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Areas of expertise/Research interests: Conventional and alternative energy sources and applications; pollution control methods (solid, water, air, noise and vibration); recruiting female students into STEM careers
What do you like most about Penn State Fayette? As a small campus of a big university, we have the best of both worlds. The students have contact with world-class faculty who know their names. The range of interests and hobbies here is amazing. Lunch conversations can range from space travel to Chinese history to Greek philosophers—all on the same day.
What do you like most about teaching at Penn State Fayette? The "a-ha" moment when a student finally understands a hard concept we have discussed in class. Priceless.
What inspires students the most in your classes and/or your academic area? That they are learning skills to help solve the energy and environmental problems faced in the United States and world today. Knowing that their life's work will be to build the future is very satisfying to them.
What is your favorite class to teach, and why? STS 150 is an international science elective course for non-technical students where they learn the history of metals and its relationship to the global development of the fabric of society today. To teach a course without equations where we can blend everything from local history to the Space Shuttle together is a fun challenge.
What is your favorite class project, and why? AET 229 is our capstone course where the students use all the knowledge and skills learned in the program to design a functional system for a real building. Their final presentation is to a design professional from Pittsburgh who often will use the event to interview graduating students for jobs. The most recent project is to design a forensics lab modeled after Cyril Wecht's new lab in Pittsburgh, and the project judge was the designer of that lab.
What kinds of unique opportunities are available to students in your classes or department? I believe in taking students to regional, national, and international conferences and expositions. We have been from New York to Disneyland and from Toronto to Orlando. We have been inside the world's largest icing research wind tunnel at NASA Glenn, under the ice at Mellon Arena, on top of the tallest building in Canada, and to the bottom of the tallest zero-g drop tower.
What is your favorite quote? "A hundred years from now, it will not matter what kind of car I drove, what kind of house I lived in, how much money I had in the bank ... but the world may be a better place because I made a difference in the life of a child."—Forest Witcraft
Associate Professor of Engineering
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Go back to Flash Reviews
Flash Ballet Review Reprint,
1-4: Out There: Wendy Whelan
A Visit from Outer Space
By Daniel Jacobson
Ballet Review
(Editor's note: The following
article was originally published in the Summer 2000 issue of Ballet
Review, and is reprinted with the permission of Ballet Review. Subscribe
to Ballet Review, the unparalleled quarterly of the dance world,
edited by Francis Mason. Just as The Dance Insider has mastered
the art of the fast review by knowledgeable dancers, Ballet Review
concentrates on perspectives and the long view of dance and dancers.
To subscribe, contact BR at 212-924-5183 or e-mail at email@example.com.)
All ballerinas are composites
of their natural endowments -- what they are given by God and their
genes -- and the acts of will by which they shape their bodies toward
the ideals of harmonious proportion that underlie the steps and
positions of classical ballet. This process of molding the body
to the contours of an invisible paradigm, which takes many years
and the stamina and will of a world-class athlete to bear fruit,
yields as many kinds of ballerinas as there are kinds of women.
And yet the basic types
may be just two: the earthly and the extraterrestrial. The earthly
ballerinas are those for whom dance is an agency of personal glamour,
women who wear their dancing like expensive perfume, a heady essence
that magnetizes their admirers. They are vessels: they contain their
dancing and are contained by it; the lineaments of movement they
produce return them to a hermetic system, perfect in form and perfectly
sealed. The extraterrestrials are those who through their dancing
achieve a kind of transparency, constructing the invisible architecture
of a virtual world beyond themselves. New York City Ballet's Wendy
Whelan is, beyond all doubt, one of the extraterrestrials.
Beyond the Box, a Paradox
Even though Whelan is
not a native New Yorker, she is an authentic New York wonder: all
glass and steel, strong and transparent, aglow with the sunset and
the stars -- and quick as a Manhattan minute, moving with a kind
of shimmering legerdemain. There is something about a Whelan performance
that reminds you of those sci-fi movies where people appear and
disappear in a time-space warp. Indeed, sometimes the actuality
of Whelan onstage nearly vanishes into the principles of line and
motion she so precisely limns. Her pas de chat seems to conjure
itself into invisibility: when the leg is brought up in passe, it
virtually disappears in its own movement, a quicksilver flash on
the mirror surface of a lake.
To be sure, this quality
is not universally admired. To those who prefer earthly ballerinas,
Whelan may appear too rigorously abstract: all angles and planes,
a geometry lesson on pointe. Her body is as stripped down for action
as a whippet's, and as free of blandishments. A high waist and low
thorax give her a "clothespin" silhouette. Her broad shoulders triangulate
with her narrow hips. Even her profile is plane geometry; a straight
line runs from her forehead to the tip of her nose, echoed by a
prominent jaw and high cheekbones. It's the look one often sees
featured in the pages of fashion magazines: austere, elongated,
and terminally chic.
It is also a look with
almost raw notes of emphasis. Her limbs are boldly articulated,
the joints of elbow, shoulder, and knee clearly visible. The arms
are sinewy, the legs lean and muscular, the hands broad flourishes
(reminiscent of those of former NYCB ballerina Maria Calegari).
It's a body with built-in exclamation points. You don't need opera
glasses to see the details; this is a dancer who reads to the back
row of the house. Photographs of Whelan in such signature roles
as Balanchine's "Agon" and the Novice in Jerome Robbins's "The Cage"
reveal exactly those stark visual details that make her unforgettable
in spiky modern works: her T-squared silhouette seems etched with
an engraver's burin.
There is something poignant
in the spectacle of such an unmediated anatomy, its machinery so
exposed, presenting itself as an agent of beauty. In repose, Whelan
sometimes has the unconscious pathos of a puppet not yet come to
life, and perhaps also the numinous, larger-than-life presence that
Heinrich von Kleist memorably found in puppet theater. Only a true,
a great artist forces us to look so clinically at her instrument.
It is a risk she takes; and, as in all heroic endeavors, great risks
overcome yield great rewards.
Virtual Reality
When Whelan starts to
dance she sheds all trace of the ugly duckling. Her austere physique
enhances, and is enhanced by, the beautiful "line" of classical
dancing, the implied line that reaches out into the surrounding
space. Her developpe unfurls like a banner. Her grand battement
a la seconde en l'air, freely hinged at the hip, richly released,
arcs upward as if carried by water or wind, expanding the air around
it. As she moves into the encircling embrace with her partner in
the adagio of "Concerto Barocco," her swan neck thrust forward forms
an elegant S-curve with her supple shoulders and spine. The ravishing
arc of her backbend is a perfect scimitar, and you could cut yourself
on the razor-sharp trajectory and lightning speed of her piquÚs.
Whelan's port de bras
is equally expressive. Her open arms are wings on which she soars
out in efface. The hands trail exquisite grace notes. Like the ornamental
finials on the roofs of classical buildings, they embellish as they
define, declaring the completion of an achieved composition. (Such
grace in port de bras did not apparently come naturally to Whelan,
who claimed in an interview with BR that in her early student days
she had "really long, dangly, goofy arms," for which one of her
teachers constantly chided her. "I didn't know what to do with them,"
said Whelan. "Sometimes I still don't, but I feel that within the
past few years I've been able to feel my toes and fingertips more.
