't another ad for a toy or TV show. This simple card was our middle ground. He thought the phone design was cool, as did his guy friends, while the photo placement allows you to highlight whatever aspect of your child's personality you like: silly, sweet, cool, your choice. I only wish they had more techie or graphic-novel cards and invitations to make older boys get this excited for stationery."
"This was the perfect card for my 6-year-old. She loves the hearts, but feels comfortable giving this card to every kid in her class."

subset: commoncrawl


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Next day flower delivery available 7 days a week.
Order by 9pm weekdays, 4pm Saturday
& 2pm on Sundays
All Flowers
Autumn Flowers
Thinking Of You£34.99
Cinnamon Spice£29.99
Debenhams Flowers - UK Next Day Flower Delivery
At Debenhams Flowers we have a great collection of fresh, beautiful flowers for you to choose from. Send flowers via our next day flower delivery service which is second to none and available for delivery throughout London & the UK. Debenhams Flowers ensure that each and every fresh flower delivery bouquet is of the very best quality, created with care and packaged to delight every recipient.
We pride ourselves on having a wide range of flowers and gifts flowers and gifts for any occasion, be it a birthday, to express sympathy or just to say thank you. We offer next day flowers and named day flower delivery 7 days a week, free when you order flowers by post. You can buy flowers, order flowers or send flowers online or in-store at the Debenhams Kiosk service.
Our online florist service takes great pride in providing a range of luxury flowers that are guaranteed to stay fresh for 7 days under our Debenhams Flowers promise. Whether you prefer receiving flowers by post or flowers delivered by courier, we guarantee next day flowers when ordered before 9pm any weekday! Additionally, you can now order flowers over the weekend with our new Sunday Flower Delivery service and surprise those closest to your heart with a thoughtful flowers delivery.
When looking to buy flowers, the process does not need to be expensive with our affordable flowers at Debenhams. To make the flowers delivered an extra special gift, we offer flowers with chocolate, champagne and wine as an exciting addition.
As well as our flower delivery service, we also take pride in offering a wide range of hampers, wines and personalised gifts, all available 5 days a week. From sweet hampers to food hampers and from red wines to white wine by the case, our hamper delivery and wine delivery services are available all across the UK with next day delivery guaranteed. The next time you require next day flowers or a luxury food hamper combined with a case of elegant wines, think of Debenhams Flowers and our 7 day delivery service to the UK.
* Debenhams flowers are committed to delivering our bouquets as quickly as possible. Therefore our courier-delivered Next Day Delivery service is not available for
some postcode areas due to the length of the delivery time to those regions. Please see the list of exceptions here.


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- Issue 23
- As If
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Issue 23: As If
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The n+1 / FSG books series.
City by City and MFA vs NYC
- City by City: Dispatches from the American Metropolis
- edited by Keith Gessen and Stephen Squibb
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Writers write. But what do they do for money? On the two cultures of American fiction.
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Watching Peyton against the Colts, the same thought kept pushing itself into my mind, over and over: I'll be dead someday.
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Journalists asked Obama, "Why isn't America killing a bunch of people," and Obama replied, "Listen, we are."
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If you find there are broken links, misssing pages, wrong chapters or any other problems in a manga/manhwa, please comment here. We will try to solve them the first time.
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Shiki 25 released in mangahere fastest, recommend your friends to read Shiki 25 now!
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Reaching 1 Million
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It's kind of silly to keep track, but on this climb I reached a lifetime accumulation gain of 1,000,000 vertical feet. My friend Alexei Evans took this photo of me on the summit of Hinkhouse Peak (7560 feet) June 3, 2012. Posted with his permission.
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Treating Forests as Economic Engines Isn't Management
Byline: Craig Patterson
Yes, Doug Robinson is correct: We do need another way to manage our forests.
Unfortunately, his perspective in his Jan. 2 guest viewpoint - which seems to represent industry, the Oregon Board of Forestry and some management agencies - doesn't seem to take into account some basic facts and contradictions. More of the same will only make things worse after a very short-lived boom, followed by another long-term bust.
There is nothing sustainable about industrial clear-cut forestry - not environmentally, not economically and not socially. It represents the ultimate short boom, then results in generations of busted environments, economics and society - the greatest good for fewest numbers for the shortest time.
Here are some facts:
Environmentally, the industrial model takes a highly interdependent and diverse ecosystem and converts it into a plantation of uniform structure and age class. The rationale is to speed up the growth in Douglas fir. Yet the litany of unintended consequences (invasive species, disease and insect infestations, soil erosion, overcrowded fire-prone stands, boom-and-bust cycles, etc.) all follow our industrial "management" practices. They sacrifice forest quality and structural integrity for fast growth without understanding the consequences.
There are many serious liabilities regarding man-made products, from out-gassing (which affects indoor air quality) to failing in less than 10 minutes in a house fire (oriented strandboard floor joists and rafters), which all point to the lessons we must learn regarding the industrial model.
Historically we have simply passed such externalities as forest restoration on to future generations with impunity. Now these costs are demanding our attention and accounting. Ignoring these costs and liabilities contributes significantly to our inability to pay for them.
This is a structural disconnect embedded in incomplete analysis and our singular focus on short-term profits. This disconnect drives us further away from holistic and life-cycle cost analysis - thus our problems magnify.
In a matter of days we can level a stand of ancient trees that took hundreds of years to evolve into the dynamic and interdependent ecosystems that an intact forest embodies.
Then our forest scientists ask, "How do we create structural diversity in a plantation?" without noticing that diversity was destroyed in converting a forest to a plantation in the first place.
If this represents science, then morality, social relevance, ethics and common sense have been thrown out the window.
Socially, the implications become even more insidious as unemployment soars in timber-dependent communities, our social contract is strained to its limits and future generations wonder what their future holds. …


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just got back from Nostalgic 2 Days in Yokohama which is the biggest Kyuusha trend show in Japan. Show was dominated by Nissans but there was still something for everybody... i got about 1000 pics i need to sort through so like my JCCA thread i will be updating in parts
here are some teaser pics
This pic is pretty cool... foreground R35 GTR, middle Hakosuka, background Kenmeri
close up of the Kenmeri... Watanabe wheels and Old Nisssans FTW
and if the Kenmeri isn`t your style there is always the Hakosuka
After you decide what Skyline you want you need to up its performance and add some eye candy right?... Well how about killing two birds with one stone with this FULL titanium exhaust. From the header flange to the exhaust tip 100% titanium.
Tired of Watanabe wheels? well The Taihei Tire booth has you covered.. i`ll take the Techno Phantoms please.
SSR Long Champs
T-ManBros Fairlady
and a Bosozoku`d GX71 (i think)
The other popular rim this year was the TE37V as seen here on this Hachi Roku. i don`t know what to say about the rear hatch though...
Nice Starlet sitting on some wata... i mean Panasport G7s, could have used a bit more tire
Nice RUF wide body... at first i thought it was a Raul Welt car but it is actually a RUF Nato Prototype.
And here are a bunch of nice BMW Alpinas
Now trivia time!
a nice L series engine, but what type of car is it sitting in?... i really dont think anyone will figure this one out


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RETAIL MEDIA MERCHANDISER - (Part Time) Fort Collins, CO
Anderson Merchandisers - Fort Collins, CO
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Anderson Merchandisers, LLC is a leading provider of in-store solutions. Our commitment to cutting-edge technology paired with our...


