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In a tough economy, we learn to make do with what we have. If we can't imagine wearing a piece of clothing three different ways, we don't even think about buying it.
Just ask Kate Middleton: The duchess is often photographed repeating outfits. Now Michelle Obama is donning the same dress twice, too.
A blog called Mrs. O, which chronicles the first lady's style, reports that at the recent Congressional Black Caucus Gala, Obama was wearing the same Michael Kors gown (a black georgette pleated number with one shoulder) that she'd worn in June to the Presidential Medal of Freedom ceremony. This time around, however, she replaced the gold-chain belt with a rhinestone belt.
"This is the first time in memory that Mrs. O has repeated a formal ensemble," the blog reports.
We can't blame her. If we owned that dress, we'd probably wear it to the grocery store. Just sayin'.
Click here to read the full story.
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We're in Charlottesville, VA
Mindboggling mentalism effect! It seems like your spectators have free will, but they can NEVER choose the correct key to open the wallet!
And this one can be done in a number of different ways! Use it with the wallet in the routine described below, or use just the padlock and the set of keys, as in the Win Or Lose Lock routine.
This trick is ingenious in the way it works. The effect is very, very strong- your audience will be talking about this for a long time to come!
The Bank Nite Keys routine: Show a zippable leather wallet. Fold up a real bill (the larger the denomination, the stronger the effect!) and place it inside the wallet. Zip the wallet closed, then secure the zipper with a small padlock. Show five keys, and assure your audience that one, but ONLY one, of the keys opens the lock. You will select four audience members, and each will choose one of the five keys, leaving you with the one last key. Announce that if any of the audience members' keys opens the lock, that person can keep the bill inside!
The keys are mixed up, each person FREELY selects and holds one key. You hold the key that was not chosen. One by one, the members try to open the lock. None of their keys work. At last, you come forward with the key that was not chosen, and THAT is the key that opens the lock! Your bill is safe with you!
You are ALWAYS in control of whether the lock opens or not. And by the way- you also choose how many keys you want to use in your routine. Use all of them, or focus on using just two or three keys. It's all up to you!
The Win Or Lose Lock routine: Use just the padlock and a few of the keys. Show three keys, and show that only one will open the lock. You mix the keys up, then let your spectator FREELY CHOOSE any one of the three keys. You can even let him change his mind and select a different one. Then let another spectator choose a key from one of the two remaining. No matter which keys are chosen, YOUR KEY (the key that your spectators did not choose) is the only key that will open the lock. Or you can reverse the effect. Show that only one key opens the lock. Let your spectator mix them up, and hold them in their hand. Without looking, you hold your hand over the keys, mentally picking up "energy", and you select one of the keys. Of course, the key you select will open the lock.
You supply the money to lock inside the wallet.
There are countless ways you can use this effect. ALL the keys fit into the lock, and ALL the keys can open the lock. You just choose when! Use it for a timed escape, use it in a mentalism routine, even use it in a comedy routine. If you are performing at an event in honor of a specific guest (a retirement or birthday party), you can let the guest choose the correct key. So many possibilities!

subset: commoncrawl


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Fishing & Boat Charters
Every true angler has that one special fishing spot, the one place he or she can always count on to reel one in. Not surprisingly, many have come to refer to their special spot as Massachusetts, where you'll find an extraordinary amount of great freshwater and saltwater fishing, all four seasons.
For freshwater fishing, you'll enjoy more than 500 lakes, ponds, rivers and streams stocked annually with trout, bass, herring, salmon and many other varieties. Venues range from the ice-cold streams of the Berkshire Hills to the mighty Connecticut and Merrimack Rivers.
If you're a saltwater angler, on the other hand, you will be treated to the likes of bluefish, tuna, cod, haddock, halibut and sea bass onboard charter boats, leaving from numerous Massachusetts ports in the Cape and the Islands region and up and down the coastlines.
If you're docking in Nantucket, consider the Nantucket Boat Basin. You'll have access to bathrooms, showers, electric, gas, internet connections, and more.
For more information about fishing in Massachusetts, please visit Massachusetts Dept. of Fish and Game
Watch a video on fishing the coast of Massachusetts from the Division of Marine Fisheries.
Sudbury River
Martha's Vineyard
Charles River, Boston
Outdoor Adventure: It's all here
Looking for fun things to do and see in Massachusetts?
Get some outdoor adventure ideas
Two Lanterns Productions (Historic Tours/Narrations)
Provide Historic Tours in Boston, Lexington, Concord and Salem. Make presentations in public schools as 'Paul Revere' more+ 1 saves
Two Lanterns Productions (Historic Tours/Narrations)
87 Bridge Street
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Outdoor Adventure: It's all here
Looking for fun things to do and see in Massachusetts?