I've just gotten a little farther out into my body.")
Even her preparations
suggest a virtual reality beyond themselves; starting her pirouette,
she reaches forward as if opening a door to a secret garden. She
makes you see the dance with a kind of double vision, the warp a
series of still, indelible images and the weft, continuous movement
creating an invisible architecture in the surrounding space.
Like most City Ballet
dancers, Whelan is a transplant from the great American elsewhere.
Born and raised in Louisville, Kentucky, she received her first
professional training at the Louisville Ballet Academy. She was
determined to succeed from an early age (she started her ballet
career as a mouse in the local annual production of "The Nutcracker.").
"I worked like a dog as a kid," she told BR, "and I was very strong.
Strong and determined and confident and focused." In 1981 she won
a summer scholarship to the School of American Ballet, the academy
of New York City Ballet. (She remembers her audition in Cincinnati
for Suzanne Farrell as "very scary.") The summer session led to
a full-time enrollment in SAB and eventually, in 1984, graduation
into NYCB's apprentice program. Her career advanced swiftly thereafter:
she joined the corps de ballet in 1986, was promoted to soloist
in 1989, and to principal in 1991.
She must have realized
early on in her training (and if she didn't notice, her teachers
would surely have pointed it out) that she had nowhere to hide with
that body; she would never be a conventionally pretty ballerina,
plush and curvy, able to conceal less-than-perfect technique in
the lush line of a curvaceous thigh or alluring shoulder. Her path
was clear: she would have to train her unique instrument to transmit
the classical language of ballet in a streamlined, modern idiom,
that is, to become an avatar of the New York City Ballet style defined
by Balanchine. She and NYCB were destined for each other.
Now in her early thirties
and a principal dancer with NYCB for ten years, Whelan has covered
roles running the gamut of the repertory. Her strength and speed,
her effortless extensions, and her crisp allegro technique made
her a first choice for many of the most demanding roles as well
as attracting the attention of choreographers within and outside
City Ballet. As a member of the first post-Balanchine cohort of
ballerinas at the company (those who rose to the rank of principal
following Balanchine's death), Whelan missed the opportunity of
having Mr. B create roles on her, which he almost certainly would
have done. But she was immediately noticed by Jerome Robbins, who
saw that she was cast as the predatory-chic protagonist of his 1950s
ballet The Cage, a role she feels was particularly important in
her development. She remembers Robbins's coaching with gratitude:
"That was a gift from Jerry. It opened me up. He really let me go
with that and made me feel I could be creative with it."
With Balanchine no longer
around to create dances tailored to her unique talents, Whelan has
had to make her mark in the contemporary vehicles by post-Balanchine
choreographers who have created roles for her that show off her
fearless athleticism and limitless extensions. Both Robbins and
NYCB ballet master in chief Peter Martins have done so, Robbins
in "Brandenburg" and Martins in "Adams Violin Concerto," "Ash,"
"Jazz," "Les Petits Riens," and "Reliquary," as have guest choreographers
who include Ulysses Dove ("Red Angels"), Kevin O'Day ("Open Strings,"
"Huoah," and "Swerve Poems"), Robert La Fosse ("Concerto in Five
Movements"), and Christopher d'Amboise ("Circle of Fifths" and "Triptych").
In the winter season beginning in January 2000, Twyla Tharp cast
her to dance the pas de deux in her new ballet set to Beethoven's
Seventh Symphony.
Guest choreographers
invited to create new dances for City Ballet love the constructed,
Japanese origami plastique that Whelan brings to their work. Christopher
d'Amboise recently made her the centerpiece of "Triptych," his new
ballet set to Bartok's Music for Strings, Percussion, & Celesta
that premiered last June as part of the Diamond Project, City Ballet's
semi-annual festival of new work. In "Triptych," Whelan is the ice-blue
queen bee in a subterranean hive of dun-colored drones, with Albert
Evans in red as her consort and Jock Soto as a kind of spirit guide.
Whelan tosses off the
repeated motif of a high battement with flexed foot with an almost
bored aplomb. Smooth and slinky, she unfolds her limbs to the music's
shimmering high frequency harmonics with a slow languor, as if slipping
into something comfortable. Then, in a murky canonic trio for Whelan,
Soto, and corps member Kristin Sloan, Whelan's limbs seem to disengage,
moving in and out of the Balanchine-like intertwinings like the
ratchets and levers of an intricate watchworks. And, in the fiery
gypsy finale, in which the corps members pivot like turnstiles as
the principals pass through their ranks, Whelan and Evans up the
ante with blurring allegro floorwork and strangely beautiful lifts.
F/X (Special Effects)
Whelan has been a particularly
effective advocate of the spasmodic ballets of William Forsythe
("Behind the China Dogs" and "Herman Schmerman"), whose percussive,
whiplash moves she executes with unflappable equanimity. (She was
coached very briefly by Forsythe when first learning his ballets;
Whelan told BR that at first "it was like learning Chinese to work
with him because I had no clue what this was about" but that she
eventually "figured a lot out on my own, and freed myself up a lot
with it.")
As for the Balanchine
backlist that is the core of City Ballet's repertory, she has been
particularly featured in Mr. B's "leotard" ballets to Stravinsky's
spiky scores, such as "Agon" and "Symphony in Three Movements,"
and Stravinsky Violin Concerto. She has the ideal body for Balanchine's
bold designs, those orthogonal projections of classical technique
that are to "Swan Lake" what Picasso's demoiselles of Avignon were
to Ingres's Turkish bathers. Whelan is a fearless dancer who seems
to be unfazed by the most extreme physical demands and the most
exposed gestural language.
In the great, and greatly
difficult pas de deux of "Agon" she is breathtaking in her execution
of Balanchine's daring contortions, still jaw-dropping after all
these years. She is just out there, giving you everything. She makes
the physical "stunts," such as the extreme splits while lying on
her back and the arabesque supported by the partner who suddenly
collapses to the ground beneath her, look inevitable and, although
hitherto unknown in the language of classical ballet, classically
The edge and penetration
of her attack is almost scary, like Keanu Reeves morphing into another
reality level in "The Matrix." It's especially thrilling to watch
her come into position at the end of a phrase; those lines of virtual
movement come back to their center like the spheres of an orrery
aligning themselves in a celestial conjunction.
Her legwork, too, is
machine-tooled and sheened. Her steps into pique have a crystalline
precision, her pirouettes the clean, still balance of a gyroscope.
Placed precisely on a plumb line, they trace an invisible and perfect
sphere. In tendu, her toe darts to the floor with an authority that
brooks no opposition. Dancing the "Sanguinic" solo in Balanchine's
"The Four Temperaments," her high forward battements are like arrows
shivering at their mark.