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America is four years into a bloody debacle in Iraq not merely because Bush and Cheney marched us in, or simply because neocon propagandists lied about Saddam's nuclear program and WMDs, and Iraqi ties to al-Qaida, anthrax attacks and 9-11.
We are there because a Democratic Senate voted to give Bush a blank check for war. Democrats in October 2002 wanted the war vote behind them so they could go home and campaign as pro-war patriots.
And because they did, 3,000 Americans are dead, 25,000 are wounded, perhaps 100,000 Iraqis have lost their lives, 1.6 million have fled, $400 billion has been lost and America stands on the precipice of the worst strategic defeat in her history.
Yet, Sens. Clinton, Biden, Kerry and Edwards -- all of whom voted to give Bush his blank check -- are now competing to succeed him. And how do they justify what they did?
"If only we had known then what we know now," they plead, "we would never have voted for the war." They are thus confessing to dereliction in the highest duty the Founding Fathers gave Congress. They voted to cede to a president their power to take us to war.
Now they wash their hands of it all and say, "It's Bush's War!"
And now George Bush has another war in mind.
In his Jan. 11 address, Bush said that to defend the "territorial integrity" of Iraq, the United States must address "Iran and Syria."
"These two regimes are allowing terrorists and insurgents to use their territory to move in and out of Iraq. Iran is providing material support for attacks on American troops. We will disrupt the attacks on our forces. We will interrupt the flow of support from Iran and Syria. And we will seek out and destroy the networks providing advanced weaponry and training to our enemies in Iraq."
The city sat bolt upright. If Bush was talking about Iranian agents inside Iraq, he has no need of a second aircraft carrier in the Gulf, nor for those Patriot missiles he is sending to our allies.
But does Bush have the authority to take us to war against Iran?
On ABC last Sunday, National Security Adviser Stephen Hadley, while denying Bush intends to attack Iran, nonetheless did not deny Bush had the authority to escalate the war -- right into Iran.
George Stephanopoulos: "So you don't believe you have the authority to go into Iran?"
Stephen Hadley: "I didn't say that. That is another issue. Any time you have questions about crossing international borders, there are legal questions."
Any doubt how Attorney General Gonzales would come down on those "legal questions"? Any doubt how the Supreme Court would rule?
Biden sputters that should Bush attack Iran, a constitutional crisis would ensue.
The Heart of the Pro-Life Movement Is a Heart of Compassion: A Response to Colorado | Congressman Diane Black
McCain: Let's face it, Trump's rhetoric is turning Muslims all over the world against us | Allahpundit


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Concert Technologies to Expose Hazards of Telco Closet Mismanagement at the BOMA Every Building Conference and Expo
Concert Technologies will be exhibiting at the upcoming Every Building Conference and Expo in Orlando, Florida, June 22nd-24th. They will be presenting their nationwide riser management program titled riserSAFE.
DULLES, VA, JUNE 18, 2014 (PressReleasePoint)– Concert Technologies has announced that it will exhibit at the Every Building Conference and Expo in Orlando, Florida, June 22-24th held by BOMA International. Concert Technologies, a company dedicated to technology rollouts on a global scale, is debuting their nationwide riser management program titled riserSAFE. This package of services is dedicated to protecting building risers, also known as telco closets, from major threats.
Acts within telco closets such as sabotage, data theft, fire, and cabling installation mishaps, known as cabling disasters, have become even more devastating for businesses in recent years. Concert Technologies riserSAFE program seeks to protect building tenants, owners, and managers from such events by professionally managing building riser systems and the personnel entering the telco closets.
The riser system is the pathway through which telecommunications and data cabling for internet communication is housed. This crucial system is often overlooked when attempting to secure sensitive data and prevent tenant down time. With the increase in mobile and cloud computing this infrastructure has taken on an even more vital role for tenants, property managers, building engineers, and building owners.
To learn about the riserSAFE program, visit Concert Technologies at booth #212 in the technology pavilion at the BOMA Every Building Expo or visit www.riserSAFE.com.
About Concert Technologies
Concert Technologies, founded in 1995, is a technology rollout company. It is the leader in the accelerated delivery of nationwide and global technology rollouts for federal government, commercial, and international organizations. Concert Technologies' riserSAFE program has been developed to maximize your building's critical IP infrastructure within riser closets and common spaces for tenants. This program minimizes impending threats to IP network downtime, data theft, sabotage; and increases your building's marketability for all tenants communicating with cloud infrastructure. The riserSAFE program assesses building infrastructure and
riser management, Dulles
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An ABN is an Australian Business Number required by business entities.
Not everyone is entitled to an Australian Business Number (ABN).
In order to receive an ABN, you must be carrying on an enterprise in Australia, that is an activity done in the form of a business. You must have commenced trading or have undertaken sufficient activities to show you intend to start a business.
Employees and hobbyists are not entitled to an ABN as they are not carrying on an enterprise.
If you need to know what an ABN is, if an ABN is mandatory or not, and when to use an ABN see ABR help here
Search online to check an ABN – Click here
ABN Frequently Asked Questions (FAQ) – Click here
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Business ABN Lookup
This is an essential tool for small business to reference the ABN number of suppliers, customers and other key business relationship.
Only companies and businesses registered with an ABN will appear on Business ABN Lookup
The Business ABN Lookup website holds only the publicly available information about a business including:
- Australian Business Number (ABN) and status
- Entity names, business names and trading names
- State/territory and postcode of the main business location
- Australian Company Number (ACN), Australian Registered Body Number (ARBN), or Australian Registered Scheme Number (ARSN)
- Goods & Services Tax (GST) registration
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Assistance is available to register an ABN for your business.
Before proceeding to register for an ABN proper advice should be sought to ensure you have the correct and appropriate business entity set-up for your business activity.
Business ABN advice is available.
Action steps to take today…
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Step #2 [optional] Complete our Business Advice enquiry form and submit to ensure the best use of your consultation.


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LSD (Lyrically Shifting Dimensions) produces a creative, different, yet still attention grabbing sound as a hip hop artist. Unlike most artists, LSD began rapping after high school, but became addicted to making his own music as well as playing with words as a lyricist. LSD is known for his ability to rap extremely fast, rhyme constantly, and carry great rhythmetic form. If you're searching for the future of hip hop, you're looking at it.


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Watchmen is a comic-book limited series written by Alan Moore, artist Dave Gibbons, and colorist John Higgins published by DC Comics in 1986 and 1987, and collected in 1987. Watchmen originated from a story proposal Moore submitted to DC featuring superhero characters that the company had acquired from Charlton Comics. As Moore's proposed story would have left many of the characters unusable for future stories, managing editor Dick Giordano convinced Moore to create...... more on Wikipedia
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The Most Iconic Comic Book Splash Pages Ever
Everyone loves a good splash page. It grabs the readers attention by popping an important image off the page. They can pass along important exposition; they can fill you in on the ...read more
The Comics Journal Top 100 English Language Graphic Novels
The Comics Journal compiled a list of the top 100 graphic novels of all time. The Comics Journal is one of the more reputable publications in the comic industry. The Jounal's list ...read more


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In a last-minute change of plans, Mitt Romney will head to visit storm-affected areas in New Orleans today, skipping a previously scheduled joint rally with running mate Paul Ryan in the battleground state of Virginia this afternoon.
The White House has not announced any plans to visit the storm area.
She does realize Obama was on a three-state campaign swing and squeezed in a Reddit "ask me anything" interview during this same time frame and he's the President?
Originally posted by sad_eyed_lady
I'm sure he'll get there at some point in time, but it really does look bad that his rival beat him to it.
Obama was to touch down in Louisiana after a previously scheduled campaign stop in Cleveland earlier Monday. But Obama's campaign announced Friday that it was canceling the Ohio event.