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Despite year of successes for Arts Council, future funding in doubt
Published: Tuesday, July 9, 2013 at 6:29 p.m.
Last Modified: Tuesday, July 9, 2013 at 6:29 p.m.
Almost exactly one year after taking over as its executive director and sole paid staffer, Rhonda Bellamy can tick off a list of achievements by the fledgling Arts Council of Wilmington and New Hanover County. Not only has the council revived a once-dead public sculpture program and taken over coordinating the monthly Fourth Friday Gallery Nights art walk, but it's also been distributing funds from the North Carolina Arts Council, a state agency, to local groups.
A timeline of notable dates
A timeline of notable dates in Wilmington's arts council history.
2002: After 30 years in New Hanover County, the financially troubled Arts Council of the Lower Cape Fear dissolves.
2008: With backing from the city of Wilmington and support from local arts groups, the N.C. Arts Council organizes a steering committee to explore the possibility of organizing an arts council in New Hanover County.
November 2010: After dozens of field interviews and a survey, the N.C. Arts Council and the steering committee urge that a new arts council be formed in the county within the next 12 to 18 months. The steering committee draws up a proposed annual budget of roughly $200,000, with funds coming from the state, local governments and private sources.
March 14, 2011: New Hanover County Commissioners vote unanimously not to fund the new arts council. Organizers vow to seek funding from other sources.
Nov. 15, 2011: N.C. Arts Council director Mary Regan announces that a New Hanover arts council will be formed with a mix of state funds, private funds and a three-year grant from the city's old Brooklyn Arts Center fund.
December 2011: Rhonda Bellamy, co-chair of the local steering committee, is named interim director of the new arts council.
Dec. 5, 2011: The Arts Council of Wilmington and New Hanover County is launched with a reception at the Greater Wilmington Chamber of Commerce.
April 2012: The new arts council solicits local applications for Grassroots Arts grants, with funding from the N.C. Arts Counncil.
June 2012: The arts council moves into new offices at 221 N. Front St.
July 10, 2012: After a nationwide candidate search, the arts council's board confirms interim director Rhonda Bellamy as executive director.
August 2012: The Arts Council Exhibition Space gallery, aka ACES, opens.
April 5, 2013: The council re-launches the "Pedestrian Art" program, placing sculptures in public spaces downtown. The program had been founded by private non-profit Creative Wilmington, which dissolved in 2011.
June 3, 2013: The New Hanover County Commissioners pass a resolution recognizing the arts council.
June 2013: The council launches its own website, ArtsCouncilOfWilmington.org, with an events calendar, artists' directory, grant information and more.
– Ben Steelman
"It really has been a good year," Bellamy said.
Despite a not-insignificant list of successes, however, the financial impact of the new council has been limited, and the future of much of its funding remains in doubt.
Word on the street
Members of Wilmington's art community generally give the new arts council good marks.
"This is a different kind of arts council," said Tony Rivenbark, executive director of the Thalian Hall Center for the Performing Arts. "They've done a good job with what they've had to work with, and they've certainly been visible in the community."
Reed Wallace, executive director of the Wilmington Symphony Orchestra, is "very pleased," he said. "I think Rhonda is really on point in promoting Wilmington as an arts destination. Each of our groups has been struggling separately. The arts council gives us a united voice."
Artist Virginia Wright-Frierson said she's glad the new arts council is in place, but thinks "there's not much connection" yet between individual artists and the council. Another problem, Wright-Frierson added, might be the arts council's somewhat cumbersome eight-word name.
Success stories
Earlier this year, the arts council re-launched "Pedestrian Art," a program that places sculptures in public places around downtown Wilmington on a temporary basis. Six artworks are currently up, and new ones will be put in place in September.
It opened ACES, the Arts Council Exhibition Space, in its offices at 221 N. Front St. So far, ACES has mounted a number of exhibits by local artists, including a retrospective on the "No Boundaries" international artists' colony held each November on Bald Head Island.
Fifteen galleries are currently participating in Fourth Friday Gallery Nights, a monthly event encouraging after-hours tours of local galleries, studios and arts spaces, and Bellamy mentions other initiatives: the council's new website (www.ArtsCouncilOfWilmington.org) with an events calendar, a directory of artists and arts groups and even a map that points the way to local arts resources. A mobile app version is on the way, she said.
Following the money
Most important, the council has been passing along arts funds from the N.C. Arts Council to local groups. N.C. Arts Council funds are generally supposed to trickle down to local communities on a per capita basis. For years, however, local critics argued that New Hanover was not getting its fair slice of the state arts pie.
That was because New Hanover County lacked an arts council for a decade, after the old Arts Council of the Lower Cape Fear expired in 2002. For much of that decade, local artists and arts groups had to funnel their applications through the local arts council in Fayetteville. Supporters of the new arts council argued that New Hanover was losing a lot of potential funding through this process.
For fiscal year 2012-2013, the council gave out $22,000 in Grassroots Arts grants to 13 local arts groups for programming, education and other projects. That was down from the $26,800 in Grassroots Arts funding for New Hanover County distributed in 2011-2012.
Later this year, however, the council will distribute $50,000 in Grassroots funding. (Deadline for applications was June 14; grants will be announced in the fall.) Bellamy noted that funding varies from year to year, depending on how much the General Assembly votes for that purpose.
In 2002-2003, when the Cape Fear Museum acted as a de facto arts council for the county, New Hanover arts groups received a total of $77,746 from the state, including Grassroots grants and grants from other sources. In fiscal 2011-2013, that total rose to $167,000. In 2012-2013, the year the arts council was getting started, total state arts funding to New Hanover groups and agencies rose to $179,000.
Later this year, Bellamy said, the council will also begin helping distribute Regional Artist Project grants, mini-grants to individual artists for such purposes as buying equipment and materials, professional development, travel expenses and the creation of new work.
Uncertain future
Now, the local arts council faces a new challenge. In Raleigh, the General Assembly is set to cut art state arts funding, although how much is hard to tell.
Currently, the state House budget calls for $48,000 in cuts to state art grants, down from about $5.6 million in fiscal 2012-2013. The Senate budget, however, would cut up to $780,000 from grants.
Legislators probably aren't going to tackle reconciling these two figures until some other major issues, such as tax reform, are resolved, said Christine Olson, administrator for Arts North Carolina, a non-profit advocacy group.
Bellamy said she thinks the local council can weather whatever happens.
"We try to be as self-sufficient as possible," she said.
In its first year, the council managed to raise $191,000 from corporate, foundation and private sources, ranging from the Cameron Foundation to Residents of Old Wilmington. Bellamy said the council plans to raise another $200,000 locally this year, and thinks it is an achievable goal.
The local council also receives smaller sums from the N.C. Arts Council under the Focus East program and for "organizational development."
The old arts council had presented some local arts programs, such as the long-running Piney Woods Festival held each Labor Day weekend at Hugh MacRae Park. For the new council, that's just not an option.
"We're very short-staffed," said Bellamy, the council's sole full-time employee, laughing.
Instead, she focuses on supporting the local organizations that do the programming.
"A lot of my job is consulting," Bellamy said.
She's also worked as an advocate, joining other arts council executives from around the state for the annual Art Day rally in Raleigh and supporting arts groups' funding before the Wilmington City Council.
Bellamy has been working with groups such as the New Hanover County Airport Authority to identify the main cities from which airline passengers arrive in Wilmington. Next, she plans to target those cities with promotions for Wilmington-area arts.
"I'm hyped," she said.
Ben Steelman: 343-2208
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Atlantic Records is founded by Ahmet Ertegun and Herb Abramson. The label's initial releases feature such jazz and blues artists as Joe Morris, Tiny Grimes and Eddie Safranski.
Granville "Stick" McGhee's "Drinkin' Wine Spo-Dee-O-Dee" hits the Juke Box chart, becoming the first Atlantic record to have national impact.
Ruth Brown records "Teardrops from My Eyes," the first major hit of her career.
Ray Charles does his first session for Atlantic, cutting four songs. Over the next seven years, he will record such classics as "Mess Around," "I Got a Woman," "Hallelujah, I Love Her So" and "What'd I Say."
Jerry Wexler, a former Billboard magazine writer, joins Atlantic. He soon begins producing records with Ertegun.
The Drifters, featuring Clyde McPhatter on lead vocals, record "Money Honey."
Big Joe Turner records "Shake, Rattle and Roll." Written by Atlantic arranger Jesse Stone, the song stays on the charts for 27 weeks.
LaVern Baker records "Tweedlee Dee." the first of a string of hits for Atlantic.
esuhi Ertegun, Ahmet's brother, joins Atlantic and proceeds to develop a legendary jazz roster that includes John Coltrane, Ornette Coleman, Charles Mingus and the Modern Jazz Quartet.
Atlantic releases "Youngblood"/"Searchin" by the Coasters. Written and produced by Jerry Leiber and Mike Stoller, the song stays on the charts for most of the year. Leiber and Stoller will go on to produce and record numerous hits by the Coasters and other Atlantic artists such as the Drifters, Ben E. King and LaVern Baker.
Wexler strikes a handshake deal giving Atlantic distribution rights to Memphis-based Stax Records. The labels' eight-year association will yield scores of hits by such artists as Otis Redding, Sam and Dave and Booker T. and the MGs, literally shaping the sound of Sixties soul music.
Ertegun signs the English group Cream. Atlantic will become a major force in British rock, releasing albums by such artists as the Bee Gees, Mott the Hoople, Yes, Genesis, Derek and the Dominos, Emerson, Lake and Palmer and Led Zeppelin.
Buffalo Springfield, signed to Atlantic by Ertegun, scores a hit with "For What It's Worth." Two of the band's members will go on to form Crosby, Stills, Nash and Young, one of Atlantic's premier acts of the Seventies.
After signing Aretha Franklin, Wexler records "I Never Loved a Man (The Way I Love You)" at Rick Hall's Fame Studio in Muscle Shoals, Alabama. The song hits Number Nine on the pop charts.
Warner-Seven Arts buys Atlantic for $17.5 million. In 1970, Warner will buy Elektra Records, creating what will become one of the most powerful music corporations in the world.
Atlantic announces the signing of the Rolling Stones. The group's recordings will appear on their own label, Rolling Stones Records.
Atlantic continues to be a major force in the record industry, with an artist roster that includes Stone Temple Pilots, Robert Plant and Jimmy Page, Phil Collins, Liz Phair and Collective Soul.


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ZF-10007: Add all parents to form element name/id optionally when outputting directly
Text Element: items[410412345][fieldname] Works perfect if I am just rendering the form normally (ie. echo $this->form; ) This time around though, I'm doing some more complicated stuff with the form and wanted to control exactly where and how the elements are rendered, so I thought I'd echo the subforms/elements directly in my view script.
<?php echo $this->form->items; ?>
I see now that there is a way to do this using elementsBelongTo and belongsTo (ZF-9451).
That would require Zend_Form_SubForm to have a belongsTo member as well, that is not the case atm. What is the way you see it?
I would love to see that. I have a deeply nested set of elements that I finally got to name correctly using the elementsBelongTo property on their immediate subform parent, but that is making for some interesting returns in ::getValues($_POST) since Zend_Form is seeing multiple belongTos and nesting them oddly in the merge - element is getValues is merging the subForms' belongTos on top of array so that I end up with something like:
'items' =>
'items' =>
410412232 =>
30181391 =>
'Attendance' => string '' (length=0)
410412218 =>
'items' =>
410412218 =>
30181391 =>
'Attendance' => string '1' (length=1)
I was planning to override getValues in my extended form and see if I can get it to drop the extra nesting.
With that in mind, I think adding an option to iterate over all the parents would be great. The idea seems easier than what I'm doing above (elementsBelongTo and overriding the ::getValues() to fix the array). But you know this thing inside and out and know what kind of mess it would make to add that feature.
I thought about what you said about adding a belongsTo member to SubForm and decided to give that a shot since my attempt at overriding ::getValues() above was turning into a bigger mess than it was worth. I can guarantee I've missed some obvious things/bugs/disasters in what I did, but I thought I'd pass it on and if there is anything you can use, have at it! I decided to go with 'parent' as the subForm member and used it to modify the belongsTo properties as needed. It basically grabs the parent of the previous form/subform and adds it to the current subform + the current's parent, a simple array. I extended Zend_Form and Zend_Form_SubForm (only so I could point it at my new Form class so it could pick up the parent property). I made a small change to Zend_Form_Decorator_FormElements::render method as follows:
* Render form elements
* @param string $content
* @return string
public function render($content)
$form = $this->getElement();
if ((!$form instanceof Zend_Form) && (!$form instanceof Zend_Form_DisplayGroup)) {
return $content;
$belongsTo = ($form instanceof Zend_Form) ?
( $form->getParentString() !== false ?
$form->getParentString() :
$form->getElementsBelongTo() ) :
My extended files are attached. Yes I know, "PC" isn't Zend legal ;) I know there will be a lot more to it than what I've done here (like adding the toggle to use all the parents or not for multipage), but I hope it is in the right direction!
PC_Form and PC_Form_SubForm files
Oops, overriding _setElementsBelongTo() causes double nesting. Leaving it as is seems to work perfectly.
Postponing, should have for 2.0
Some updated files (finally got around to extending the Zend_Form_Decorator_FormElements class instead of my little hack to the actual Zend file... laziness and procrastination!). Added a flag to set whether to use the parent form's in the array naming or not (::setUseParent(bool)). If it is set, it will use the parent's names in the array naming scheme. If not, it will use only the item being rendered as the parent.
There is a problem with it rendering parents correctly when rendering an entire form (<?php echo $this->form; ?> versus rendering the elements through a viewscript (<?php echo $this->element->elementname; ?>). The viewscript rendered elements pick up the parents correctly while the rendered form seems to drop the nesting above the form being rendered. I haven't had time to look into it and figure out why since I have been using a viewscript when I need the deep nesting anyway. (more laziness and procrastination)
I thought I would add my 'new' files in case they can help out with building 2.0.
Oops, I guess I can't upload files anymore!