A Touch of Velvet
And yet, even as Whelan
carves up space with her precision tools, she radiates a kind of
aristocratic reserve and delicacy. In spite of the outre nature
of the contortions Balanchine gave the pas de deux in "Agon" Ü shocking
both in what they ask of the dancer and what they expose of her
-- Whelan makes them seem as courtly as a reverence. She slips into
these outrageous poses as if stepping into a carriage, with imperial
authority and impeccable technique, as regal as a Petipa princess.
She endows Balanchine's modernist configurations with a generosity
of execution, a rounding and softening, the "good manners" of classical
form that raise gesture to a spiritual exercise.
In the Bransle Gai from
"Agon" (her performance was captured on video in the Balanchine
Celebration of 1996), she "reads" the music's infectious motif for
castanets (one, two, one-and two-and) with gleaming precision, yet
smooths the sharp corners of the steps with velvet at the edges.
Far from being at odds with Balanchine's vision, she completes it
with a tender femininity, with suppleness and catlike grace. Her
approach to the choreography is as carefully laid out as the vistas
of a French garden, and allows you to see as far; but within those
formalities she limns a Watteau-like melancholy, trailing and degage,
bringing you back to the origins of ballet in the courts of Louis
XIV and XV.
Repertory: Everybody's
Given her singular traits
and abilities, it has been easy to type Whelan as a modern -- too
easy, in fact. In some ways it has worked to her disadvantage. Once
she emerged from the corps in 1989, Peter Martins tended to cast
her prominently in the modern repertory and as an afterthought in
the more conventionally classical roles. Sometimes it seems that,
like Anybody's, the tomboy in "West Side Story," Whelan just doesn't
get any respect. She has been taken for granted, often treated as
a "utility" dancer, with the punishing performance schedule that
implies: back-to-back performances of repertory all over the map:
Titania one night and the "Agon" pas de deux the next. She has had
to wait for her place in the romantic ballets, in latter years pushed
by Martins to a prominence they never had under Balanchine, through
Martins's new stagings of such nineteenth-century repertory staples
as "The Sleeping Beauty" and "Swan Lake." One rarely saw her in
the first cast of this repertory; when she has appeared as Aurora
or Odette, critics have occasionally been less than kind, unfairly
dismissing her as technically impeccable but a cold fish.
And yet her performances
in Balanchine's romantic ballets ("Liebeslieder Walzer," "A Midsummer
Night's Dream," "Theme and Variations") as well as his classical
showpieces ("Divertimento No. 15," "Tschaikovsky Pas de Deux," "Tschaikovsky
Piano Concerto No. 2") have demonstrated not only technical brilliance
but a tender sensuality. When she appears in "Chaconne," walking
slowly downstage in a gauzy romantic gown, hair loose and falling
over her face to the side, arms lifting through the veil of hair,
she creates an image both voluptuous and deeply moving. The emotion
of the moment is something Whelan herself feels deeply, as she told
BR: "[When I did] "Chaconne" this season, and the first music started
and my newly elongated hair was down, I walked out onstage and tears
rolled out of my eyes. Water was just pouring out of my eyes and
I was just standing there. Very silly. It was beautiful, though.
I loved it. Then I had to move and I was on to other things."
The Professor of Desire
There is more than a
touch of the pedagogue in Whelan's performances, in the way in which
she opens out the steps for your inspection. Not that they are dry
or disconnected, but rather that they are fully expounded, as in
those exploded 3-D diagrams that explain the relationships between
the parts of complex objects. Whelan discloses the steps, opening
them out like a merchant unrolling a rug (look at the workmanship,
feel the texture). She reveals the hidden outline of movement, underscoring
and highlighting its contours, as if she is saying, "Look at the
tip of my toe; now watch the shift of my shoulder blade. Watch this
arch of my back."
She is a laboratory of
motion, clinically clear and open, and achingly expressive. Parsing
the steps into their constituent elements, Whelan makes you see
the pieces and the movement in full, with all the dots connected.
Given this degree of care, the steps become transparent; you see
through them to the geometries they imply. This is one of the most
satisfying feelings you get from watching Whelan perform: the sense
that she has placed each step before you as a gift, which she unwraps
before your eyes.
Adagio: Lyricism with
a Steel Armature
Whelan commands superb
effects in adagio passages, where she isolates and frames Balanchine's
intricately interwoven steps in a series of unforgettable images.
As Titania in Balanchine's "A Midsummer Night's Dream," she is aristocratic
and classically poised, yet there is a generosity and freedom, a
melting suppleness in her dancing that tips the scales toward human
warmth. In the introspective duet from the second, Opus 65, section
of "Liebeslieder Walzer" (No. 13, "Nein, Geliebter, setze dich"),
she slides the leg forward in a half slump, the body gone limp,
yielding, then recovers, snaps back into place for the completion
of the step. She allows the phrase to breathe with languid melancholy
on the way to a finish as absolute as water closing upon a sinking
Her Odette in the new
Peter Martins production of "Swan Lake" brings new shades of meaning
to an overly familiar role. In the Act 2 pas de deux, she clarifies
every familiar step, isolating the famous images of this key passage
of classical dance. She also draws you deeply into the tragic emotion
of the pas de deux, its clairvoyance into the dark future. Her Odette
seems aware of her fate in advance, even as she gives herself to
the swooning surrender of the pas de deux. With her wonderfully
supple spine, she allows her deep arabesques penchees to plummet
straight down as if from a great height, a suicide bomber who sees
ground zero beneath and either cannot or does not care to change
A great part of Whelan's
magic in adagio comes from the breathing room she allows at the
end of the dance phrase. It is an effect she achieves by slowing
down the movement just a hair before finishing the phrase, letting
it expand and soften with that velvet edge. In the adagio of "Concerto
Barocco," Whelan gives just a little rubato to her slow spins into
developpe en avant so that they bloom from the center of the turn.
She achieves a similar effect in the slow turn on pointe under her
partner in the "Swan Lake" pas de deux -- she seems to expand within
the turn like the lotus disclosing its jewel.
Telling, too, is the
way in which she negotiates between adagio lyrical phrasing and
allegro brilliance. In the adagio of Balanchine's "Tschaikovsky
Pas de Deux," her rapid petits battements are a blur of movement
that is suddenly stilled when she finishes the step; she negotiates
transitions from speedy allegro to stop-time repose with perfect
poise. The musicality of her phrasing against the beat pays off
in her variation, especially in the delicately syncopated sous-sus
against the beat that create a wonderful cross-talk with the music.
The expansion of the phrase at the close is sweetly drawn out, an
expanding ripple ending in a little feathered flourish. Whelan's
phrasing breathes with the music, in the way she cadences into perfect
stasis, so that she gives the impression of being caught in, when
she is in fact creating, a larger breathing fabric of movement of
which she is the center.