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26 years of experience
Accepting new patients
Video profile
3890 Tampa Rd
Palm Harbor, FL 34684 Phone number & directions
Patient Reviews
Patient Reviews ? Write a Review
Overall Rating:
Total Ratings
Total Reviews
Dr. Goldstein has been my Doctor for over 15 years. He is highly respected, intelligent and has a wonderful bedside manner. Very concerned and engaged with his patients. He makes it a point to be all knowing if a patient of his is in the hospital or has an issue. I recommend him highly.
Dr. Goldstein has been my doctor for 23 years, as well as for my wife, an RN. He delivered our son in 1992 and has also been his doctor. He discovered my cancer in 2006 and had me scheduled for surgery within 48 hours. I owe him my life. During my annual physical he does all blood work he thinks necessary and spends at least an hour with me in total. Unfortunately he will retire someday and I'll have to find someone else.
Best MD you could imagine. Down to earth, practical and does not over diagnose.
Absolutely the best doctor I have ever known. Treats my entire family. Staff is enthusiastic and helpful and the office is clean and comfortable. Highly recommend this office.
I have been a patient for many, many years and I have waited in the waiting room to see Dr. Goldstein for HOURS. I have seen the way the public treats the staff of this practice due to wait times which ARE quite long and does require patience. With that said, I have listened to the way patients treat the front office staff and it is a wonder how these girls maintain their composure. If you are dissatisfied with the wait, not satisfied with the managers response to the wait (Dr Goldstein takes time with each and every patient, just like he will for you) than this is not the place for you. In reading the comments about the staff and listening to the disrespect to them, please take yourself to a other physician if you think you'll be seen in 10 minutes or less. He's a WONDERFUL doctor. Truly worth every second I have to sit in the waiting area watching bay news 9.
I am an RN, retired because of multiple medical issues. I have my entire family going to Dr Gary. His skills are superior, his bedside manner is superior and above all he has truly dedicated his life to his patients and his profession. His diagnostic skills are excellent. Having worked with him at the hospital, among many physicians, I knew he was who I wanted caring for my family. That said, the office waits are horrendous. The reason is, he spends the needed amount of time with each and every patient. He never rushes. Dr Neri is a great back-up, and one of them is always there. He has been at my hospital bedside at 11 at night. He is understanding, and non-judgmental. We will never leave this office.
Can't describe the level of trust I have in this doctor. If you have the opportunity to see him, do it. Worth the wait.
Dr. Goldstein has taken excellent care of my family for 21 years-my husband who passed with outstanding care w/compassion, myself and my 2 children. We are always able to get in for emergencies- yes, we know we have to wait but know we are getting the most wonderful care and he is devoted to our appointment. We are blessed to have such a knowledgeable and caring professional taking great care of us!!
Great doctor, great staff, great everything but long wait. Be prepared but worth it!
Dr. Goldstein has been my primary care physician since 1994. Without exaggeration, Dr. Goldstein has literally diagnosed life threatening diseases, caught them in time, and saved my life on 3 occasions. Prostate cancer TWICE, because of his insistance on my seeing him every six months, Acute Myelogenous Leukemia (over the phone while I was in ER for chest pains caused by low red blood count spotted by Dr. G. immediately), AND didn't like the looks of a routine ekg done in his office, referred me for a stress test, and within a week I was in a heart center undergoing triple by-pass surgery !! Aside from his diagnostic skills, Dr. G has a fantastic bedside manor, takes his time with his patients, and has a TRUE HEARTFELT CONCERN for his patients, a rarity in the medical field today. I would recommend Dr. Goldstein to ANYONE that asks me to refer them to a truly TERRIFIFIC Doctor, skilled and compassionate. Roger Munson
I finally understand why the changes were made! I have been a patient there for 10 years; saw staff come and go and didn't realize what they were doing there for some time. It's was chaotic for a bit but the doctor has a a new office and a fantastic staff to go with his new space and things are better than ever! Wait times are long so bring something to do but he is worth it.
Long wait but the staff keep us informed that he was running behind. Worth the wait. LOVE the new office!
Dr Goldstein is a great doctor. He is very smart. He is a caring doctor. He takes time with you and does not rush you like most doctors that I have has before. I trust him with my life.
Dr Goldstein is an excellent communicator, compassionate and willing to explain and listen to any and all concerns. I was his patient for over 15 years until I moved. he also is a compassionate sports fanBryan Hanson
I'm not sure what the previous comment was about! I love the doctor and the entire staff. Everyone is over the top friendly and willing to go out of the way to help with any request you have from the doctor, to management to the front office to appointments. My wait time was long but worth it and Dr G spent a lot of time with me like he does with all his patients. I have NO COMPLAINTS!
Your comments were read and appreciated as all feedback is necessary to make this practice better. I wish you would please contact the office directly so I could hear about your experience and take the appropriate action. Please call me directly at 727-789-5811. Thank you. Melissa
If you can overlook the front desk and office staff, especially the manager, this place is a great place to go! And if you can tolerate the wait, the doctor and nurses are great to talk to. The nasty and rude office manager, however, puts it over the top for me. This woman doesn't feel that she needs to work, and talks to you as if she is superior to you. Never have I felt so humiliated as when I met this woman.
Dr. Goldstein has been my primary care physician since 1994.Dr. G. insisted I come to his ofice for a complete physical in Jan. 2002, after not seeing him for 2 years.....thanx to his insitence.... he diagnosed me with early prostate cancer....referred me for treatment, and have been in remissin for 10 yrs !!In 2003 I was in the emergency room with chest pains....Dr. G got the bloodwork results, called in a hematologist/oncologist, and confirmed Dr G's belief I had Acute Myelogenous Leukemia... again through referrals to other practitioners, and Moffitt Cancer Center... I am in full remission for 9 yrs !!10/ 2008... During a routine visit, Dr. G didn't like my EKG....referred me to my cardiologist.... in one week I was in Bayonet Point Hospital for triple by-pass surgery.....and now....unbelievably, during my annual physical, Dr G took all bloodwork for annual visit, noticed my PSA was elevated, within normal range, but since I had prostate cancer before, referred me for biopsy, and as he always has....discovered the prostate cancer had recurred......diagnosed within the perameters of managing/stopping the cancer growth.I truly believe the only reason I am still here on earth is Dr G's expert care, ability, and professionalism.Roger J Munson
Love the physician but HATE the wait, the back office girls are great.Love you Mina!
If you have Gary Goldstein as your Doctor yo are indeed lucky. Unfortunately, he's not able to take on new patients.
This was the worst office.What ever happened to patients first.Dr as well as the employees are very,very rude.I have notified my insurance co not to recommend this idiot.
Dr. Goldstein should have a 10 star rating! He is a brilliant physician, a past chief of staff at Morton Plant Hospital, now Baycare. He has always gone of out of his way to ensure proper tests were done to determine cause and effect. He makes his rounds at the hospital to see patients before he gets into his office and sometimes afterward. It is not unusual for me to have received a message on my cell phone as a follow up to treatment or to discuss the results of tests.My entire family are patients of Dr. Goldstein and I can't imagine going to anyone else. Is he busy? Ah . . . yes! Is his staff going a hundred miles an hour? I would think so. We all want the best treatment available, thus the wait time. Patients need to be just that, patient. If you want real fun, try the emergency room (oh, and bring a portable cot, you'll be awhile!)
He lied to my face about a serious matter and later tried to cover his tracks. I am shocked and appalled he still holds a license in the state of FL. Wait time is usually around 2.5 hours. Staff AWFUL!!
The physician and the office staff are discourteous and show no true compassion towards their patients. Phone calls and inquiries are not returned in a reasonable time frame (ie two weeks) and information seems not to be communicated between the physician and the office staff, both of which seem insincere toward the patient. As a healthcare worker in an emergency room setting, I find thist to be disconcerting and innappropriate.
He is the best diagnostician I have ever known. He concentrates on his current patient with all his faculties, and, while you are with him, you are the only focus of his quite remarkable mind. His sense of humor does soften his formidable intelligence, but he does not suffer fools gladly. Altogether, a remarkable physician and human being.
I've gone to Dr. Goldstein for 17 years and I think he is great!
Great care, poor waiting times...
The doctor is good but allows his staff to continue being horrible. It takes about 5 calls before you reach someone. No one calls back. You wait for atleast 1.5 hrs to see the doctor, the staff is rude and inconsiderate and they lose files and never get back to you. Prepare to spend a lot of time chasing after the staff in order to get things done like refilling prescriptions, answers, appts etc.
Dr. Goldstein is such a wonderful pediatrician. He is so attentive, so intelligent, and so wonderful with our daughter. He truly defines what a family practitioner should be. We love Dr. Goldstein!
Terrible Attitudes...: I was given this doctor by my insurance company and when I called they never answered the phone, I had left a message 3:00pm and they didnt bother to return it until 9:30am the next day. Then when I spoke to the receptionist she inf
We can't wait to go back: I've had a bad experience with dr. Farrrier at Lutz pediatrics, and lost all the hope to find a decent doctor. Then a friend recommended dr. Goldstein and with having nothing to loose I've made an appointment. When we got into th