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Category: Reviews: BetterPhoto Products and Services: BetterPhoto Online Photography Courses
View digital photography course outlines, learn how to use camera lenses, how to shoot wildlife photography, exposure control in digital photography, macro lens tutorial and 35mm photography tip, just to name a few.
Click on a letter below to view items beginning with the corresponding letter. Otherwise, click "view all" to see all items in this category.
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$15K Alexia Foundation Grant Deadline, Exhibition Coming Up
The deadline for the 2013 Alexia Foundation grant is this Friday, January 18. The $15,000 grant will be awarded to a photographer who is looking for funding "to produce a substantial picture story that furthers the Foundation's goals of promoting world peace and cultural understanding."
The Alexia Foundation supports photojournalism that explores issues of social justice and cultural awareness. It was founded by Peter and Aphrodite Tsairis, in memory of their daughter, Alexia, who was killed in the bombing of a Pan Am flight over Lockerbie, Scotland, in 1988.
In addition to the professional grant, the Alexia Foundation will also give out student awards that provide educational opportunities and cash grants for photography undergraduate and graduate students who are making work that coincides with the goals of the foundation. The deadline for entries for the student awards is February 1.
Last year's professional grant was awarded to Justin Maxon, who has used the funding to work on a project about the number of murders that go unsolved in America. The student award went to Katie Orlinsky, who completed an internship at MediaStorm and worked on her project about the human cost of Mexico's drug war.
Both Maxon and Orlinsky will speak about their work at "Images & Issues," an Alexia Foundation exhibition and fundraising event that will be held January 23 at 25CPW Gallery in New York City. The event will feature an exhibition of the work of last year's grant recipients, and images from past Alexia Grant winners, including Melanie Blanding, Wesley Law, Ismail Ferdous, Ezra Shaw, Bob Miller, Marie Aragon, Juliette Lynch, Matt Lutton, Veronica Wilson, Justin Yurkanin, Mark Murrmann, Christopher Lane, Ryan Henriksen, Peggy Peattie, Matt Black, Mackenzie Reiss, Ami Vitale, Katie Orlinsky, Justin Maxon, Stephanie Sinclair and Khaled Hasan.
Visit the Alexia Foundation site for more information on the grants and the exhibition.
Related: Anatomy of a Successful Grant Application: Tim Matsui on the Women's Initiative Grant [Subscribers only; PDN subscribers can login to read this story]
Justin Maxon Wins $15,000 Alexia Foundation Grant


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As the world turns and we get further and further away from those early days of rock and roll…or the Big Bang Period as I often refer to it…it seems that we lose another pioneer almost daily. This week is a sad one as we mourn the passing of a man who drew attention back to a whole generation of artists, many of which continue to shine brightly today. I speak of Richard Nader, the impresario of the "Rock and Roll Revival Shows" which featured all of the great acts that at that time were only 10 or so years from their heyday…but had been shoved into the shadows, obscured by the British Invasion, the rise of folk rock, the advent of the summer of love and the psychedelic craze that followed and so on. I speak of Bill Haley, Chuck Berry, Gene Vincent, the Five Satins, the Moonglows, the Penguins, Jackie Wilson, the Shirelles, the Platters and many more.
The Rock and Roll Revival Shows held at Madison Square Garden were a huge success with almost all of the original 25 selling out in this mother of all venues. I was lucky enough to be at many of these including that fateful night when the audience booed a long hair, piano playing "Rick" Nelson off the stage. As Rick himself said, he "didn't look the same." Plus, he played other people's songs, not just his hits. As we all know, Rick got even with his biggest record ever, "Garden Party", and simultaneously gave us all a liberating rock and roll mantra for all times: "can't please everyone, so ya gotta please yourself." Richard went on to produce a major feature film, "Let The Good Times Roll", starring many of these greats and then took these shows on the road and to network television. No one did more to keep this era alive and vital.
For those that knew him, Richard had a glorious and sometimes tragic life. But above all else, he loved the music and the artists and deserves our gratitude forever for returning to center stage those that gave us the most impactful art form of all time "Rock and Roll." In recent years, I was fortunate to become friends with Richard and his wife, Deborah. They, in turn, came to know the Museum and our mission and embraced our efforts. As a result, they set aside proceeds from their shows as a donation to the Museum and gave us the opportunity to speak to broad audiences about what we do here in Cleveland. Again, we will be forever thankful.
Deborah Nader carries on today presenting shows across the nation, still spotlighting the acts that started it all. The next stop is the annual Holiday show in Pittsburgh on Friday, December 11th. It promises to be a blast.
We are all grateful for her efforts to carry on the Nader tradition and for the remarkable talent that graces those stages. In his memory, Deborah has asked that donations be made to the Rock and Roll Hall of Fame and Museum's education programs as a tribute to Richard.
My heartfelt thanks to you, Deborah.


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Rated 4.5 out of 5 by 4 reviewers.
Rated 5 out of 5 by Cathydp464 Perfect Measuring Container I love this shaker glass style measuring glass, especially making bread or other recipes that call for, say one egg and enough water to equal 1/2 cup plus 2 tablespoons. No need to dirty extra measuring utensils, all the measurements you might need are all on one container. May 24, 2014
Rated 5 out of 5 by Chynnaski Tons of uses I have mixed drinks in this thing & I have used it measure & hold ingrediants that need to be added later in the cooking/baking process. So many ways to use this!! April 1, 2014
Rated 5 out of 5 by Pluto's Girl My FAVORITE FIND this Year! I love this! Mixing drinks, dressings and cooking & baking measurements made easy. Conveniently stores with all of my other pint size drinking glasses. December 20, 2011
Rated 3 out of 5 by Charles Printing comes off in dishwasher I bought this thinking how great it would be to just measure with one glass that has so many measuring options marked on it and honestly loved it. Sadly my wife forgot that I made her promise it would be hand wash ONLY and she ran it through the dishwasher. The printing on the glass came off completely in the dishwasher. We've had the same trouble with other measuring cups from Pyrex and to be frank I'm a little confused as to why it seems that dishwasher safe glass marking is seemingly impossible to produce. I'm very unhappy that my new measuring pint glass is now just a drinking pint glass and as much as I want a new one I don't know if I'll bother buying it again. April 9, 2012
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Looking for the most up-to-date information about St. Elizabeth's Hospital? This is the place to find current press releases, the events calendar, photos, videos and more.
Calendar - Mark your calendar for upcoming educational and health related events.
Press Releases - See the top news items about St. Elizabeth's Hospital.
For more information, contact the Marketing/Communications Department at 618-234-2120, ext. 1575.


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Rated 4 out of 5 by 2 reviewers.
Rated 4 out of 5 by Jessathome Adorable but... So adorable looking and it looks great in my kitchen but it does leak just a bit after pouring no matter how careful you are. March 5, 2014
Rated 4 out of 5 by SweetPea24 Spout is a little drippy but not too bad I like to decant olive oil into a smaller opaque container so it's protected from light on my countertop--I bought this because the bottle I had been using was too hard to clean. I really love the look and it is much easier to clean. The clear plastic thing on the tip of the spout isn't a cap, as I was assuming, but is a little neck to catch drips because the spout is a bit drippy. Wish it would have been designed slightly differently with a non-drippy spout and an actual cap, but I still use and enjoy it. July 24, 2013
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Tami is a librarian at the Corte Madera Library.
This is an official blog for the Marin County Free Library.
All branches of Marin County Free Library will be closed on Monday, July 4 for Independence Day.
Wolves are the largest members of the dog family. Gray wolves are the most common, and were once found all over the Northern Hemisphere. Because wolves kill domestic animals, however, they were hunted to near-extinction in the lower 48 states. Few gray wolves survive in Europe today, though healthy populations exist in Canada, Alaska and Asia. Gray wolves have been reintroduced into several northwestern states and are slowly making a comeback. Red wolves originally lived in the southeastern U.S. but went extinct in the 1980s. They have been reintroduced into North Carolina and their numbers are on the rise.
The gray wolf has been well researched over the years, and many books have been written about it. Though it was feared and hunted in agricultural societies, it was celebrated by some Native American tribes. Gray wolves are extremely gregarious, and communicate by means of highly-developed behaviors and vocalizations. To find out more about wolves go to the Marin County Free Library website. If you type "wolves" as a subject heading into the Classic Catalog you'll find links to 556 entries. In the Encore Catalog typing "wolves" in the search box yields 656 results.
To learn what the California Wolf Center is doing to help wolves recover, come to the Corte Madera Library on Tuesday, May 14, 7-8 PM to hear a presentation by Lauren Richie.


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Coat, Service, Summer, Royal Canadian Air Force
This is an example of a standard issue Royal Canadian Air Force pilot's tropical twill service coat issued during World War II. The RCAF adopted this 1936 pattern coat from Britain's Royal Air Force. There is no information about the specific individual that wore this coat but it was donated to the National Air and Space Museum by the Canadian Forces Attaché as a gesture of good will and international cooperation.
Donated by the Canadian Forces Air Attache
Physical Description:
Royal Canadian Air Force (RCAF) khaki drill tropical service coat ; single breasted with open collar; four brass buttons down front with embossed eagle surmounted by a Queen's Crown and R.C.A.F. below eagle; two upper button flap pockets with box pleats; two lower button flap pockets; RCAF pilot's badge (white embroidered wings on black felt; light brown wreath surrounds "RCAF" in center of badge; St. Edward's (Queen's) crown surmounts wreath and "RCAF") over left breast pocket, seven medal ribbons (1939-1945 Star, Africa Star, Defence Medal, Canadian Volunteer Service Medal, War Medal 1939-1945, UNEF Medal, Canadian Forces Decoration); three stripe Wing Command rank insignia on cuffs; attached belt.
- Country of Origin
- Canada
- Manufacturer
- Rudolf Hagen
- Type
- PERSONAL EQUIPMENT-Uniforms: Military
- Materials
- Wool, synthetic fabric, brass
- Dimensions
- Clothing: 81.3 x 63.5 x 5.1cm (32 x 25 x 2 in.)


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HOME Ryan Newman Gear Ryan Newman Home & Office Ryan Newman Home & Office Photos, Posters & Prints (2 items) Product ID: 1113212
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- Can be washed with soap and water
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As seen on the National Geographic Channel.
Price: $24.95
It's a story of bubonic plague, starvation, espionage and cannibalismand the founding of America's first colony. In 1607, a handful of English adventurers set sail across the Atlantic, expecting a paradise teeming with gold and riches. Now, 400 years later, the latest discoveries reveal the true story of Jamestownas you've never seen it before. With exclusive access to forensics and archaeology, National Geographic reveals shocking new evidence of starvation and disease, secret plots and Spanish spies. Dramatic recreations bring to life the darkest chapter in America's history.
Not available for shipment outside of the U.S. and Canada.