Allegro: Fire in the
If Whelan is melting
in lyrical adagio roles (or parts of roles), she is equally dazzling
in allegro passages where her speed and precision combine with musical
expression to stunning effect. Her Odile in "Swan Lake" is a superbly
icy creation. In the Black Swan pas de deux, her leg sweeps from
developpe en avant to curl around Prince Siegfried's back like a
giant pincer. Her arabesque on pointe is held just that extra bit
beyond the beat for emphasis and bravado, so vivid a part of Whelan's
technical apparatus and here so appropriate to the character. (In
none of the performances I saw did she complete the full sequence
of thirty-two fouettes, but this is a petty cavil for a performance
of this magnitude and detail.)
In the classical movement
that concludes "Chaconne" she is brilliant and regal, ablaze with
the glamour of the role. She banishes the ground beneath her feet
with a flurry of buttery entrechats. Whelan has something of the
same gamine grace that made Farrell, on whom the role was created,
so moving in the role. But unlike Farrell, whose dreamy, withdrawn
gaze and pensive moue gave her such sensual allure, Whelan is no
flirt. She forges ahead, self-contained, creating frames of sensual
geometry out of which she steps clear-eyed into each succeeding
In "Tschaikovsky Piano
Concerto" (Ballet Imperial), she ties firecrackers to the tail of
the first movement with a series of pique turns ending in chaine
that drill a smoking trail across the stage, terrifying in their
efficiency, finishing with a jete as feathery as a Fragonard ribbon.
She scorches the floor with those turns and then reverses out of
them in the opposite direction, a race-car driver popping the clutch
around a hairpin curve -- astonishing. In the fiery gypsy rondo
of "Brahms-Schoenberg Quartet," Whelan fairly explodes with arrowlike
energy and razor-sharp placement, but she also plays teasingly with
rubato, slowing down around the beat or drolly syncopating with
a little forward swing of the leg that brings to mind Marlene Dietrich
coming through the beaded curtain in "Shanghai Express."
Whelan expands musical
time by breathing with the music's breath; she fills the music's
pulse and gives it amplitude, sifting through its rhythms and oppositions.
Her Titania in "A Midsummer Night's Dream" has an otherworldly composure.
Slowly unwinding out of supported pirouettes in the wedding divertissement
she traces intricate patterns in the air, spiraling upward with
a perfectly calibrated rallentando at the end of the phrase, then
opens out with a flourish ending at the tips of the fingers. Her
supported arabesques on pointe are suspended in a liquid element,
weightless and timeless. Whether she is diving into pique arabesque
or unwinding into attitude devant, Whelan floats and then clicks
into place like the tumblers meshing in a lock.
Finally, Whelan breaks
your heart because she exposes, with matter-of-fact humility, ballet's
tragic paradox: the doomed endeavor to impose upon the human form
a platonic ideal of line and proportion. All such efforts are approximate,
but the closer the mortal dancer comes to the immaterial essence,
the more eloquent the tension between the ideal and its momentary
embodiment. It is at this intersection of abstract form and human
anatomy that ballet reveals itself as a tragic art. Whelan takes
you to that place of grace.
the unparalleled quarterly of the dance world, edited by Francis
Mason. Just as The Dance Insider has mastered the art of the fast
review by knowledgeable dancers, BALLET REVIEW concentrates on perspectives
and the long view of dance and dancers. To subscribe, contact BR
at 212-924-5183 or e-mail at email@example.com
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Live From Azamara Quest: 20 Hours in the Air? When Getting There Isn't Half the Fun
January 9, 2012 | By Carolyn Spencer Brown | 4 Comments
4 Responses to "Live From Azamara Quest: 20 Hours in the Air? When Getting There Isn't Half the Fun"
Roberta Gerlach
January 10th, 2012 @ 10:00 am
Long air flights is the price to pay for seeing the rest of the world. We had to travel from Tampa to Istanbul for a Holy Land cruise. Never would be able to see those ports without the added misery of air flight for 16+ hours, and all that wonderful in-between standing in line for security, transfers, luggage checks. Are you able to get up and walk the aisles to relieve leg cramps, avoid blood clots, use the lav?? Don't count on it! Take aspirin before the flight and do not drink too much liquid.
Beyond that, the experience is so worth it.
Clifton Leatherwood
January 10th, 2012 @ 10:01 am
I remember a similar situation … Flying from Seattle through LAX on to Papeete getting about 3 hours sleep and then taxi on to the the cruise ship to be on time for departure… Some say getting there is half the fun … to me .. at least some times … not so much! The final cruise was THE BEST ever on the Paul Gauguin … but man that fly time is hard on the body!!!
Scott Lewis
January 10th, 2012 @ 12:46 pm
From a slightly different perspective – we live in Kiev, making Europe an easy trip, but the Caribbean is 10 to 15 hours off, and Alaska or the Mexican Riviera is a 20 hour flight 'investment.' We think the trip is worth it for itineraries of 7 days or better.
The biggest issue for us, as the author notes, is limited vacation time. If the destination beckons, and we have time, we're on!
January 10th, 2012 @ 5:52 pm
I take long flights for land vacations, so I'd certainly take one for a cruise. The journey is part of what it's all about.
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I kept a travel blog whilst travelling around America in May 2012, this is it. Words only. Pictures are available in their own book, also available here at Blurb.
I am a photographer from England, looking to produce photobooks through Blurb, and who knows where that might lead?
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Take A Picture Published November 21, 2015
As I See It. Published January 04, 2015
As I See It. Published June 06, 2014
To Dream Of Trees Published April 23, 2014
Scotland 2013 Published November 16, 2013
Eye To The Lens Published August 10, 2013
Bella Italia! Published June 30, 2013
Beyond The Forest Path Published April 28, 2013


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The Pioneers
The spanish captain, Cristóbal de Oñate, an officer
of Nuno de Guzmán and one of the conquerors of the Mexican
west, -then called New Galicia- founded the village of Tequila on
the 12th of April of 1530. Oñate also founded the city of
When did the Spanish and native ways mixed to give birth to tequila?
How did the Spaniard, longing for distilled spirits in a land with
no vineyards and the indian, who knew the proccess to ferment the
mezcal, meet finally to trade secrets?
It is impossible to know, but there is a good chance that it happened
between the years of 1550 and 1560, when the region achieved a certain
peace. It is known that until then, the inhabitants of the mountains
and valleys of Jalisco kept resisting the Spaniards, who came close
to wiping them out.
There is a clear reference to mezcal wine in historical documents
from the year 1616, but it doesn't mention Tequila. It is possible
that the encounter between the indian and the Spaniard didn't occur
precisely in Tequila village, but it had to be somewhere near there,
either on the skirts of the volcano, on the valley of Amatitán,
or on the high lands near Tepatitlán, where the blue agave
grew. The historian Muriámentions in his studies that the
harvesting of blue zapupe was quite spread in 1621.
The growth rate of the first distilleries must have been slow at
first. The spaniards and creoles (Spaniards born in New Spain) drank
mostly wine and its derivatives, imported from Spain with other
spirits, and even local wine, made from grapevines brought to New
Spain in the 17th century. Indians on the other hand drank pulque
or fermented drinks made of corn, as was their ancestral custom.
By then, there were also many sugar-cane plantations in Mexico,
and surely both the Europeans and their sons favoured rum and other
cane liquors over Agave distilled derivatives.