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- Win the war against limited carrying capacity with the Yakima LoadWarrior Cargo Basket
- Ideal for smaller, narrower rooftops
- Carries a wide variety of gear: up to 3 bikes, 1 bike and a kayak, 1 canoe, 1 bike and the Yakima Big PowderHead, or 2 kayaks and 1 bike
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- For 40% more storage, get the extended length Yakima LoadWarrior
- Wind fairing included
- Cargo net, locking bracket and light bracket available separately
- Available in standard length (44" long x 39" wide x 6.5" tall) or extended length (62" long x 39" wide x 6.5" tall)
- Lifetime Warranty
Highways have become battle grounds, so you need to be ready for war when you head out on your road trips and camping excursions. With the Yakima LoadWarrior Cargo Basket as your wingman, you can lock and load a ton of gear on top of your vehicle. It's capable of holding up to 3 bikes at a time, or 2 kayaks and 1 bike, or even 1 bike and a junior ICBM.
The Yakima LoadWarrior Cargo Basket is built like a tank. Heavy-duty steel bars are welded into place, forming the hull of this cargo-carrying beast. The steel is weather treated to withstand any assault by Mother Nature. And, you get a rugged wind fairing that cuts down on wind whistle, so you can motor around with greater stealth.
It doesn't take the brains of Military Intelligence to mount your LoadWarrior. The universal attachment system fits easily onto round, square and most factory crossbars. What's more, Yakima designed your LoadWarrior Cargo Basket for upgrades. You can go big with the extended length basket for over 5 ft. of storage space, and keep your gear secure with the locking bracket and cargo net. Lifetime Warranty.
Yakima LoadWarrior Cargo Basket Customer Reviews
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Well worth the money
Travel time
Great Basket
Reviewed by nick s (MONTEBELLO, CA) Reviewed for a 2015 Toyota Tacoma — Mar 02, 2015 8:05 PM
What can I say it looks good and its very help in dividing the bed... Won't go wrong in this product...
Great product
Great Cargo Basket
Reviewed by Susan W (New Braunfels, TX) Reviewed for a 2011 Toyota 4Runner — Aug 26, 2014 8:18 AM
I ordered this when we moved our daughter to college 1000 miles away. We were able to get all of our luggage on top and it felt very secure. We did purchase the extender, security locks, and netting. I used straps that I already owned to secure it even more.
Yakima LoadWarrior Cargo Basket
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Welcome to the Original Tigard Farmers Market
Tigard Farmers Market bringing you fresh fruit, produce , crafts , flowers and more weekly!
We look forward to having you join us at our Sunday location, corner of Hall and Burnham in downtown Tigard. We are in the Public Works parking lot with plenty of parking across the street. Close to the skate park, dog park and library, make the market a part of every Sunday. 8777 SW Burnham Street The market runs every Sunday May 10th – October 25th, 2015 9:00 am – 2:00 pm


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Would YOU Risk a Botox Boob Job? It Costs Just [Pounds Sterling]700, Gives an Instant Lift without Surgery and Claims to Have No Side-Effects. But
Byline: by Hilary Freeman
THE effects of gravity can be cruel to women, especially when it comes to breasts. Even with a good bra, the ravages of time combined with breastfeeding and yo-yo dieting conspire to make once pert and firm breasts go droopy.
And then there's sun damage, which results in crepey, blotchy skin on the decolletage.
In the past, a woman who wanting a breast lift had only one option: a major surgery known as a mastopexy.
This involves removing excess skin and repositioning the breasts. It's very expensive at [pounds sterling]3,000, requires several weeks of recovery time, and can result in a loss of sensation in the nipple area.
Now, however, a new treatment -- the Botox breast lift -- is available in the UK. This new treatment promises instant results with no side-effects and no recovery time.
Pioneered by a Thai dermatologist, the botox breast lift was first presented at the 2009 World Conference of Cosmetic and Anti-ageing Medicine in Monte Carlo.
The technique is now being used by antiageing specialist Dr Cecilia Tregear at the Wimpole Skin Care Centre in London's Harley Street. 'Injecting Botox in specific areas around the breasts tones and lifts the skin,' she says.
'It shapes the breasts, giving them volume and ironing out wrinkles caused by sun damage on the decolletage.' These are bold claims, but does the lift really work? Elaine Hill, 46, from Weybridge, Surrey, was one of the first to undergo the procedure last month. A divorced mother-of-two, she had felt unhappy with her cleavage for the past year. With her daughter Gemma's wedding coming up in June -- and hoping to start dating again after having been single for a year -- she was keen to do something about her breasts.
SHE says: 'I remember looking in the mirror about six months ago, and noticing that my breasts had drooped. I breastfed both my daughters, but I think it's ageing that's really taken its toll. Once I hit 40, everything started to head south.' Elaine was already seeing Dr Tregear for hormone treatments, when she mentioned the new breast lift. 'I like to take care of myself and have been having Botox in my face for eight years, so the idea of having it in my breasts didn't scare me.
'I wouldn't do anything as drastic or expensive as surgery -- I just wanted to give my breasts a boost in the hope it would make me feel more confident about myself.' Unlike similar Botox procedures, Dr Tregear's technique involves injecting the botulinum toxin into the skin of the breasts and the surrounding area, not into the muscles.
This, she believes, makes it more effective and less painful. The muscles aren't 'frozen' and there's no loss of sensation.
First, a local anaesthetic cream is applied to numb the skin, then Botox is injected all around and under the breasts. Dr Tregear says: 'It's important to inject all around the breast, from the front of the chest right up to the armpits.
This allows the lifting of both breast tissue and fat.
'Some small doses of Botox are also injected around the areola (the coloured part surrounding the nipple) to help with wrinkles and to boost a droopy nipple.' There are no reported side effects. 'There's no pain, no bruising and no downtime,' says Dr Tregear. 'You can put on your clothes and go straight back to work afterwards.
'Due to the fact that the injections are intradermal (into the skin) and the doses used are a lot less than the ones used for armpit hyperhidrosis (excess sweating), I haven't seen any side-effects, apart from the obvious ones that occur as a result of giving an injection, such as redness and potential risk of infections. …