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Published: Monday, November 18, 2013 at 11:38 a.m.
Last Modified: Monday, November 18, 2013 at 11:38 a.m.
A registered sex offender is accused of appearing twice at Churchland Elementary School, according to the Davidson County Sheriff's Office.
Jerry Lee Baskin Jr., 41, of 230 Lakeview Church Road, Linwood, has been charged with two counts of felony sex offender on child premises. He was given a court date of Jan. 21 and a $20,000 secured bond.
Baskin appeared Aug. 26 and Nov. 12 at Churchland Elementary, according to the sheriff's office.
Reader comments posted to this article may be published in our print edition. All rights reserved. This copyrighted material may not be re-published without permission. Links are encouraged.


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Made exclusively for Zents in the English countryside, they are a superb addition to your favorite Zents products. Ideal for the bath or the sink, they make the perfect gift or the perfect way to treat yourself to a spa experience at home.
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This twist of the Starburst was complete news to me when I saw it on the shelf in the store. A Sour & Sweet mix? Where did this come from? Poking around on the Starburst website, I noticed that they're now listed under the "Sour" tab. It looks like these are the new replacement of the pre-existing Sour variety. I can't see a reason for this, but then again I'm not a product developer or am analyzing sales figures. It just seems like it's a change that's more of a gimmick than anything.
The package is attractive with a nice red/green color scheme going on. The flavors are listed with nice illustrations on the side showing each of the fruits. I always chuckle at the image of the blue raspberry. The whole idea of this mix is that half of the flavors are sweet and the other sour. I found myself checking the flavors again because they don't specify which are the sour ones and which are the sweet ones. Each flavor could be either in my opinion, and I'm not sure how I feel about not knowing which is which before actually eating them.
Sweet Strawberry (maroon): The chew itself is light pink, like cotton candy. It smells fruity, plastic and medicinal. It's comes across as very odd to me. The flavor is fruity, jammy and red strawberry. It's a little floral and has a subtle tart edge to it.
Sweet Blue Raspberry: This chew is bright neon blue. Kinda scary! It smells sour and not much else, it's very odd. Isn't this supposed to be sweet flavor? The flavor is immediately zesty and not berry-like at all, at least not at first. It tastes like a zesty lemonade at the start, then the flavor mellows and becomes more berry. I'm reminded of pink lemonade.
Sour Apple (green): The color is light celedon green. This one smells very faintly of fake apple. Taking a bite, and whoo! This baby is really tart! My saliva glads really kicked into gear with this one. It's tastes intensely of that artificial green apple. Jolly Rancher's look out.
Sour Watermelon (pink): Light pink in color, practically identical to the strawberry flavor. It smells of that standard fake watermelon flavor with notes of raspberries, cantaloupe, and some flowers. Again, the taste is really juicy and sour. The flavor has a little sweetness to it, but I do taste more sour. Maybe that's what the name is getting at? Each flavor is a bit of both?
So it's hard to say what I think of these. I'm a big fan of the traditional Starburst, and sometimes I'll opt for the Baja California and Tropical flavors. I never really went for the Sour ones though, so as much as I'd like to say I'd miss them, I really don't. This roll is tasty, but not tasty enough to get me to stray from my favorites.
Rating: Might Eat Again
Links Starburst Website


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ZF-9465: Zend_Application_Resource_View doesn't use static helper broker (new discussion over the bug #ZF-8778)
In bug #ZF-8770 Andrew Stoltz asked to fix using "new view renderer" instead of calling static one.
why did this bug marked as "not an issue"?
i have a big problem with it in such case: in application.ini I setup:
resources.view.helperPath.CU_View_Helper = APPLICATION_PATH "/views/helpers/CU/View/Helper"
resources.view.helperPath.ZendX_JQuery_View_Helper = ZendX/JQuery/View/Helper
then in bootstrap class:
protected function _initActionHelpers() {
Zend_Controller_Action_HelperBroker::getStaticHelper('contextSwitch')->AddContext('widget', Array('suffix'=>'widget'));
after this all queries with '&format=widget' have wrong output! ViewRenderer output *.phtml template instead of *.widget.phtml
if move contextSwitch initializer in another place (for example in controller init function) all work ok.
such behaviour explains by ContextSwitch helper call
only once and store pointer to in as a private attribute. and if it happens before Zend_Controller_Action_Helper_ViewRenderer called, it causes errors.
added patch to fix problem
Fix with issue ZF-11579.


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by George Lipsitz, author of Midnight at the Barrelhouse: The Johnny Otis Story
Johnny Otis died on January 17, less than one month after his 90th birthday. His rich and full life as a band leader, musician, singer, composer, radio and television host, author and artist has won him many awards and honors including induction into the Rock Hall of Fame in 1994. His biography in the Rock and Roll Hall of fame salutes him as the Godfather of Rhythm and Blues, an appropriate title given his key role in creating small combos in the years after World War II that were capable of blending the driving pulse of the big swing bands with the sensuality and artistry of the blues. Otis and his business partner and onetime manager Bardu Ali opened the first nightclub in the world devoted solely to rhythm and blues, the Barrelhouse Club near 107th Street and Wilmington in Watts. Otis discovered and produced an amazing array of great artists including Etta James, Jackie Wilson, Little Esther Phillips, Hank Ballard, Sugar Pie DeSanto and Little Willie John. He wrote and recorded "Willie and the Hand Jive," played drums on Big Mama Thornton's original recording of "Hound Dog" and played vibes on Johnny Ace's "Pledging My Love." Yet Otis also exerted enormous influence on rock'n'roll itself. Brian Wilson of the Beach Boys was inspired to play the electric guitar because of the songs he heard listening to Otis' radio shows on KFOX in Long Beach. As teenagers Frank Zappa of the Mothers of Invention and John Stewart of the Kingston Trio regularly observed Otis producing records in his home studio. Bob Dylan admired Otis' music and in his book Chronicles confided that he drew on it as a particular inspiration during one especially difficult recording session in the 1980s.
Otis demurred from presenting himself as a founding "father" of rhythm and blues or of rock. One night a caller to his public radio show described Johnny as the father of rock'n'roll. "Well I don't know about that," Otis replied. "I am the father of Laura and Janis and Shuggie and Nicky Otis, but I don't know that it goes beyond that." His reluctance to accept the status this listener and others wanted to bestow on him was not a matter of personal modesty but rather an issue of collective responsibility. Otis always insisted that the great Black music he played and admired was a collective creation of the Black community. While the artistry of select individuals like Louis Armstrong, Bessie Smith, Duke Ellington, Billie Holiday, Ray Charles, Aretha Franklin and Lightnin' Hopkins shaped its definitive contours, the music itself was a communal product. In his book Upside Your Head! Rhythm and Blues on Central Avenue, Otis explained that the music came from: "the African American way of life. The way mama cooked, the way Black English grandmother and grandfather spoke, the way daddy disciplines the kids – the emphasis in spiritual values, the way Reverend Jones preached, the way Sister Williams sang in the choir, the way the old brother down the street played the slide guitar and the blues, the very special way the people danced, walked, laughed, cried, joked, or got happy, shouted in church."
It is precisely because of this view, that the Rock Hall is the right place for Johnny Otis to be honored. The biography on display there lists many of his personal connections to the music's history: to the Coasters and Etta James, to "Hound Dog" and "Pledging My Love" to Big Joe Turner and to Johnny's son Shuggie Otis. However, the Rock and Roll Hall of Fame and Museum does something else. In its Cities and Sounds exhibits – especially the ones on Memphis between 1948 and 1959, and on Detroit from 1962 to 1971 – the Hall has re-created the sights and sounds of the communities that Otis always credited for the creation of his music. The artists and artistry Otis encountered in clubs on Beale Street in Memphis and on Hastings Street in Detroit, and events like the talent show at the Paradise Theatre in Detroit where the entrants included Little Willie John, Jackie Wilson, and Hank Ballard and the Midnighters – none of whom won because apparently there was someone even better that night – had an enormous impact on him. He also valued deeply his encounters with a street hustler from Michigan that he first knew as Detroit Red but later came to know under his new name Malcolm X. Otis participated in a Los Angeles political study group that hosted speakers that included Minister Malcolm and James Baldwin. He followed closely the struggle by sanitation workers in Memphis that Dr. Martin Luther King, Jr. gave his life to support. It was in Memphis in 1952 that police officers arrested the entire audience at a performance by Johnny Otis and his band, lined them up against the wall, searched them and upbraided them with racial epithets. Both the beautiful cultures and bitter struggles in these cities and others like them made Otis the musician and freedom fighter that he came to be.
My friendship with Johnny Otis spans the last quarter century. He was the most loving and the most loved person I have ever known. It will be painful to go on without him. The many tributes to him that poured in from all over the world testify to how much he will be missed by so many people. But the people who love him and those who do not yet know him can find substantial solace in the ways in which he and the culture that he always acknowledged and honored are represented in the Rock Hall.
About George Lipsitz:
George Lipsitz studies social movements, urban culture and inequality. His books include Midnight at the Barrelhouse, Footsteps in the Dark, The Possessive Investment in Whiteness, A Life in the Struggle and Time Passages. Lipsitz serves as chairman of the board of directors of the African American Policy Forum and is a member of the board of directors of the National Fair Housing Alliance. He received his Ph.D in history at the University of Wisconsin.