Where was mezcal wine or tequila first distilled? Some say it was
in Amatitán, some that it was in Arenal. Unfortunately there
are no documented sources for either version. What is known for
a fact is that a wealthy landowner from the region of Tequila, don
Pedro Sánchez de Tagle, marquis of Altamira, was the first
to compile the different traditional techniques to plan an industry
with a better production proccess. He was also the first to plant
agave exclusively to make mezcal wine. There was enough water for
such an industry in Tequila, but not in Amatitán.
The first distillery built in Tequila by Sánchez de Tagle
was working in the first quarter of the 18th century. By 1750 a
man named Nicolás Rojas had founded his own distillery in
Tequila, the one called La Rojeña to this date.
Copyright© 2001 Tequilas Don Rafael. All rights reserved.


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5 Presidential Stories That Might Surprise You
You've probably heard the story of Washington crossing the Delaware or FDR hiding his wheelchair from the public eye; but do you know about Teddy Roosevelt's life-threatening expedition down the Amazon, or Grover Cleveland's secret surgery on a yacht? In honor of Presidents Day, NPR Books dove into the archives to find new ways of thinking about our nation's former leaders.
The Stinkin' Thinkin' Of Young Abe Lincoln
Long before he was a legendary leader, Abraham Lincoln was a deeply troubled young man. Noah Van Sciver's historical graphic novel reveals, in evocative and personal drawings, a particularly dark and conflicted time in our 16th president's life. With rough, expressive linework, Van Sciver adds a complex human to the heroic image we hold of Lincoln. (Monkey See post, Sept. 21, 2012)
A Yacht And A Mustache: How A President Hid His Tumor
In the summer of 1893, as America was entering an economic depression, President Grover Cleveland disappeared for four days to have secret surgery on a yacht. In The President Is a Sick Man, Matthew Algeo recounts how doctors went to extraordinary lengths to conceal the surgery and preserve Cleveland's mustache. (Morning Edition interview, July 6, 2011)
Tracing Roosevelt's Path Down The 'River Of Doubt'
In 1913, Teddy Roosevelt — a born winner — was on a losing streak. He had just suffered a humiliating election defeat and needed to get away; but what started as a pleasure trip turned into a struggle for survival. While surveying an uncharted river in the heart of the Amazon jungle, Roosevelt faced deadly rapids, disease, starvation and a murderer on his team of explorers. Candice Millard's The River of Doubt tells the story of his deadly adventure. (Morning Edition interview, Nov. 3, 2005)
Thomas Jefferson's Vegetable Garden: A Thing Of Beauty And Science
Thomas Jefferson was a statesman, a scholar, an architect, a university founder — and a prolific gardener. The plots of his hilltop plantation, Monticello, were a vast, beautiful science experiment with more than 300 varieties of 90 different plants. As author and head Monticello gardener Peter Hatch explains, no gardening detail was too small for Jefferson to note in the journal he kept for nearly 60 years. (All Things Considered story, May 10, 2012)
'Power': Robert Caro's Life Of Johnson Hits The '60s
Before he was president, Lyndon B. Johnson was a disastrous failure as a presidential candidate. His ill-fated decision to run in 1960 opens the latest volume of Robert A. Caro's The Years of Lyndon Johnson. Critic Michael Schaub calls Caro's work "the best presidential biography the country has ever seen." (NPR book review, May 2, 2012)
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Buddhists sometimes bristle at the idea of meditation as therapy, though at the same time there is a thriving Buddhist�therapy�axis in American culture. And while I had been circling Buddhism for much of my adult life, I only came to it as a serious practice through "therapeutic" practice. I had come to a point in my life during my fifties when I was experiencing a great deal of anxiety & I found the guided meditation practices of Jon Kabat-Zinn extremely helpful in getting hold of my self. Kabat-Zinn's techniques, of course, are basically desacralized Zen & after I had emerged from what was actually, I see now, a deep crisis of faith, I returned to some of my earlier reading about Buddhism in general and Zen in particular. That was a couple of years ago & I have been sitting zazen pretty much every day since then with only a couple of short breaks. Over the last six months I have been sitting twice a day.
I had lost my faith, in my mid-fifties, in the only religion I had ever believed in, the religion of poetry. But that's really another story — I started out to write about happiness. As I began to sit more often & for longer periods, I noticed that I was not just calmer, but happier. A lot happier. And this worried me. As a new student of Zen, I was trying to be Very Serious. After all, the great Zen masters are always talking about "clarifying the essential point" & reminding one that "life and death are of supreme importance" & so on. And what about kensho & enlightenment & realizing one's true nature? But then it occurred to me that maybe happiness — not frivolity, but happiness — is one's true nature, or part of it at least. Why deny this aspect of reality?
One of the things I hated as a kid about going to church was the deadly grimness of it all. I didn't sense any of that at the monastery last month. You can probably find grim zendos, but Zen, I think — much of Buddhism, actually — starts from the idea of an original freedom whereas Christianity starts with Original Sin. I'm not ecumenical about this: I think there is a fundamental difference, but that, too, is another story.


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A friend recommended that we eat at The Garden Grill while in Epcot. It sounds fun, with Chip n Dale, revolves etc. I just read about another restaurant though, The Coral Reef and I wondered if this might be a better choice?
What are your opinions on both restaurants and which would be the better choice?


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I am a little giddy this morning. Let's see….DH has been home two days now from deployment, and we are all still on Cloud 9. I don't even know what that term means exactly, but suffice it to say I am happy…the kids are happy…and we are all just happy. I snuck on here, because DH decided to go into work this morning. Never mind the boss told him to take the week off. Never mind the base will be a ghost town as this is our Pre-Lenten Break or "Ski Week" as it's called. People leave the base in full force and only the bare bones inner workings are still going on. Well, at least it gives me an opportunity to catch up on my favorite blog reading with my favorite tea mug. There are definitely some good ones this week!
How the London Underground made me miss my flight – Oh man, this happened to me…almost….once…and the feeling you get in the pit of your stomach is excruciating! I sure feel for this blogger. I think I may even have shed a tear for her too. There may be some lessons learned stuck in there. Read it and get enlightened.
Myrabelle – I always wanted to order one of these German necklaces….and wouldn't it be even cheesier with my name on it? I thought it would be a neat reminder of my time in Germany and would be an added festive piece I could wear at future Oktoberfests or other gatherings, especially back in the States when I want to get my German funk on.
Flightfox – I thought this was a neat idea. Get other people to do the work for you in finding a cheap flight. Especially if what they are saying is true….people are posting they saved hundreds of Euros by using Flightfox. My question…is it because they were dumb enough to not even research basic discounted fares and went with full price fares or did the folks who do the crawling/searching on this site truly dig deeper and find some gems? I'll leave it to you to figure it out and investigate. It's a neat concept either way.
Using German Numbers – A Traveler's Guide – I sometimes forget I grew up in Germany. This is evidenced by a friend of mine not being able to find our apartment during our first tour in Germany. Turns out she was confusing the ground floor with the first floor…it's different in Germany. You probably already knew that, but this blogger brings up some other German numbers you may find interesting or helpful.