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In a stellar career spanning more than 30 years, George Massenburg has been responsible for engineering some of the most acclaimed recordings of the modern era, pausing along the way to invent that mainstay of the modern recording process, the parametric equalizer. He is, of course, also associated with a number of other products -- in particular, the high-performance mic amps and mixing automation system now marketed by GML, the company he founded in 1982.
Born in Baltimore, Maryland, in 1947, and raised there and in Macon, Georgia, Massenburg acquired an early interest in music, electronics and sound recording -- aged just 15, he was already working part-time both in the recording studio and in an electronics laboratory. After working at ITI in Huntsville, Maryland, he presented his seminal AES paper on the Parametric Equalizer; later he became chief engineer of Europa Sonar Studios in Paris. He was subsequently to design and manage several recording studios -- the studios at ITI, and later the Complex in Los Angeles -- as well as contributing acoustic and architectural designs to many others, such as George Lucas' Skywalker Ranch and the Site in Marin County. He is now Adjunct Professor of Recording Arts and Sciences at McGill University in Montreal, Canada, and lectures at UCLA and USC in Los Angeles.
Today, Massenburg continues to refine many of his original ideas: parametric equalisation, mixing automation systems, and more recently introduced devices -- such as the GML Dynamic Gain Controller -- which have been in development, on and off, for 20 years. As well as these products, the company currently manufacturers the GML High Resolution Topology line-level mixing console, and the reference-standard GML 8200 Parametric Equalizer. GML Inc also act as consultants and independent designers for several major audio electronics manufacturers.
How did you first get involved in sound recording, and what kind of gear was available to you then?
"I played trombone from about age eight, and then later on in my high-school marching band; even later I played bass in a bluegrass group and also an R&B band. I started out in recording by hanging around this very small studio in Baltimore, Maryland called Recordings Incorporated, whose studio business was mainly radio and television commercials, but also some bands. Eventually I worked there. We had 2-track Ampex 300s and 351s, Ampex MX35s and custom-built mixers, an EMT140 plate and a few great microphones. There was a demand for 4-track recording, but to do that we had to build the machine ourselves, which I did. Also, I was obliged to build a console. Now, this is not because I was good at building consoles or anything else, but because it was the only way that I would be doing any 4-track recording.
"I started making money doing this around 1964 and the next year went to Johns Hopkins University as an Electrical Engineering major. I was a terrible student, and I left school in 1967, greatly disappointed, but by that time had the basic idea for the Parametric Equalizer. It used a variation of a gyrator that I was told would be impossible to realise, although I was already using one to do the low-frequency shelf in the first equalizer. By 1968, when I was 21 years old, I had designed the basic Parametric Equalizer and built a small console that included the first parametric equalisation.
"My first big company, ITI, was manufacturing the first commercial Parametric Equalizer by 1971; but we also had recording and photographic studios, printing and record-pressing facilities -- I learned how to do just about everything except metal processing. The studios are no longer around, but the ITI Parametric Equalizer survives even today. It wasn't necessarily difficult to design, but it was very difficult to sell. At the first AES show everyone (with the notable exception of Gerhard Lehner, then of Barclay Records) asked me, 'Where are the steps?' It took a long time to explain, and most of the work was spent demonstrating how the Parametric Equalizer was an improvement to control sounds, such as snare drums and, especially, acoustic guitars. And still today a lot of engineers do not know how to best use a parametric equalizer. To use it properly takes more time and careful listening. This is true of most devices I design and, as a result, record companies don't like me very much."
What do you listen for in a recording -- what's important to you?
"What's important for me is the inner story in the music; this is hard to verbalise, but I think it's something that the ear knows. What I love about music is transparency and the ability to hear the musician. This in itself has little to do with making hit records. I would advise young engineers that the first thing you have to forget about in making serious records is the sales. My vocation is making artful records and hoping that they'll sell, while some producers strive to sell records and hope that people will think that they're art.
"One could demonstrate that the most important parts of music never change. My favourite comparison is between an old King Curtis [American R&B pioneer] record with Chuck Rainey on bass. It's an old instrumental, 'Soulin'', one that inspired me greatly. Listen to it alongside a recent Alanis Morissette track, with Flea from the Red Hot Chili Peppers on bass. You can't help but hear that the musical values are basically the same as 30 years ago. The Alanis Morissette track has sold more than 18 million copies, so it's a very successful record, but to me, this is not as good a recording as the King Curtis record done 30 years ago. Modern recording means processing, and in the Alanis Morissette record there are some very 'special' methods -- to my ears it sounds like the lead vocal was processed in part through a guitar amplifier! Guitar amplifier and a microphone -- 18 million records! So who knows?
"Last year, Peter Asher and I made a record for an Australian artist which was subsequently redone by a prominent remix engineer. Record companies have for some time now, in their insecurity and confusion, remixed a project before release, but in this case it was the artist who was insecure. This always hurts me as an engineer -- on one hand I hope that the remix will be better, and that it will bring out the best in our work. But it has never turned out like that.
"The remix that comes to mind starts from scratch, eliminates the fine-level tuning, and heavily compresses and then equalizes each and every track. Snare drum, compressor, equalizer; overhead, compressor, equalizer, all the way down the console, which was a modest SSL. Once it's mixed, the SSL buss limiter is utilised. The snare drum and the lead vocal are prominent in the remix, but to my ears there is no depth, no detail and no dynamics in the vocal. I guess as choices go it's like any other, and it is one that any engineer might be asked to make. But I loathe the motivation behind the process and, often, the result."
Using a lot of compression might be a valid way to help the track sound better on small systems, though, mightn't it?
"Only in the sense that in utilising a lot of levelling, a mixer has to listen and think about balancing elements far less. Large or small systems, it's not the issue -- the issue is balance. And balance is not static. Anyway, the small speaker mono listening model, a great issue from the '60s through the '80s, is a bit less of a consideration today. Now we still mix for a majority of our listeners -- I mean, most of the time we really want to reach folks, don't we? -- and many of the systems that they're using, including television, are improving slowly -- the hired-gun remix may sound incrementally better on television. Well, forgetting what makes one mix 'better' than the another, 'louder' is always attractive to the guys with money on the line. Going back to my remix example, I'd have to admit that I did learn from what happened; however, I quickly learned how to improve upon it.
"Many years ago I made a record, Warm Your Heart, for Aaron Neville. In many ways I am happier with this record than any other I have done in the past 20 years -- this is my favourite sound in the world. It was crafted by brilliant musicians: Russ Kunkel, Carlos Vega, Bob Glaub, Brian Stoltz, Ry Cooder on guitar, Don Grolnick on piano -- not to mention the sheer brilliance of Aaron himself. It has detail and depth, dynamics and character, but the record company were worried that it wouldn't sell. I imagine that they would have liked to remix the entire album. They did, in fact, force a remix on one single and it was a huge hit. To this day I feel it was a terrible job -- dumb, arbitrary parts added with lots of mistakes. But it bought into that stupid New York dance scene, and, of course, they played the heck out of it: maybe for political reasons, I don't know. Unfortunately, it made us -- Aaron, Linda, and I -- a lot of money, something with which I shouldn't argue, I suppose."
How do you deal with the situation if you know the record company wants it to sound different to the way you are hearing it before you've even mixed it?
"Well, first I work for the artist, not the record company. As such, I am not always popular with record companies. But because one has to keep one's mind open, I have a huge bag of tricks -- sounds for instruments, for tracks and mixes. And I think I've learned both how and when to bring them out. Were an artist to ask me to chase down a sound in their head, I believe I should have ideas ready to play to them. Unfortunately, many requests from A&R departments have nothing in the world to do with music. My advice, when an idiot asks you to do something that really is not in your heart or skill, is to bow gracefully out.
"Not that I always get mixes right, either. If I were to remix [the Aaron Neville record], I probably would use less long reverb -- that's one big difference with modern records. I'd take dry drums and keep them tighter. And, instead of reverb, I might use a 'cool' and subtle loop on the snare or percussion. The point is that I could make myself very happy with that mix, too. If I get the feel right I can go almost anywhere with it.
"If I choose a stereo buss compressor I would use a GML EQ and Dynamics Controller, then maybe a [TC Electronic] M5000 in 3-band. The capability of this setup ranges from 'clean and transparent' to what you might call 'that really shitty sound', the latter being what record company A&R people are accustomed to hearing."
So you feel there is never just one 'best' mix for a track?
"Sure, for me there is one mix that I like. But I could mix that particular track in four different styles: the original record; a pure hip-hop where I replace the drums with a drum loop; another style where I use the original drums with the hip-hop loop added and maybe a different bass; or a straight-up rock and roll approach centred around the amped guitars. And I feel confident with all four of these styles of mixing. But, hopefully, there would be one that the artist would like the best, although record companies are often predisposed these days to releasing more than one mix."
Do you think that the widespread use of the typical Mackie/ADAT artist's studio has significantly changed the way that records sound today?
"Absolutely, no doubt about it. But let's call it the 'project studio'. It has brought power and facility to an ever-expanding group of people, many of whom are new to the endeavour. On the other hand, I very seldom hear evidence that the craft of songwriting itself has been enhanced, although getting a demo to sound more 'finished' is certainly easier and much less expensive now."
How do you feel about artists trying to play the producer's role themselves?
"Speaking as a producer, I think that the artist needs a producer, at least as a foil: someone to temper the artist's indulgences. With few exceptions, artists are better off when they can 'follow their bliss', and allow an enlightened producer to aid them."
Is there a list of 'must have' items that you always want to have available to you when you are engineering?