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Rule Development
2014 Electrical Rule Development
On September 24, 2013, the department filed a CR 101 pre-proposal statement of inquiry with the Office of the Code Reviser conveying the department's intent to explore changes to Chapter 296-46B WAC regarding amending the electrical rules based upon new safety code requirements from the 2014 edition of the National Electrical Code®.
|Preproposal (CR-101)
From October 1 through October 31, 2013, the department accepted rule proposals. External stakeholder and internal department proposals have been compiled and included below.
2014 WAC External Stakeholder Proposals (3.59 MB PDF)
2014 WAC Internal Department Proposals (1.87 MB PDF)
On December 19, 2013, a Technical Advisory Committee (TAC) fairly comprised of 32 industry stakeholders met to review all rule proposals and provide advice to the department.
On January 30, 2014, during their regular meeting, the Electrical Board reviewed the rule changes recommended by the Technical Advisory Committee (TAC) and advised the department to move forward in the rulemaking process with proposed rules as compiled below.
2014 Proposed WAC 296-46B Rulemaking. (1.89 MB PDF)
On March 4, 2014 a Notice of Proposed Rulemaking (CR-102) was filed. The purpose of this notice is to inform everyone that L&I is proposing changes to the electrical rules, WAC 296-46B. Below is the text of the proposed rule, the CR-102 filing and information regarding how to submit public comment on the proposed rules.
Proposed Rulemaking CR-102 (93 KB PDF)
Public Comment Information Packet (21 KB PDF)
On April 10, 2014, a public hearing was held. None of those in attendance provided testimony. Anyone who submitted written comments has received a response.
On May 20, 2014 the proposed rules were adopted.
Adoption (Rule-Making Order CR-103) (277 KB PDF)
Adopted Rule language (278 KB PDF)
The adoption date for the rules was May 20, 2014. The rules became effective on July 1, 2014.
For questions call: 360-902-5259
2013 Electrical Rule Development
Expansion of Maintenance Specialty to Include Installation of Temporary Load Test Equipment and Cabling.
On May 21, 1013, the department filed a CR 101 pre-proposal statement of inquiry with the Office of the Code Reviser in anticipation of a rule change proposal from the generator maintenance industry to expand the allowed work scope of 07 nonresidential maintenance specialty electricians.
During their July 25, 2013 regular meeting, the Electrical Board reviewed the external stakeholder rule change proposal and advised the department to move forward in the rulemaking process.
On October 14, 2013, a public hearing was held, only supportive testimony was received. The proposed rule became effective on December 15, 2013 as follows:
Adoption (Rule-Making Order CR-103) (116 KB PDF)
|Public Hearing
|Comments Due
Proposed Rule-Making (CR-102) (59 KB PDF)
|Preproposal (CR-101) (21 KB PDF)
View current electrical rules. (apps.leg.wa.gov)
More information about electrical laws and rules:
- Scroll down the Trades & Licensing Rules Under Development page (listed alphabetically) to find Electrical safety standards, administration, and installation.
- Go to the Find a Rule page for information on department laws and rules.
- Join the Electrical LISTSERV to get email notices with important dates and other information regarding rule changes.


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|Feel at home at Ao Chalong Villa & Spa Phuket. Situated
on a quiet beach of Chalong Bay. Facing a crystal sea overlooking
many yachts. Near a pier. the gateway to many beautiful island.
Only 10 minutes from Phuket town. Privacy and security. Serves
you with a delicious Thai, European cuisine and Fresh seafood.
Our private villas cater for couples or families. You will always
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Standard Room Garden View / Standard Room Pool ViewWell furnished and enable to see the sea, Swimming Pool, and Garden from the Room.
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Room Amenities
|You can enjoy many great choices of fresh seafood from our restaurant on the beach. Our chefs can cook excellent dishes in both Thai and Western styles. Also, in the night you can enjoy grilled seafood under the moonlight.
|Located on Chalong Bay with the beach of white sand. A real holiday for fulfill your relaxation with your lover, family or friends. Its private bungalow your paradise, for your memorable stay. Enjoy an international food and fresh seafood in the restaurant great view of Chalong Bay. 10 minutes from Phuket Town and 3 minutes from Ao Chalong Circle. Chalong Pier, its the gate to Koh Khai, Coral Island, Phi Phi Island and Phang Nga Bay.