Debunking Myths about Germany: Trachten – Oh this is a good one. We all know most of us will travel back to the States with a Dirndl or Lederhosen or possibly two. It's a given. Many Americans think all Germans wear this stuff. Debunk the myth right here.
Soldier's Wife, Crazy Life – It is sometimes isn't it! Every week I highlight a new military spouse blog. This is it for this week! Julie is doing a Project 365. I'm not exactly sure what it is, but I think it's you highlighting a different thing you or your family did that day. She is a photographer and sometimes I get homesick looking at her photos of what life is like back in the US….sigh.
Barcelona: 5 Tourist Traps to Avoid – You probably have Barcelona as one of your travel destinations. I tend to agree with this blogger. I didn't know about the flamenco thing either til an honest Spanish friend told me the real deal.
Riding the Gravy Train – Bring on the meals! It seems like only your church and your group of military spouses gets in on this meal thing after you've come out of the hospital or had some other hiccup or God forbid tragedy in your life. The women sure circle the wagons when it comes to food. I cringed a bit when Lisa talked about the poor wife who evidently can't cook, but you know what? It's the spirit of giving and caring about other people that means the most. I know she was just trying to be funny though:-)
Family resorts to public humiliation to stop teen from stealing – By now, you all have seen the video of the father who shot a bullet into his daughter's laptop. Boy did that go viral! We all discussed it to death, whether we thought it was right or wrong. Here's another one to discuss. Would you do this with your child? Do you see it as right or wrong?
What is this crazy, waterless washing machine? – Oh man, this looks awfully a lot like something out of the Jetsons! I only have one question. Are the clothes absolutely clean and stain-free when they come out? If so, sign me up!
35 Pets died on airplanes last year, over half on Delta – Many of us overseas (and those about to come over) have been following the saga of the United/Continental merger and the merged airlines raising the pet shipping fees to thousands of dollars. We all know the military does not pay for your pets, their care or their travel…it's all on you. I find it terribly interesting that Delta has been quietly shipping pets via cargo (although I don't think the prices are quite as high as United is quoting)…and now I read this and see what looks like a link between cargo shipping and pet deaths? Or am I making too many assumptions?
How Target can deduce pregnancies, create new habits and know what you want before you do – We all love shopping at Target and even Wal-mart, especially when we don't get to see either of these stores too often. But sometimes, it is awfully scary to see how Big Brotherish they can be! According to this, Target can basically run your life. I may think twice about using loyalty cards in my favorite stores and anything less than cash…gee….
Pinterest Porn – We all have been bitten by the Pinterest bug. I know I spend more time on there than I need to. It's that addicting. Of course this issue would raise its ugly head too…it always does. What do you think?
Pinterest is blowing up – And while we are on the subject, how many of you have read the Pinterest Terms of Service? Be honest…raise your hand? Uh huh…I thought so…not many of you. I'm going to admit I didn't either. You may want to read and see why many are choosing NOT to join Pinterest and why it could be an issue for you when you start pinning things that don't belong to you specifically….hmmmm….
And before I forget something from the archives, let me dig something out. How about for those of you moving this summer, should you live on or off post?
Oh, and I promise I will get to your email questions. Many of you I have already answered via email…for those of you I haven't, please be patient with me! I may try to round all those questions up into a podcast…it's about time I do another one!
Oh there goes the doorbell. Yes, my plumbing saga continues. What would've taken two days stateside is now on day….let me think for a minute….day #5. On the plus side, we are getting a shiny new toilet and tiled wall! It's the small pleasures in life you hang onto really.


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Home Inns Shanghai Century Park Inn
- Location:
- Address: #1151, Pujian Road, Pudong Shanghai 201204
- Tel: 68458090 (Book this hotel, call 800-2682918)
- Hotel Name in Chinese: Home Inns Shanghai Century Park Inn
- Lowest Price: $29
The Home Inns, Shanghai, also named Shanghai Jin Hua Hotel, is a new multiple shop of Rujia Jiudian Shanghai Century Park, located near the Century Park and Oriental Pearl Tower in the Pudong New Area. It affords guests a fresh feeling when visiting shanghai.
There are three characteristic building designs; Uniform service, providing 3-star hotel high quality service; and uniform hardware establishment.
- Prices not include 18% service fee and tax.
- Payment Method: pay using our secure online payment service or pay at the hotel at some hotels.
- Triple/quad occupancy may require an extra bed at extra cost.
Hotel Amenities
|Hotel Services
|Car rentals, Medical clinic service, Wake Up Call, Permanent English-speaking staff, Business Centre, Copy Service, E-mail, Fax Service, Typing Service
|Room Amenities
|Air conditioning, Alarm clock, Color Television, Telephone, Bath and Shower, Internet access
Hotel Amenities: Elevator, Parking, Business Floor or Executive Floor, Air-Conditioned Facilities, Beauty Salon, Sauna, Meeting Room, Deposit Box at Front Desk, Fire Detector, Chess & Playing Cards Room
Dining Facilities: Chinese Restaurant, Western Restaurant
Print the Taxi Directions
- Please drive me to Home Inns Shanghai Century Park Inn, thank you!
- 请送我到Home Inns Shanghai Century Park Inn,谢谢
- Address: #1151, Pujian Road, Pudong Shanghai 201204
- 地址: #1151, Pujian Road, Pudong Shanghai 201204
- Tel: 68458090
Similar Hotels as Home Inns Shanghai Century Park Inn
GreenTree Inns Qibao Shanghai
From: $ 29
Hanting Express Shanghai Century Garden Inn
From: $ 29
Home Inn Xianxia Road Shanghai
From: $ 29
Check out the list of all 1033 hotels in Shanghai


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About RIAO
The International Center for Limb Lengthening
The Center for Joint Preservation and Replacement
The Center for Hand and Upper Extremity Surgery
The Wasserman Gait Laboratory
The Center for Diabetic Limb Preservation
LifeBridge Health At A Glance (PDF)
Medical Missions
RIAO Multimedia Center
Fellowship Programs
Baltimore Limb Deformity Course
Hip and Knee Course
LifeBridge Health Board of Directors
LifeBridge Health Management Team
Community Benefit Report
LifeBridge Health
Sinai Hospital
Northwest Hospital
Carroll Hospital
Center for Diabetic Limb Preservation
Center for Joint Preservation and Replacement
International Center for Limb Lengthening
Center for Hand and Upper Extremity Surgery
Podiatry/Foot and Ankle Surgery
Orthopedic Oncology
Pediatric Orthopedics
Orthopedic Spine
Musculoskeletal and General Orthopedics
Research and Publications
Joint Replacement (hip, knee, shoulder)
Limb Lengthening
Limb Deformity Correction
Hand Surgery
Carpal Tunnel
Tarsal Tunnel
Sports Injuries and Rehabilitation
Scoliosis, Adult and Pediatric
Orthopedic Tumors
Orthopedic Trauma
Bone Infections
General Orthopedic and Musculoskeletal Conditions
Podiatry (Foot and Ankle Conditions)
Orthotics and Prosthetics
Patient Support and Education Programs
Orthopedic Research
Herman & Walter Samuelson Children's Hospital
Inpatient and Outpatient Orthopedic Rehabilitation
Gait Laboratory
Hydrotherapy Pool
Physical Therapy
LifeBridge Health Development
Contact Us
Development News
Donate Now
Grateful Patient Stories
Special Events
Ways to Give
Save-A-Limb Ride
Save-A-Limb Ride
Sinai Hospital
Northwest Hospital
Carroll Hospital
Forms for New Patients
Hackerman-Patz House
Important Phone Numbers
Retail Shops
Visiting Hours
Wireless Internet
For more information,
click here.