"I guess so. I'd hesitate to list brands -- I wouldn't want others to buy specific gear expecting a particular result. To a serious session I'll always bring: a lot of microphones (some custom), special mic wire for the vocal mics, direct boxes, good headphones, two kinds of good mic preamps, equalizers, dynamics units, converters, processors and reverbs, a DAW [Digital Audio Workstation], two kinds of monitors, my laptop, and my dog, Robbie. Sometimes I bring my son, Sam."
Do you think that digital equipment will ever be capable of truly replicating the subtle 'desirable imperfections' of many of the analogue old favourites?
"The picture that I have in my head is of a relationship between increasing resolution and sampling rate and reducing jitter on one axis, and reducing digitally-generated artifacts on the other, that's asymptotic. No, we can't expect to arrive at what we had with analogue chains, but we can get damn close."
When I first started engineering records I knew I could go into almost any studio and be comfortable working the desk and multitrack, whatever it was. The situation facing the young engineer these days seems rather different, with the plethora of different interfaces and protocols. Is there a case for greater harmonisation of workstation/editor interfaces?
"I think you're asking two different questions. The first question, I think, is how complex an interface should be; the second is how 'standard'.
"As regards complexity, the short answer is Einstein's: 'Everything should be as simple as possible, but no simpler'. I can't tell you how many times a debutante engineer has complained about the complexity of my automation interface; at the same time, sophisticated users are asking for more capability.
"Regarding standardisation, most of our equipment is rather new and hasn't had time to evolve, and different equipment designers see a given task slightly differently, and hence create different interfaces. But different interfaces and feature sets will undoubtedly merge in time. Let me use a musical instrument analogy. The piano, by now, has been around for a comparatively long time, during which its 'feature set' changed until we got what we have today. But today, what is and isn't a piano -- let's ignore sampled pianos for the moment -- is very clear in our minds, and you can sit at two different instruments and perceive few, albeit subtle and artistically important, differences.
"The answer is to give the technology time to evolve, and for designers to be sensitive to the needs of the end user."
Wouldn't we all benefit also from an interchange format standard for mix automation data?
"You bet we would. It's definitely on the cards for the future. Exchanging allows a mixer's recorded gestures to be retained across a project, as it moves from studio to studio. The concept ultimately confirms the artistry inherent in a mixer's work.
"Can you imagine if computers had evolved antagonistically? Microsoft continually building in schemes such that their files couldn't be transferred to IBM mainframes? Or Macintoshes? Or to the Internet? Not to say that Microsoft have made it any easier, mind you.
"Crafting and implementing an automation file exchange format across our industry is a example of the classic 'zero-sum' game. If all manufacturers do it, then it works out okay. If one console or automation manufacturer doesn't subscribe to it, then he 'wins' in the sense that a studio owner with that system keeps his clients locked in. There are ways around that, but it's far easier if everyone agrees to share data, as is done in virtually every other discipline involving this type of data."
Most people in pro audio now seem to agree that the 16-bit/44.1kHz standard was aimed way too low for original recording and mastering -- but what should we be aiming at? Will we be saying in 10 years' time that even 24-bit/96kHz wasn't good enough?
"In this business, you must realise that 10 years is a long time and we may be in for some technological leaps. I don't want to be cast as a recording prophet but, with the introduction of the DVD [Digital Video/Versatile Disk] in mind, my feeling is that 96kHz/24-bit, 'losslessly'-coded 5:1 channels are a good next stage. But we must keep in mind very real questions regarding what is audible and what is an extravagant, perhaps wasteful use of bandwidth. It's important that format agreements be reached, but somewhat flexible standards for the medium would do much to facilitate both creativity and archiving. I'd like to imagine a flexible format set, with room for the producer who might want two hours of sound in five channels for one project and stereo with extraordinary 200kHz for another. We have to work from a starting point and then expand the format as existing technology matures, costs come down, and wondrous technology becomes available in the future. For us, it's rosy if the format is kept flexible, and by that I mean that we as producers retain the ability to use the medium in different ways."
Do consumers really want greater dynamic range? In most domestic replay situations they're unable to use the dynamic range they've already got without either annoying their neighbours or losing the quiet bits in the ambient noise level...
"In my experience, what consumers 'want' is unclear. Hollywood is full of ex-geniuses who once seemed to know what consumers 'wanted'. I sure don't see anyone returning a new release and saying, 'You know, the dynamic range on this is difficult to control, either I can't hear it or it seems to annoy my neighbours'. Seriously, very few consumers deconstruct what we do -- it's the producer who makes the call. I've been most successful when I work hard to make records that have rather modest goals, and that sounds really good to me in a number of studied ways. Consumers? Paraphrasing someone, if you give them quality, they will come."
Do you get involved with the mastering of your recordings?
"Oh yes, I am very much concerned with the mastering, and the processing at the plants as well -- to make as certain as I can that a single-speed transfer is made, for instance.
"I work for producers and artists and the most important thing is to make the producer and artist happy. I am not generally concerned with the record company, and this gets me in a lot of trouble, because the modern record company wants to control the music, so they will often try to re-master and remix. Once again, when a record company does this for the wrong (which is to say, non-musical) reasons, it pushes me to the edge. For instance, if they give a remix to a certain popular mix engineer for political ends, I'm nearly homicidal. And my experience has been that if the record company gives my master tape to certain mastering engineers, sometimes it sounds as if they have processed it by looking at the meters. My mastering engineer of choice is Doug Sax, who I have known for 25 years. We have dinner every Thursday night. Sometimes we disagree, and sometimes he is paid a lot of money to recommend making no changes to what I bring in -- he pays for dinner then. But, over the long term, I have been most proud of the records that he mastered."
"I really begin to hear my own records after five or 10 years have passed. I did a record for Earth Wind & Fire, 22 years ago, and I heard it used for a new Microsoft television commercial. Sounded great; it sounded like a new record, they've never done anything even remotely like it since. After all those years I had forgotten about how badly the so-called producer of the record treated me at the time. Temporarily."
Are you content to live with 'imperfections' in a take provided the performance is there?
"I guess so -- what the hell is an imperfection, anyway? It is very difficult to say what is perfect in recording. We're looking for something that 'touches' someone's spirit, aren't we? That's not a very objective goal. Now, I've learned to overlook mic pops, even like them, even though most would call them 'imperfections'; also I like those little sounds from a person's mouth, the ticks and smacks. If I distract the vocalist when I stop the tape because of a pop, that could ruin that performance. I'm not likely to take that chance. The most important element for me is the performance, all of it. Going even farther: a pop in a vocal is a feature. It says to me that the vocalist is singing very close to my ear. She is so close that I can feel the warmth of her breath. To a record company, it is a problem. To me it is very sexy."
This is such a subjective area -- we don't all hear these things in the same way.
"Almost everybody has a lot of trouble being accurate (or honest) about what they hear, and it is important to find somebody who can really tell you what they feel, from their heart -- forgetting about what's hip to say. It has taken a lifetime for me to learn how to talk about what I hear. Also, another person will hear the same material from a different perspective, and from a different experience than yours. I think of the perception of sound as one perceives light on a given subject. You might imagine finding instrument sounds as looking at different ways to illuminate a subject. On a guitar, one may be asked to 'put mid-range on it so I can hear it better'. Often, that's not so musical. I might selectively take some mid-range artifact out of it -- I would listen for something that was distracting. I would probably do the opposite of someone who wants to hear more guitar by boosting the mid-range, but it would make a better mix to my ears.
"You just have to listen very, very hard. Sometimes I have no idea what I am going to do, but then I find it. I always have an idea. I always have a lot of ideas, so if a producer doesn't like one idea, well, I have 10 more. I get my ideas from life. Some years ago, Allen Sides, myself and our friends went on a river trip down the Grand Canyon. Four days with no electricity and no music, no television and no telephones. We talked about music while we bounced down the Colorado river, listening to the sound of the canyons and the caves. We talked for days about Phil Ramone's old Verve recordings! The other people on this trip thought we were crazy, because we kept clapping our hands and listening to the returns -- beautiful, long, rich, diffuse reverbs. After the trip, I came back, and for the longest time, I used 7-second reverberation on everything.
"I would suggest that the best work you do is for little or no money. It simplifies the dynamic between you and the artist, producer, label; you might have a chance of concentrating on what you are hearing. Earlier, I mentioned walking out of the session if somebody asks you to do something that doesn't make any sense; this is much easier if you're not counting on the session to pay for the rent and the kids' food. And if you're working for free to start with, that issue is already addressed. I guess you could say that the most important thing for me has become the pursuit of integrity. To make music with honesty and passion."
George Massenburg's recent engineering credits include an album for Journey, and he has produced records for James Taylor, Randy Newman, Lyle Lovett, Aaron Neville, Michael Ruff and Linda Ronstadt. He has been nominated many times for the non-classical engineering Grammy and for Record Of The Year in several years, and he won the Grammy for Best Engineered Non-Classical Record in 1990 for Linda Ronstadt's Cry Like A Rainstorm, Howl Like the Wind; The Trio won the Academy of Country Music Record Of The Year for 1988. In 1989 Mix magazine gave him both Producer and Engineer Of The Year Awards for Little Feat, and he picked up the Engineer Of The Year Award in 1991 (for Linda Ronstadt) and 1992 (for Lyle Lovett).
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Janus: Gravedigger Then And Now
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Producing Emeli Sandé
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Alan Moulder | Secrets Of The Mix Engineers
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Musical Director For The Queen's Diamond Jubilee Concert
Mike Stevens has worked with some of the world's biggest pop acts at countless high-profile live events, including the Queen's recent Diamond Jubilee concert.