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Acharya S (aka D.M. Murdock) responded to my post on That Luxor Thing, with a number of weirdly paranoid claims, but one valid criticism, and a few incorrect criticisms and more bad arguments, and it is worth addressing these in this new post. To read her entry in this exchange see Parallelophobia, Personal Attacks and Professional Jealousy: A Response to Richard Carrier's 'That Luxor Thing'.
Paranoia vs. Professionalism
One of the reasons Murdock's methodology goes off the rails is that she assumes everyone is out to get her and that there is always some sort of evil conspiracy against her work. Which insulates her from listening to criticism and correcting the way she does things. That is one of the surest ways to fail as a scholar. It likely also prevents her from having useful dialogs with experts in ancient history. Which is the surest way to make yourself irrelevant as a scholar. But that's her own lookout.
What concerns me more is her mean-spirited paranoia. For example, she says of me that "He's releasing a new book about mythicism; hence, he's trying to get attention by attacking others in the field who seem to have a significant following, in order to garner those followers to himself." Huh? Why on earth does she come to that conclusion? It's not even logical, much less in evidence. I'm not interested in "followers" (although by her expressed fear, she evidently is; which is more characteristic of a guru than a scholar). I am interested in persuading academic professionals that a particular theory is true, or at least plausible enough to treat as respectably as other theories in the field. Every time I attempt to do that, I have the sloppy methodology of other mythers thrown in my face as a reason to dismiss all mythicism, and I have to spend a great deal of additional time explaining why my methods are valid and that mythicism can be supported with valid arguments. (I have also had mythers' unfriendly paranoia cited at me by professors in the field, forcing me to also prove I don't act like that–I had dismissed that claim about Murdock in the past, but now seeing it flung at me, evidently the scholars who mentioned it to me were correct about it; this is not doing her or mythicism any good, it makes them both look like tinfoil hat.)
By contrast, I have said many times that Earl Doherty's approach is the most methodological and theoretically sound of any so far (despite only some minor flaws), and I have adapted his theory into its most defensible variant, and I always recommend his book The Jesus Puzzle as the best case yet made for mythicism. My review of his work mentioned all the ways it was correct, and all the ways it could be improved. In what way does this fit Murdock's theory about me? Contrary to her paranoid fantasies, I address the validity of facts and methodology, praise where praise is due, censure where censure is due. Instead, Murdock thinks this is a political game whereby we should all "up vote" and "positively review" each others work, and never be "adversarial." That is a perfect example of why her methodology sucks. That is not how a professional should ever behave. You can never make progress toward any true knowledge if you never criticize or call out error, if you show no interest in the validity of the methods being employed, if you show no desire to root out errors and improve methodologies. If it's all a "back slapping" game whereby our only aim is to promote each others' book sales, then we are not scholars. We're hucksters.
Thus, Murdock intimates that she will now negatively review any books I produce, simply because I did not play her game (which is ironic, as it implies a level of vendetta and dishonesty in her that she projects onto me, to the eternal satisfaction of Sigmund Freud). Instead, I acted like actual scholars act: we criticize each other's work, specifically so as to identify error and improve our methods and conclusions as a collective enterprise. Instead of being objective and simply evaluating works on their merits, Murdock says she "could have" positively reviewed my work as she did Doherty's and Price's, that I "could have benefited likewise," had I "not chosen to be adversarial." So, simply because I dared criticize her, now she will trash my work or ignore it, like a pouting child. Not behave, apparently, like a professional. (Notably, "personal attacks" is in the title of her post, yet between us, the only personal attacks I see are hers against me, impugning my motives and honesty; she fails to adduce any actual personal attacks from me against her.)
Her paranoid behavior continues to show when she assumes I was making an argument of "Guilt by Association" when I mentioned the bad scholarship of Kersey Graves as something to be aware of (even though linking to my past work on similar subjects, particularly to inform the public, is a common practice of mine, and I never once said she was relying on Graves or even like him, apart from the single fact of seeing parallels where there are none). She then weirdly implies some sort of vague defense of Graves, rather than agreeing with me that Graves's scholarship sucks, while simultaneously insisting she doesn't rely on him, which I never implied she did. It's all very confusing. Is Graves' scholarship reliable, or not? She then goes on to chest pump about all her amazing work that I ignore. It's not exactly the behavior of a person who believes in being objective or resolving disagreements.
Murdock also seems obsessed with radical counter-consensus claims, rather than showing any humility or caution in exploring them. For example, she says Ph.D.d scholars (whom she doesn't name) agree with her that "Christian scribes at Alexandria copied Buddhist texts for much of their source material. Carrier endorses The Case Against Q, but these Buddhist scholars are quite certain they have found Q, so let us sit back and watch the fireworks." Indeed. When this gets in a peer reviewed journal in the field, I will read it. When will that be exactly? Because I would be most eager to use this as evidence in my own book. The thing is, I find the claim dubious. As will most experts in the field. The proper procedure in that case is to admit you have some convincing of experts to do, that until it gets properly vetted it might not hold up to scrutiny, and that you should go through proper channels and methods to seek that scrutiny, and see what comes out. Instead the arrogance and certainty she exhibits on this point is another example of her bad methodology. It's a set up for verification bias and a failure to detect and correct errors of method and inference.
This is not the correct way to behave as a scholar. It is anathema to sound methodology. And it's guaranteed to get you ignored by the very people you should be aiming to persuade: the expert community as a whole.
The Valid Criticism
Even so, Murdock corrects me on one error of fact, and that I gladly concede and I apologize for getting it wrong: the actual inscription in the Luxor temple was probably produced almost a century after Hatshepsut, and thus not commissioned by the same queen as I had mistakenly reported. I have revised my original post to reflect this. It does not change my conclusion (as I now explain there), but it does soften it a little, since it would be much easier to prove that the inscriptions refer to the same story if they were commissioned by the same person; being a century apart opens up the possibility at least that the second commissioner changed the story in fundamental ways. But I do not see any evidence that this is what happened. Murdock relies on an elaborate system of speculations to conclude that the second story is not an abbreviation of the first but a substantial rewrite that has changed its fundamental character.
Normally a radical reinterpretation like that would be published under peer review so experts can consider it and criticize it if it is found wanting. An analogous example is the theory once advanced that the Marduk resurrection narrative recovered in clay tablets was a political satire of actual Marduk cult and that his "death" was meant to be an insult and not an actual part of ceremony and belief. This was published under peer review, then duly criticized by further articles under peer review, with the end result that it was found to be completely untenable, and it is now accepted that the death-and-resurrection of Marduk was a real part of Marduk cult, which long predated Christianity (and would still have been a component of cult at Tyre, which the Gospels claim Jesus visited, and which was right adjacent to Judea and a major trade hub for Judeans, so it can't be claimed that Jews had never heard of it). This is how conclusions in the field become acceptable and usable as evidence to build theories on.
The analogy is that (I presume) Murdock agrees that the theory attacking the Marduk resurrection narrative was false and should have been rejected. But if we followed her methodology, it would have become "the theory" simply because someone (her analog) simply insisted it's correct, and that their reinterpretation of the evidence is obviously correct, and that anyone who criticizes it is only doing so out of envy or to sell books, and therefore not only can all criticisms be ignored and all critics denounced as ignorant, but there is no need for any consensus to develop in the expert community at all before declaring this a proven fact. By that methodology, we would have rejected Marduk's resurrection as a precedent for Christianity, exactly the opposite of what Murdock would want. Instead, the theory went through a correct process of professional presentation and consensus evaluation, and thus, thankfully for her, was rejected. If you want a radical new theory to be accepted, you have to go through the same process. Because it is precisely by surviving that process that a claim becomes established knowledge. Otherwise it just remains an outside fringe claim built on two parts speculation and one part arrogant certitude.
In this case, not only has her radical reinterpretation not gone through this process, it looks prima facie implausible. The Luxor inscriptions are self-evidently abbreviations of the other (they are uniformly shorter and lift identical phrases), not rewrites–in which what has changed would have to be explicitly asserted, precisely because otherwise everyone would assume the already-familiar story is what was being referenced. But the Luxor accounts do not actually assert that any part of the story has changed. They just tell the same story in a lot fewer words. This is how we work with myths and texts routinely: when we find an abbreviated version of the labors of Hercules, we interpret it in light of more elaborate versions, which fill in what has been cut short. We do not attempt to argue that, even though nothing different is explicitly being said, that nevertheless the story has radically changed. That is improper methodology. Because it goes against all natural probability, and rests on a number of ad hoc assumptions not firmly in evidence (which intrinsically reduces the prior probability of any hypothesis, because a simpler hypothesis, which does not need them, is inherently more likely, yet explains the evidence just as well: the reason this follows is among the methodological principles I demonstrate in Proving History).
Nevertheless, I admit I was wrong about one fact in this analysis, and I have now corrected it. Which is another of the methodological principles I articulate in Proving History (Rule 12, page 39).
The Invalid Criticisms
The rest of her commentary is barely worth the trouble of reading. Nothing else in it makes any valid point against what I said. Contrary to Murdock's rebuttal, for example, I did not say anything follows from the images, but in fact made the opposite point, that like an illustrated bible, the images do not tell the whole story but only fractional snapshots. We therefore must rely on the inscriptions. Hence my argument above, and my own quotation of the actual Luxor inscription itself as an example. Likewise the idea that "no" mythical beings have genitalia (even though the phallus of Osiris, which impregnated Isis, was a major component of that cult, and we have inscriptions from Egypt depicting divine copulation) is simply not tenable. It is fallacious to argue that some impregnations were effected by other means (e.g. Zeus as a shower of gold), therefore all divine impregnations were effected by other means. This kind of hasty generalization is another example of bad methodology.
In attempting to bypass that point with the additional argument that even if they did have sex (a "having it both ways" approach to making her point, which is not intrinsically fallacious, but starts to look so here), "sex between an Egyptian god and a mortal woman is not all its cracked up to be" (whatever that is supposed to mean, and however it is supposed to be relevant to my point I don't know; even the Luxor inscription, as I quoted, does not seem to suggest it was anything but a very amazing and very physical experience) and that, she says, in any case "both stories represent a godly act that produces a divine offspring." But if that is all she is reducing her argument to, then her argument collapses altogether. Because there are hundreds of stories across dozens of cultures "that represent a godly act that produces a divine offspring." That is in fact a necessary element of all demigod narratives whatever. So how then are we to suppose Christians needed the Luxor narrative to get theirs from?
This was the very point I made in my last post: divine acts impregnating females to produce divine sons were a ubiquitous element of pagan cultures all around the Jews, and of Hellenistic kingship narratives (most famously Alexander the Great). There was nothing even peculiarly Egyptian about them, much less "Luxorian." Murdock's further point that the Egyptian tales might have influenced these is actually a point I myself made: its irrelevant (since we want to know what the Christians borrowed from, not what their borrowee borrowed from, which might not have even been known to the Christians, as I explained) and unprovable (from the evidence we have we cannot demonstrate that this wasn't just a ubiquitous cultural trope, or that these Egyptian ideas weren't influenced by foreign ideas instead of the other way around). So why bother with it?
Murdock still has not cited any living Egyptologist who regards the Luxor narratives as a nonphysical (nonsexual) experience, yet taunts me with claims that she has. Instead she cites Wikipedia (not an Egyptologist), and even that does not say this (as the text she highlights only describes the pictures, not the text, and doesn't say anything about the experience not being sexual). Again, this is not sound methodology. She then does this a lot, citing this or that Egyptologist saying one thing (with which I have never disagreed), then claiming it means what she says, but the quote doesn't say that. You can't cite an authority as affirming x, by quoting them saying y. Indeed, you shouldn't even want to. (And I must warn anyone who might be thinking of "editing" the Wikipedia article to "support" her: I know how to read Wikipedia editing histories.)
And even despite all that weirdness, Murdock then backpedals and says "the debate remains whether the Egyptians themselves perceived their gods as having literal sex with mortals, or in general was the concept more spiritual or allegorical" (The debate where? What living Egyptologist is debating this?). We actually know something about this: all ancient texts about the allegorization of myths that discuss what "the people themselves" believed say that "the people themselves" not only took the myths literally but were sometimes so offended by the suggestion of allegorizing them that some scholars advised their peers to avoid mentioning this in public (see Strabo, Geography 1.2.8 and Heliodorus, Aethiopica 9.9.5; Seneca's On Superstition, as quoted in Augustine's City of God 6.10, presents an example; similar observations are made in Plutarch's On Isis and Osiris and his On Superstition; Origen had something to say about it, too; Socrates was even executed by the state in part for the alleged "crime" of suggesting the state gods and myths not be taken literally).
The allegorical meaning of a narrative was often a component of mysteries that higher ranking members would learn; while the rank and file (and outsiders) would be lured and taught by the myths as literal texts. Thus, both "readings" of a narrative could exist at the same time. Even sometimes in the same mind: the allegory could be read as the meaning of a literal event. All three modes (literal reading, allegorical reading, and simultaneously both) are exhibited throughout Philo's treatises on Allegorical Interpretation. So it is pointless to handwave about a "debate" over whether the allegories were taken literally or not. It was both. And the story was still there, and still had all its cultural connotations regardless. That's why no Christian would "allegorically" have said Yahweh impregnated Mary with a phallus or that she fondled and smelled him in her bed. That would have been repugnant, just as I said. By contrast, sexless impregnations were plenty to be had from all surrounding cultures, so why are we assuming Christians were inspired by Egyptian tales specifically, or indeed the Luxor inscriptions specifically? Murdock's answers to that question are not well founded.
Finally, Murdock spends a lot of time showing that divine birth narratives were all over Egypt. Well, yes. They were all over Tyre and Syria and Greece and Rome and Arabia and everywhere else, too. That's my point. You can't argue "it was everywhere, therefore it came from Egypt," and since it was everywhere, it can't be argued that Christians were influenced specifically by Egyptian versions of it. For example, per my previous post's analysis, such a thesis does not explain the presence of magi in Matthew's story, but a derivation from the OT does. When we account for every element that way, we end up with only one thing left over that's held in common with Luxor: a God impregnating a woman to produce his Son. Which is not uniquely Egyptian but a universal trope repeated everywhere in every culture of the time. (Which is why it is odd she accuses me in her title of "parallelophobia," even though I explicitly said even in that post that some such parallels were obvious and in fact more likely influences on the Christian story; so how am I parallelophobe, again?)
Her methodology throughout all this is simply not sound, and would not impress any expert I know. It clearly annoys her when I say that, but that doesn't make it untrue.
Case in Point
I will close with a prime example of what I mean. At one point in her long post Murdock quotes a medieval author (Proclus) as saying that Cleopatra claimed to have been a virgin who never had sex with anyone yet gave birth to a divine son (which I suppose means Caesarion, although apparently she had several kids). That is simply not in the text.
Proclus says nothing about Cleopatra; nor is he talking about Isis, but Neith (Murdock often assumes that because these goddesses were merged or conflated in some cases, that therefore they are always the same goddess with always the same associated properties and stories, which is not correct reasoning; they are often referred to as working together–and thus often regarded as different goddesses–and their stories, relationships, and powers were often distinguished in some times and places even as they were merged in others); and what Proclus does say isn't about virginity, even though Neith was indeed a virgin goddess, who gave birth to gods spontaneously, i.e. without the involvement of any other God (see Barbara Lesko, The Great Goddesses of Egypt, pp. 45-63)–which would not make this a passage relevant to Murdock's thesis.
Just as importantly, no such claim is to be found anywhere near the actual time of Cleopatra (whereas the claim that her son was born to Julius Caesar, in the fully traditional way, she trumpeted high and low), and is not made even in Proclus (despite Murdock being so certain it was, for what reason I don't know). So this is simply not a plausible claim, and the way Murdock argues for it exemplifies everything that is wrong with her methodology. Not least in failing to notice or mention that Proclus is not talking about Cleopatra. An occasional mistake like that, duly corrected, might be no big deal (if she does correct it). But it's not like this is an isolated example. And the further one digs into her case here, the worse it gets…
You can read the text yourself: Proclus, Commentary on Plato's Timaeus 1.98 (5th century A.D.). The section starts as his commentary on section 21e, where he begins explaining who the Neith is whom Plato mentions as the goddess who founded Sais (Plato, Timaeus 21e), identified with the virgin Athena. When Proclus gets to the relevant quote, this is the context:
But the Egyptians relate, that in the adytum of the Goddess there was this inscription, "I am the things that are, that will be, and that have been. No one has ever laid open the garment by which I am concealed. The fruit which I brought forth was the sun." The Goddess, therefore, being demiurgic, and at the same time apparent and unapparent, has an allotment in the heavens, and illuminates generation with forms.
(According to the linked translation; I'll provide my own shortly.) Proclus clearly understands the passage as referring to Neith's ability to spontaneously give birth to elements of creation (as a demiurge); this is not a reference to any merger with the Isis narrative. The goddesses were merged or conflated from time to time, but that did not always result in all properties and stories being combined, and such a merger is not occurring in this inscription as far as I can see. Even so, Murdock tries to read virginity into it by translating "garment" as "undergarment" but that is not a correct translation (or is a misleading one, if readers are misled by it to think "undergarment" means "nickers" when in fact it means tunic or top).
For instance, Plutarch said some think this goddess is Isis, quoting a different version of the same inscription, or perhaps a different but related inscription (without mention of the birth part), in On Isis and Osiris 354c. Plutarch's version reads (my translation) "I am all that has been and is and will be and my robe (peplon, an outer-garment, not an under-garment) no mortal has uncovered (apekalypsen, which means "revealed" as in made public)." Thus only mortals have not lifted her veil; no reference to giving birth (so we can't assess how Plutarch would have rendered that part, if it then existed); some different wording throughout; and undergarments are not meant, nor sex or virginity, but a revealing of mysteries. The version that appears in Proclus reads (my translation) "that which is and will be and was, I am; my dress (chitôn, a tunic, which is not an undergarment in our sense of the word) no one has uncovered (again, apekalupsen); I bear the fruit, the sun comes to be" (whether the fruit meant is the sun, or all the things she creates, of which the sun is one, is unclear from the wording, but either way she gives birth to the sun). In neither case is there a reference to her "undergarments" staying put. The verb and imagery is of the mystery religions, her secrets being kept. And in the Proclean version the emphasis is on her spontaneous creative power. There is no reference to a divine father.
In her book (Christ in Egypt, p. 147) Murdock quotes a hundred-year-old article (even though you should not do that) by William Emmette Coleman (an army clerk and avid spiritualist with no known credentials and dubious reliability: see Jeffrey Lavoie, The Theosophical Society: The History of a Spiritualist Movement, pp. 269-74) who profusely insists this is about virginity and that every expert would agree. But does he name any? And what about now, 120 years later? Murdock names no one. Apparently Murdock thinks that what one amateur was "confident" every Egyptologist would say 120 years ago cannot possibly have been wrong then, nor have changed at all in 120 years. This is not how to support a conclusion. And it is maddening to run into this method of arguing a point again and again.
This is simply not how good scholarship works.
I will conclude with this: it is precisely because of these threads of research and analysis, which tediously take up my time for no purpose, only to reveal how unreliable Murdock is, in reporting, sourcing, and discussing facts, and in drawing inferences from what she quotes, that I don't want to engage in these debates. If I were to repeat this for every claim she makes, and every claim every myther made, I would be occupied with this for hundreds of years. All to no purpose. I would rather start from the evidence itself, and recent peer reviewed scholarship by well-qualified specialists, and build my own case using a methodology I know to be sound. That is hard enough. It has taken me years (only now near to completion…Proving History is out in a few weeks, and I expect to have a reviewable first draft of Historicity by end of April). I am not going to waste any more time with "other people's" shoddy scholarship. If someone else out there wants to do this, all the power to you. But from here on out I am disengaging. I will not bother "checking" any more of Murdock's facts. Nor will I "debate" any of this, unless you can confirm I have made an actual, provable error (as I did make one, noted above). I am always interested in getting things right. But I am not interested in being someone else's fact check boy. And I'm certainly not interested in Murdock's paranoid aspersions or the trolling of her fanatical followers. Do keep that in mind.