Gift Shop
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click here.
Carroll Hospital
Patient Information
Gift Shop
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For more information,
click here.
Community Calendar
Contact Us
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LifeBridge Health Magazine
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Online registration is now open for the three-day Baltimore Limb Deformity Course, three pre-courses, and one post-course. You can also register by printing out the registration form and sending the completed form to the fax number or to the mailing address that is listed on the form. If you are not using your own personal credit card to charge the fees, please complete and return the Third Party Credit Card Authorization Form so that we have a valid signature on file.
Click here to see the Course brochure.
We are pleased to announce that we will be offering scholarships for fellows and residents who would like to attend the three-day Baltimore Limb Deformity Course. Please see the application form for more information.
Please see below for more information about our 2016 courses, AMA PRA Category 1 Credits™, course venue, travel options, and contact information.
26th Annual Baltimore Limb Deformity Course
Dates: Friday, August 26, through Sunday, August 28, 2016
Chair: John Herzenberg, MD
Directors: Shawn Standard, MD, Janet Conway, MD, and Noman Siddiqui, DPM
AMA PRA Category 1 Credits™: 29.5
Registration Fee: $1,275–$1,695
Pre-Course: Masters of Disaster: Managing Osteomyelitis in the 21st Century
Date: Thursday, August 25, 2016
Course Times: 7:00 a.m. – 6:30 p.m.
Directors: Janet Conway, MD, and Samir Mehta, MD
AMA PRA Category 1 Credits™: 10.25
Registration Fee: $525–$695
Pre-Course: Tibia and Foot Deformity Correction Procedures: Cadaver Lab
Sold Out!
Date: Thursday, August 25, 2016
Course Times: 8:15 a.m. – 4:00 p.m.
Directors: Noman Siddiqui, DPM, and Christopher Bibbo, DO
AMA PRA Category 1 Credits™: 5.75
Registration Fee: $695
Pre-Course: Complex Pediatric Hip/Pelvis Surgery: Cadaver Lab
Sold Out!
Date: Thursday, August 25, 2016
Course Times: 9:30 a.m. – 5:30 p.m.
Director: Shawn Standard, MD
AMA PRA Category 1 Credits™: 7.0
Registration Fee: $950
Post-Course: Six-Axis External Fixation: To the Tibia and Beyond
Date: Monday, August 29, 2016
Course Times: 7:30 a.m. – 5:15 p.m.
Directors: John Herzenberg, MD, Janet Conway, MD, Shawn Standard, MD, and Noman Siddiqui, DPM
AMA PRA Category 1 Credits™: 8.0
Registration Fee: $375–$475
Hotel Information
The course venue is the Four Seasons Hotel (200 International Drive) in the heart of Baltimore's Inner Harbor. The chic hotel is located 20 minutes from Baltimore-Washington International Airport (BWI) and 90 minutes from Washington Dulles International Airport (IAD). The discounted per-room fee for course attendees is $216 per night (plus tax). The room rate includes complimentary guestroom Internet connectivity. It is highly recommended that you make your reservations early. The discounted rate is offered on a space-available basis through Tuesday, August 2, 2016 (5 p.m. Eastern Standard Time). To make a reservation, visit the hotel web site, select the dates of your reservation, click on "Corporate/Promo Code," and then enter code "CI0816SI." You can also call 1.410.576.5800, ask for in-house reservations, and mention "Sinai Limb Deformity Course" to receive the discounted group rate.
For those driving to the Four Seasons Hotel daily, we have arranged for a discounted daytime valet parking rate of $8/day. This rate does not apply to self-park during the day or to overnight parking (currently $40 for valet and $23 for self-park per night).
Contact Information
Please contact Madeline Bacon with any questions about the Baltimore Limb Deformity Course.
Phone: +1.410.601.9798
Fax: +1.410.601.0585
E-mail: firstname.lastname@example.com
Mail: Rubin Institute for Advanced Orthopedics
Sinai Hospital of Baltimore
2401 West Belvedere Avenue
Baltimore, Maryland 21215, USA
Getting to our Course
American Disabilities Act
If you require special accommodations to attend or to participate, please fax (1.410.601.0585) notification of your needs at least 30 days in advance of your arrival.
Accreditation Statement for CME
LifeBridge Health is accredited by MedChi, the Maryland State Medical Society, to provide continuing medical education for physicians.
Designation Statement
LifeBridge Health designates this live educational activity for a maximum of 47.75 AMA PRA Category 1 Credits™. Physicians should only claim credit commensurate with the extent of their participation in the activity
Disclosure Policy
It is the policy of Sinai Hospital of Baltimore, a LifeBridge Health Center, to comply with the Accreditation Council for Continuing Medical Education (ACCME) Standards for Commercial Support of Continuing Medical Education. All faculty participating in sponsored or jointly sponsored programs by Sinai Hospital of Baltimore are required to disclose to the program audience any real or apparent conflict(s) of interest related to the content of their presentation(s). In accordance with the ACCME requirements on disclosure information, relationships of presenters with commercial interests (if any) will be included in materials distributed at the time of the Course.
CME Committee Disclosures
The following LifeBridge Health Continuing Medical Education Committee members and their spouses/partners have no financial interest or affiliation with the manufacturer or distributor of any medical products, devices or services: Madeline Bacon; Eric Buchner, MD; John Cmar, MD; Tina Gionet; Christopher Grove, MD; Mark Katlic, MD; Diane Maloney-Krichmar, PhD; Susan Mani, MD; Wendy Robinson, CHCP; Allan Pristoop, MD; Richard Rohrs, PA-C; Melissa Teply, MD; and Teresa Wilson, CPMSM. However, David Gordon, MD, receives grant/research support, is a consultant, and is on the speaker's bureau for ACell, Allergan, Astellas; and Asha Thomas, MD, is the primary investigator for Exscel Study/Amylin.
The 2015 Course
The 2015 Course was an extremely successful event with more than 250 attendees from 33 countries and 30 states in the U.S. Our world-renowned faculty conducted hands-on labs and lectured on topics such as lengthening with internal devices, limb alignment, corrective osteotomies, and treatment of Charcot foot. Basic and advanced limb reconstruction concepts and surgical procedures were also covered in depth. We thank our corporate sponsors, faculty, Academic and Research Services Department, and volunteers for making this Course possible.