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November 27, 2015
Atlanta (AP) A spokeswoman for Delta Air Lines says flight attendants found a woman's body in the restroom of a plane that landed in Atlanta.
Spokeswoman Keyra Johnson says the body was on delta flight 950 that arrived from Los Angeles. She says the crew noticed the restroom was occupied on the final approach to the airport Wednesday morning.
Authorities have not determined the cause of death or released the passenger's name. Johnson says authorities met the plane at the gate.
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As of Wednesday, June 12, 2013
© Copyright 2015 Albany Herald
The golf tournament most professionals prefer to win — the United States Open — begins today for the fifth time at the Merion Golf Club in Ardmore, Pa. There is enough history about the course to keep you anchored in your reading room for an indefinite period of time.
Merion remains a par-70 layout. Even with the lengthening of some holes by the United States Golf Association, it is still commonly referred to as "Little Merion." Tucked away in this suburban community of 12,455 on the Main Line, west out of Philadelphia, the Merion Golf Club sits on less than 120 acres. It is the smallest venue, geographically, of the clubs which have latently hosted the championship — about half the size the USGA prefers. In fact, in order to accommodate the giant commercial tents and parking requirements, the USGA has rented 20 acres from Haverford College, Merion's next-door neighbor. A bridge had to be built over the Main Line for spectators to get onto the grounds.
The competitors this week will, no doubt, back away from shots on the occasions when a train charging down the Main Line sounds its horn as it races by, transporting commuters in and out of Philadelphia. That won't be the only external noise the players are likely to contend with. A little more than 150 yards from the sixth green is St. George's Episcopal Church, where the bells in the tower ring every 30 minutes. The rector of the church has been quoted as saying that nobody has asked that the church to turn off the bells, but if any golfers want to come by, he will "bless their clubs."
Mike Davis, the USGA executive director, has called this year's tournament the "Boutique Open." But that doesn't mean that the course will be anything of a push-over for the world's best players. While Merion is less than 7,000 yards in length (6,996), it has all the elements of the national championship, with tight fairways (down to 24 yards in some cases) and an unforgiving rough. Golf's evolution when it comes to distance does not, in the opinion of many, render Merion inadequate, especially if the rain stays away. Placement of tee shots is more important than distance. Players will likely have the opportunity to use a driver on no more than seven holes. Five, perhaps, with the longest hitters.
Lee Trevino, who won in a playoff over Jack Nicklaus in 1971, said that there were 16 birdie holes on Merion's east course, where the championship is played, but also noted "that there are 18 bogey holes." Those bogey holes will become neutralized if weather were to bring about soft greens, which is why everybody, especially Davis, has fingers crossed for warm sunshine and dry conditions.
The long-range forecast is for sunshine on the weekend. The desired weather, tight fairways and a rough, which USGA officials say will be tougher to escape from than in recent U.S. Opens, should make this year's championship as competitive as anyone could want.
Merion, famous for its wicker basket flagsticks, is a gem of a layout, which once was farm land. A member, Hugh Wilson, was charged with designing the course, which was originally known as the Philadelphia Cricket Club. In his creativity, Wilson was able to achieve a deceptive golfing layout that has charmed golfers and designers alike. A Scottish immigrant, Wilson journeyed back to his homeland to gather ideas from courses he observed in Scotland and England before starting work on the course that became Merion.
His genius at Merion never caused him to become noted like Donald Ross, A. W. Tillinghast and Alister Mackenzie. Other than Merion, Wilson designed two public courses in the Philadelphia area and a private club in Phoenixville, which is 19 miles from Ardmore.
The last time the U.S. Open was played at Merion was in 1981 when Australian David Graham fashioned a flawless 67 in the final round to win by three strokes, one of the best final rounds in U.S. Open history.
There was an interesting sidebar to Graham's victory. The championship always concludes on Father's Day, but Graham had little to say about that. When he made his decision to leave school and become a professional, his father refused to speak to him. At the time of his winning the U.S. Open, Graham had seen his father only once in 21 years.
More like this story
- U.S. OPEN PREVIEW: Woods favorite to win U.S. Open, end drought; Tech's Kuchar eyes first major ( June 12, 2013 )
- LORAN SMITH COLUMN: Finesse — not power — is key at this year's U.S. Open ( June 15, 2013 )
- LORAN SMITH COLUMN: Former UGA golfers fighting way through 'Little Merion' ( June 14, 2013 )
- Donald's late surge puts him in lead at suspended U.S. Open ( June 13, 2013 )
- Mickelson, Horschel top U.S. Open leaderboard after Day 2 ( June 14, 2013 )