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Carbon Offsets Program
Starting in July 2012, Hacienda Guachipelin is going to offer its Carbon Offset program. The whole idea is to give the conscious traveler the opportunity to offset his carbon footprint. Hacienda Guachipelin has preserved more than 400 hectares (1.000 acres) of forest and reforestation. This forest is important not only for the species that live there, but also because of the fact that it is a forest adjacent to the Rincon de la Vieja Volcano National Park, in Costa Rica's.
By buying carbon offset credits you can continue to live travel in the knowledge that you are not contributing to the net gain in CO2 in our atmosphere. That is the idea with the protected forests here at Hacienda Guachipelin.
If you want to find out how much is you carbon footprint, check with this carbon calculator . Just as an example, if a couple is flying from New York to Costa Rica, the carbon foot print is approximately 4 tons. The cost of offsetting the carbon emitted is $100. Hacienda Guachipelin will be offering this service not only to guests but to all travelers. The offsets can be purchased at the Adventure Center, at the hotel's reception, also on line, with major credit cards and Pay Pal.
For more info contact jbatalla + guachipelin.com
Tags: carbon credits, carbon footprint, Carbon Offset, Costa Rica
Posted in Corporate social responsability, English | Comments Off on Carbon Offsets Program


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Sure Fullmetal, make up your own past to cover up your power drunk atrocities. I would expect nothing less.
Sure Fullmetal, make up your own past to cover up your power drunk atrocities. I would expect nothing less.
"I'll go," said Chagataev. "But what will I do there? Build socialism?"
"What else?" said the secretary.
Admittedly it IS easier to live in a fantasy world than your shitty reality.
The day that happens is the day I become socially suave.
Will this get an update?
By the way, half of the pics wouldn't work for me
My awesomely hot pic didn't show up
I've posted lots of new pictures of myself, plus I'm gonna put more once I find the camera.
you guys will like my newer pictures, I look nice nowadays
[SIZE="1"]Pairs: The Blind Eye of Deception [DSX] | The Ninjassassin [Sasuke] | The Hadouken! [The Azn Party Boy]
hey guys guess what
this is updated
with all your favourite pokedream characters!
will be an awesome wikiPDa article with TABLES when i have ramsacked 300 or so pages of the old pd
Hicky, please get rid of the LITTLE KID picture of me.
Wow, I never really realized how many pictures of myself I had posted o.O
...think I'll lay off for a while....
I look so bad in the pics I posted, since I took them about two years ago or something. Yucky
I can't wait to post new pics of myself when I come around to buying my digital camera.
ChikaraGoku King AnimeSakura Blossom
fix these hicky. i want to know how some of these FAGS look like.
Seeing pictures of Ninetails and Pikatwo just opened my brain and fucked it squarely.
*immediately deleted my pic from jr. high*
I look much better now


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DCCADV is the District's leading voice on domestic violence public policy, systems coordination and reform.
Partnering with and on behalf of our member programs, we: track and analyze legislative and systemic activity impacting victims and survivors of domestic violence; educate policy makers; conduct outreach and facilitate collaboration with community based organizations and stakeholders; lead advocacy efforts for funding for domestic violence programs and services; develop briefing papers, reports and other public materials, and; provide technical assistance and training on issues including confidentiality, domestic violence laws, barriers facing underserved populations including victims who are LGBTQ and victims with disabilities, and workplace policies and procedures.
Policy Resources
- Domestic Violence in the District of Columbia Statistics
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Writing testimony? Trying to interpret DC law? Contact us for assistance.


text:
Shavon Earp enters her fifth season with the North Carolina A&T women's basketball team and her first year as associate head coach. Earp served as an assitant coach for four years before her promotion to associate head coach on April 12, 2016.
"I am extremely grateful and elated about the opportunity to be an associate head coach for one of the best programs on the rise. Coach Robinson has believed in me years before I came to NC A&T and invested a lot of time in mentoring me which has put me in this position. I have become a better coach and person during my time here. I am excited to see what the futures holds for this program. I am going to continue to work hard to ensure that we get the best out of our Lady Aggies on and off the court, as well as reinforce Coach Robinson's philosophy and the vision that he has for this program," Earp said.
Earp is responsible for working with the Aggies wings and guards.In the 2013-14 season, Earp assisted with the development of transfer guard Christina Carter who became the starting point guard after junior guard Adriana Nazario suffered a season-ending injury on Dec. 21. Carter led the MEAC in assists, averaging 5.1 a game. Junior Ariel Bursey and transfer Debbie Smith also accounted for nearly half of the team's 3-pointers as the Aggies shot 30.1 percent from behind the arc which ranked second in the conference.
In her first season, she helped Nazario and Bursey transition from players with limited playing time the previous year to key parts of the Aggies rotation. Nazario started 19 games during the 2012-13 season, as she led the Aggies in assists per game. Bursey led the Aggies in scoring three times during the season and she shot an impressive 48 percent from the field.
Earp joined A&T after spending two seasons as the assistant women's basketball coach at William & Mary. With the Tribe, she was responsible for developing the guard and perimeter players, which resulted in an All-CAA player in Taysha Pye. Earp also assisted with recruiting, scouting, developing game plans, organizing community service activities and administering individual and group workout sessions.
Two years prior to joining William & Mary's staff, Earp spent the two years as the assistant coach of the girls varsity basketball team at Hampton High School in Hampton, Va. She was the primary guard coach, and developed and implemented the strength and conditioning program for the student-athletes. She also helped counsel the student-athletes in academic matters. During that span she also served as the assistant coach for the heralded Boo Williams 16-and-under Elite AAU Team, where Earp assisted in developing players and supervising the team during competition and tournament travel.
As a graduate student at Radford University, Earp served as a graduate assistant for the women's basketball program. She coordinated all aspects of film exchange for scouting reports, produced a monthly newsletter updating alumni on the status of the program and helped coordinate the team's annual alumni event. The Highlanders had a 20-win season in 2007-08.
Before she entered coaching, Earp was a talented student-athlete. Earp was named the 2001-02 Gatorade Player of the Year in Virginia and was an honorable mention All-American for Hampton High. She was named to the All-State first team twice and led the Crabbers to the 2000-01 state championship.
She attended the University of Pittsburgh and competed in 28 games for the Panthers as a freshman and was named to the Big East All-Academic team. She transferred to Radford and completed her career with 834 points, 267 rebounds and 108 assists in 81 games for the Highlanders.
Earp graduated with a bachelor's degree in communication and a master's degree in corporate and professional communication from Radford. She is also a member of the Women's Basketball Coaches Association and a volunteer with Big Brothers/Big Sisters of Hampton Roads and ARC of Greater Williamsburg.
|Associate Head Coach


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New York native Tim Maloney begins his third year as associate head coach after a memorable season in which UMass claimed its first Atlantic 10 Regular Season Championship since 1995-96, made its first post-season appearance since 2000, and reached the Second Round of the NIT after a win over Alabama in an astounding first-round game on ESPN.
Maloney, who has been coaching for 23 years, has seen six NCAA Tournament appearances and two NIT appearances in 11 years of Division 1 coaching, including two Sweet Sixteen appearances, a Final Four and National Championship Game appearance.
Recently, Maloney received two honors which hold deep significance for him. This summer, Maloney accepted an invitation from Athletes in Action to serve as head coach for a team of Division 1 players who were scheduled to play five games against professional teams from Germany. Comprised of players from the Big 12, Big 10, Pac-10, and Horizon League, the team went undefeated in a week of five games in six days. Maloney himself played for AIA against pro teams in South America in 1984.
Also, following the 2005-06 season, Maloney received from Donnie Jones, former Florida associate head coach and current Marshall head coach, a piece of the game net from the 2006 NCAA National Championship Game. Soon after, Florida Head Coach Billy Donovan sent Maloney a personalized NCAA Championship ring in appreciation of Maloney and his role in helping to build the Gators into a national champion.
Prior to UMass, Maloney spent two seasons at Eastern Kentucky, first as an assistant and then as associate head coach. In 2003-04, Maloney was instrumental in the Colonels' resurgence, helping to guide the team to its best finish since the 1995-96 campaign, including a fourth-place finish in the Ohio Valley Conference and an appearance in the OVC tournament finals in Nashville. Maloney served as the Colonels' recruiting coordinator, and the staff, as a team, landed a recruiting class nationally ranked in the top 28. In 2004-05, the Colonels made the NCAA Tournament for the first time in 25 years.
Maloney came to EKU after spending six years at the University of Florida. As assistant to the head coach, Maloney served in an advisory capacity to Billy Donovan. Donovan used Maloney in every aspect of the Gator program from basketball operations, to practice, game coaching and recruiting. During these years, the Gators made six post-season appearances, won two SEC regular season titles, and played in the 2000 national championship game against Michigan State. Maloney was also influential in bringing in some of the nation's top-ranked recruiting classes, including the 2002 class, which was rated second nationally.
Before heading to Gainesville, Maloney worked as an assistant at the University of Buffalo where he played an integral role in the team's unprecedented success in 1997. That season, the Bulls gained their first appearance in the semi-finals of the Mid-Continent Conference tournament. They also took home the'"Big Four Championship" for the first time in school history, an annual event featuring Buffalo, Canisius, Niagara and St. Bonaventure.
Prior to joining the collegiate ranks, Maloney experienced national exposure in prep school basketball, particularly in southwest Florida. Named head coach of Mariner High School in Cape Coral in the summer of 1993, he took over a team that went 7-18 the previous season and turned the team around to the tune of an 18-7 mark, giving the school its best record ever.
In Maloney's second season, the Tritons posted a 22-7 record and ranked among the top ten high school teams in Florida. In 1995-96, his third season at the helm, Maloney guided Mariner to a 33-3 record and a berth in the state finals. That season, the Tritons ranked No. 1 in the state of Florida, rose to No. 16 in the nation, and ranked third in the south by the National Prep Boys Poll. For his efforts, Maloney was named Southwest Florida Coach of the Year and Conference Coach of the Year after each of those seasons at Mariner. In 1996, he was also named Gulf Coast All-Sports Coach of the Year and Boys Basketball Coach of the Year in Southwest Florida. Additionally, Maloney's team was nominated for sportsmanship awards and received recognition from local governments.
Over the years, Maloney has acquired additional experience coaching domestic and international teams during the summer. He spent the summer of 1996 as associate head coach for the Long Island squad in the Empire State Games, a team that featured current NBA players Wally Szczerbiak and Speedy Claxton. The team went on to capture Long Island's first gold medal in 18 years. Incidentally, current UMass Associate Athletic Director Tim Kenney served as head coach.
In 1997, Maloney assisted the Mexican National Team in the Central American Championships. The team placed fourth, giving it a berth in the Pan-American games. It was the best finish for Mexico in eight years.
In 1999, Maloney was a featured lecturer and coaching instructor for the Five Star Basketball Camp in Turkey. Since then, Five Star has continually sought Maloney to work as a director for other international events. During the summer of 2002, Maloney traveled to the Far East, working for another group as a coach and lecturer at all levels of basketball. The stint ended with Maloney in a round-table discussion with the leaders of the Chinese Basketball Association in Beijing, the city which will host the 2008 Summer Olympics.
Maloney's coaching career began at Martin Luther High School in New York City, where he served from 1984-1986. He went on to coach at Nyack College and St. Thomas Aquinas College. Each of these programs experienced winning seasons and went on into post-season play.
A 1982 graduate of Manhattanville College, Maloney competed in basketball, baseball, soccer, and cross country. He earned'"Most Dedicated Athlete" for his labors with the cross country program. Maloney earned his master's degree in counseling from Hunter College in 2004. He and his wife Joanne have a son, Thomas Joseph (TJ).
The Maloney File
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This fitted white T-shirt has a breathtaking image of a leopard covering the entire bodyan eye-catching way to show your support of National Geographic's Big Cats Initiative.
National Geographic's net proceeds from the sale of Cause An Uproar merchandise go to the National Geographic Big Cats Initiative. This initiative is dedicated to halting the decline of big cats through on-the-ground conservation projects. Cause An Uproar to save big cats today. Find out more at causeanuproar.org.
Imported. 65% polyester, 35% cotton.
Machine wash.
(based on 7 reviews)
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(2 of 2 customers found this review helpful)
Could have been better
By Animal Lover
from Winnipeg, Manitoba
Best Uses
Thought the shirt was too thin and colours were not vibrant
Bottom Line No, I would not recommend this to a friend
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(5 of 5 customers found this review helpful)
Super fit for kitties!
By Kitty
from CT
Wonderful shirt that fits GREAT! Ordered a small and it is a purrrfect match! Let's say the sizes are more European, so if you are a US small, you might have to order medium. ...and my husband loves the way I look in it!
Bottom Line Yes, I would recommend this to a friend
(5 of 6 customers found this review helpful)
Too small
By Terrysz
from Mentor, OH
I ordered the largest size that you have and it was way too small. I am a large and the x-large was extremely tight. I had to send it back. I was very dissapointed.
(4 of 5 customers found this review helpful)
I would not buy this product again
By Cat luver
from Castle Rock, CO
I really love that you can see great detail about the leopard. I do not like that I bought this shirt and cannot wear it because it fits tight and I like loose fitting clothes.
(6 of 8 customers found this review helpful)
The picture is deceiving
By Sluehr
from Alabama
I purchased this shirt and was very dissapointed! The picture on the website is very deceiving! Whatever press is used to apply picture is done so without the shirt being stretching so when the picture is applied and the shirt is folded in the arm are you having giant gaps of no picture. Also the colors are not as vibrant as the online picture. My biggest complaint was that one of the leopard's eye is in your armpit. Therefore you look like you are wearing a shirt with a cat bearing one eye. Not attractive. I contacted customer service and they sent me a second shirt. Unfortunately I had the same problem with the next shirt. So I had to send back both shirts. The customer service department was very polite and apologetic. But unfortunately you do not get your money returned to you for about three weeks. Overall I am pretty dissapointed because I really wanted to wear the shirt and represent the cause; they just need to up their quality.
(4 of 6 customers found this review helpful)
Women's Leopard CauseanUpRoar T
By Beth's Leopard Spirit
from San Antonio, Texas
Don't get me wrong, my money is for a wonderful cause, but I was disappointed when I received my T-Shirt. I went by the size chart and ordered an XL in women. I tried it on, it is very tight, which means I better not wash it. I guess I don't fit in XL category of women here. I'm 51 years old and I do not have an hour-glass figure, so I'm wondering who actually modeled for this size. Maybe someone ought to take another look at sizing for women, think about us plus size women too, other than that, I would recommend your T shirts to my friends.
(4 of 7 customers found this review helpful)
cause an uproar tshirt
By jules
from olympia wa
would be nice if you could include dimensions of shirt sizes. I wear a womens xl in almost all shirt brands and this xl fits like a medium