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School of Education Offices
Application Process
When applying for a master of science degree in Educational Administration and Leadership, the School of Graduate Studies serves as a liaison between the applicant and the master's program. Application materials should be sent to the School of Graduate Studies. Once all application materials are received, the School of Graduate Studies will forward materials to the master of science program for review. Thereafter, an admission recommendation will be forwarded to the School of Graduate Studies for a final decision and notification to the applicant. Applicants may apply online at www.stcloudstate.edu/graduatestudies.
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junaid khan, 13 Jun 2015Hahaha father of galaxy k zoomhahaha lol .you are right
A total ripoff of the Sharp 903. The main reason NOT to get it. IT's a SAMSUNG. Ever samsung i've had, from laser printers to dvd players ended up in the garbage. Go for the Sharp 903.


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Arrange songs for radio play and club remixes using four different digital audio workstations: Pro Tools, Ableton Live, Logic, and Reason.
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Diablo III (3) Ultimate Evil Edition
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Vanquish your foes with the righteous might of the new Crusader class. Rise to new heights of power with an increased level cap, taking your hero to 70 and unlocking new skills (as well as a fourth passive slot) along the way. Befriend Myriam, the Mystic, to customize both the properties and appearance of your equipment. Explore endlessly with Adventure Mode, where all waypoints are unlocked and world itself is your battlefield. Hunt down objectives and complete all-new Bounties for legendary rewards. And don't forget to prepare for the slew of new monsters lurking behind every shadowy corner, awaiting a chance to rip your hero limb-from-limb!
Diablo III is the third iteration in the mega-blockbuster franchise from Blizzard Entertainment. It is a fantasy/horror action RPG that maintains the core elements of the first two games.
Diablo III takes place two decades after Diablo, Mephisto and Baal have tortured the world of Sanctuary in Diablo II.
Diablo III has arrived for the new PlayStation 4 console.
This exciting partnership between Blizzard and Sony allows you to experience the excitement and magic of Diablo III on your next generation PS4 console with stunning HD visuals.
Diablo III is the definitive action role-playing game, and a true continuation of the Diablo series.
Players will create a male or female hero from one of five distinct classes - barbarian, witch doctor, wizard, monk, or demon hunter - each equipped with an array of spells and abilities. As these heroes adventure through rich and varied settings, unraveling an epic storyline and engaging in combat with hordes of monsters and challenging bosses, they'll grow in experience and ability and acquire items of incredible power.
The game takes place on Sanctuary, a world of dark fantasy. Unbeknownst to most of its inhabitants, Sanctuary was saved some twenty years ago from the demonic forces of the underworld by a few brave and powerful heroes. Most of those warriors who directly faced the armies of the Burning Hells - and were fortunate enough to survive - went mad from their experiences. And most of the others have buried their haunted memories and pushed the horrors from their thoughts. In Diablo III, players will return to Sanctuary to confront evil in its many forms once again.
Diablo III is a fantastically compelling next generation PlayStation 4 game, whether you've played the previous titles in the series or not. This stunning game will also include many new features that will take the Diablo action-RPG experience to the next level.
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"My pain, resentments, and sadness give me my strength. My strength ruined my mind, body, and soul. I've been trapped all my life--not by man or cages, but by my own emotions. Where I have been, what I have seen, when I travel inside myself, can be summed up by one word. Damn!"
These are the words that open a trailer for a documentary about Miami Dolphins wide receiver Brandon Marshall and his struggle with borderline personality disorder (BPD). Marshall revealed his diagnosis at a Miami press conference on July 31, 2011. Newspapers and television stations quickly picked it up.
Marshall credits McLean Hospital in Belmont, Mass., where he spent three months undergoing intensive evaluation and treatment, for finally identifying his problem.
There were a number of times when Marshall's volatility made headlines. Marshall has been in therapy for years--league-mandated and otherwise--and has been consistently in trouble with the law since his days at the University of Central Florida. He says, "If I hadn't have been in treatment, I would have thrown away my career, and possibly my life."
The award winning football player, nicknamed "The Beast," was arrested in March 2007 following a domestic dispute, and later in October 2007 for driving under the influence of alcohol. He was ticketed in June 2008 for a traffic offense. He also had encounters with police in Georgia.
In this article from SB Nation (which also explains BPD quite nicely), author Ali Mohamadi writes, "Picture a man who one day in training camp vows to help his team win a championship by any means necessary, then another day is suspended for punting balls out of practice and refusing to catch passes thrown his way. A man whose reputation as one of the NFL's most generous contributors to charities is rivaled only by his having compiled one of its most notorious rap sheets. A man who is considered by some reporters one of the league's most enjoyable interviews, by others its most stressful."
I've taken the transcript of Marshall's press conference and massaged his words and edited it so it reads fluidly and omits other sports talk. To read the actual transcript and see the video of the press conference, click here. To see a trailer for the video, called "Borderline Beast," click here.
Today I am making myself vulnerable to help others who suffer from borderline personality disorder (BPD). I have seen my life with BPD and how it played out. My goal is to walk the halls of Congress to fight for the insurance coverage for this, and walk the halls of the National Institute of Mental Health to raise the awareness of this disorder. That is my mission moving forward. I love the game, but it's not my priority anymore. Today my journey begins.
I want to be the face of BPD.
I've accomplished more than I ever dreamed of. Not only did I become a Pro Bowl player, I became one of the highest-paid football receivers. I graduated from college and am pursuing a master's degree. I am married to a beautiful, educated woman. I have a dream home, two nice cars, and three beautiful dogs.
But I haven't enjoyed one part of it. And it's hard for me to understand why.
My wife has been affected by this more than anyone else. I can see sadness, confusion and pain in her eyes. She told me, "Someone will learn from our story." She's handle this situation with grace and love. She has exhausted herself trying to help me and trying to love me. I may lose her still, and that hurts me.
People who suffer from borderline personality disorder are not crazy. What we feel is real. People with BPD react at a high emotional level and it takes us longer to get down to baseline. I am going through Dialectical Behavior Therapy, an intense program that is teaching me how to regulate my passionate emotions, how to sit with myself and deal with things.
Yes I have been a good football player because I don't think on the football field. I just react. And with that said, I didn't think much off the field either. Everything has been all reacting. People say football players have to be able to turn the switch on and off between thinking and reacting, but there has never been a switch for me. It's always been impulsivity and just reaction. It made me who I am today. I appreciate it, my strengths, but they have also ruined me.
There is one day I just exploded and I told everybody how I felt. And then afterwards I felt really bad. I went to my teammate Ricky Williams and said, "Do you think there is something wrong with me because I can't control myself?" Ricky said, "You say the things that we all want to say but won't ever say."
There was dysfunction in my childhood. Borderline personality disorder usually presents itself in early adulthood, and that's where it manifested in me after traumatic relationships with family members and a past relationship. That's when I felt the shift of the isolation and the depression.
People see me running around the football field with a lot of emotion. But at home I would just sit and be stuck there in one place. Right after dinner I would go in my room and go to sleep. That was my life for so long. My wife used to say, "I want my old Brandon back." She would say that I am not affectionate, I am not there emotionally.
During the season last year I really thought something was wrong with me mentally. There was a lot of conflict between me and my coaches, and I handled it inappropriately. I knew I needed help. So I called Dr. Gunderson and McLean Hospital and asked him if he would see me.
I flew out to Boston every couple weeks for a couple of days. But during that process I stopped believing in working on myself. The behavior may have changed-I would get angry and I could walk away, but inside I was boiling. I was a ticking time bomb. I left treatment.
After I exploded at someone in May or April, I got this email from Dr. Gunderson and he said, "I heard what happened. Now call me and let's see where we can go from here." A couple days later my agent and assistant flew in town to persuade me to go back. They were shocked in the state I was in. Even then I thought I would be all right, pick myself up again and be able to be better.
But they said 'Brandon, we really want you to go back, we really want you to go back." I prayed on it and prayed on it and I said ok I will go."
I flew to Boston and had a neurological evaluation. Within a couple of days I was diagnosed with borderline personality disorder. I immediately felt better because there was a treatment for it. No one had ever diagnosed me with anything before. That day brought excitement and confusion.
As you go through therapy and skills training groups, you begin to peel back layers and get to the root of the problem. You realize that what is on the surface is really not the problem. Where I grew up, we learned to react, not think. My stay at McLean Hospital helped me process and interpret things.
In Dialectical Behavioral Therapy I learned skills like radical acceptance, distress tolerance, mindfulness, and communication skills. They taught be how to see the gray in between the black and white. I learned to deal with my emotions and sit with myself and not making the situation worse.
I am not saying I am cured. But I can live an effective and healthy life. My goal is to continue the program and at the end of the year I will re-evaluate myself and I will see where I am and where I want to be.
I am not grappling with it anymore, I understand it. This has been my life for the past three months. I am learning a lot about the neurological part of psychology. As a Christian, you not blessed until you bless others. There are a lot of people out there who suffer from what I suffer from, but never had the opportunity to get the right help. And now that's my purpose in life.
Sportswriter Omar Kelly had the best reaction:
"Brandon Marshall isn't the bravest athlete I've covered. After admitting to the world he's struggling with a mental disorder it's more fitting to describe the Miami Dolphins receiver as the bravest person I've known. Admitting to your family something is wrong with the way your brain's wired is courageous. Telling the world you have a mental disorder is fearless."