Comments from 2015 Course Participants
"I will highly recommend this course to all residents and orthopaedic surgeons. It should be an essential set of knowledge for all ABOS surgeons. This is the best orthopaedic surgery course I have attended, period."
"Outstanding course. Impressive how the talented faculty can simplify complicated material and present it as simple and easily applicable universal principles. The opportunity to practically apply the material at multiple points during the course reaffirmed the effectiveness of the methods and the ease of their application."
"One of the best courses I have ever attended. Well organized, with great faculty. Highly recommended course for anyone who has an interest in Limb Reconstruction surgery."
"This is an exceptional course that gives the registrants actual skills that they can go home and use appropriately. Fantastic educational experience."
"Excellent course! The best and highest yield course I've attended in my career!"
"Excellent course. Hopefully coming back next year."
We would like to thank these organizations for their support
of the 2015 Baltimore Limb Deformity Course:
Rubin Institute
2401 W. Belvedere Ave.
Baltimore, MD 21215
Contact Us: 410-601-9000
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Just in time for Valentine's Day, lucky Bay Area residents can enjoy their own Brazilian restaurant, Fogo de Chão opening at Santana Row in San Jose. This is the first Northern California location and to celebrate Brazilian style they are giving away a trip to Brazil for a lucky contest winner through February 16, 2014.
Fogo de Chão is an authentic Brazilian steakhouse offering a delicious array of grilled meats, salads and side dishes. The dining experience includes tableside service of a selection of 16 types of grilled beef, pork, lamb, or chicken. Guest's will appreciate the selection of South American wine as well as from the finest global wine regions. They are the proud recipient of the prestigious Wine Spectator Magazine Award of Excellence for eight consecutive years.
Fogo de Chão launched "Expedition Brazil," a national contest to award adventure-seeking Fogo fans. The lucky winner will have an insider's look into the beautiful country of Brazil and the Fogo lifestyle. The winner and guest will be awarded a 7-day travel expedition that includes dining at a Fogo restaurant in Brazil. Entries are accepted through February 16, 2014, and judging is based on several criteria such as creativity and uniqueness of the submission, describing why they are perfect to win the exciting journey. Complete details and Official Rules at www.fogo.com/expedition.
Expedition Brazil was conceived when the U.S. Fogo de Chão team assembled a group of Fogo leadership and Brazilian gauchos to return to Southern Brazil, where the deep cultural roots of Fogo de Chão were forged. They spent time on the family farms of authentic Fogo de Chão gaucho chefs and became immersed in the rich Southern Brazilian culture.
The contest was designed with the intention to create something special and provide an unforgettable adventure throughout Brazil, the orgins of Fogo de Chão.
Details: Fogo de Chão opens in San Jose's Santana Row in February. Fogo de Chão is an authentic Brazilian steakhouse sharing the gaucho way of preparing meat in a relaxed ambiance. Details for the Brazilian giveaway contest can be found here.
About the Author: Karla writes about global destinations, food, wine, horse racing and exotic car events. Discover more from over 400 travel articles of places to explore.
©Karla Erovick 2014 article
Follow Karla on Twitter and Pinterest.
Become a subscriber to receive email alerts for new articles, click subscribe next to author photo. You will never be spammed and can unsubscribe at any time.


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Throw a couple of these stretchy plastic straps into your backpack for the times when you want to A-frame your skis to your pack, secure skins when they've lost their 'stick' or even stabilize a broken leg to your ski poles. You won't get the gooey residue you get from Duct Tape either. $3.50-$5.50 depending on length. voile-usa.com
Those giant Rice Krispie treats may call to you every time you enter the Tram line at the Bird but don't succumb. Instead, bust out a Tram Bar. These soft chunks of mostly organic ingredients beat out ProBars and ClifBars for taste and texture. Keep a stash in the freezer to last all season. Caz Bars, Tram Bar's cousin is made with dark chocolate, coconut, and spice. $2.75, www.wasatchbagel.com
Your eyes won't know what hit them. The lenses are polarized and photochromic meaning that not only will you cut out glare with these slick shades but there'll be some auto UV adjusting happening in lowlight situations so you can still ski when the sun drops behind a ridge. $150, www.standardoptical.net
CW-X Insulator PerformX Tights
Oh, the promises these compression tights make. Still, it never hurts to have a baselayer that maintains a constant comfortable surface temperature and may (or may not) correct alignment. The technology is supposed to support the IT band, hip flexors and quads as well as stabilize the knees, calves and Achilles, and facilitate circulation to minimize lactic acid build-up. $80, WWW.CANYONSPORTS.COM
It's a hat; it's a neck gaiter; no, it's a hat! So digging this super soft convertible lid lined with teddy fur that not only looks great on your head, but your neck too. $40, www.skinsee.com/, www.nobis.ca
Burton [AK] Oven Under Mitt GORE-TEX Gloves
Problem with chilled digits? Stuff them into these little ovens of triple goose down and PrimaLoft insulation. Even though they are ridiculously warm, a Hydrofil inner knit wicks away moisture so your hands don't get clammy and cold. $134, www.saltypeaks.com / www.burton.com.


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Aybar on Men's Singles Top 100
TUCSON, Ariz.- The 1999-2000 University of Arizona men's tennis team wrapped up the fall season ranked 55th in the nation by the Intercollegiate Tennis Association. Junior Alex Aybar was ranked 86th among the top 100 men's singles players in the country.
The Cats finished the 1998-99 season ranked 60th. There are nine returnees and three new faces to help them in singles and doubles play.
Nationally ranked Aybar is in his first active year at Arizona after redshirting last season due to a foot injury. While attending Tyler Junior College in 1997 and 1998 he was No. 1 in the nation in both singles and doubles.
The Cats will begin winter play at Jerry's Desert Invitational on Jan. 7-9, in Palm Springs, Calif.


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Don Shula's name has been associated with winning for more than five decades. Shula is the winningest coach in NFL history and his 1972 Miami Dolphins remain the only unbeaten team in league history. To be sure, the Shula name and image are iconic in the South Florida sports scene. Equally as iconic is the Shula name on the legendary coach's chain of steakhouses and restaurants throughout South Florida and beyond.
A Shula's Steakhouse or Shula-branded restaurant is synonymous with high quality beef, seafood, flavors and service. Among the more popular eateries in the Shula's portfolio is Shula's on the Beach at the Westin Beach Resort & Spa in Fort Lauderdale. It's the centerpiece of the 432-room resort's dining offerings and brings together all that's great about the Shula's brand - with a beach view.
"We're not traditional steakhouse because of our proximity to the beach," said Daniel Lydia, the restaurant's general manager. "We offer more seafood (than its sister steakhouses) and we're more relaxed. You won't see servers in white jackets and old-school bartenders."
True enough, but what you will find is the famed Shula Cut steaks, each from Premium Black Angus Beef. Black Angus Beef is known for its marbling, which provides superior flavor and taste. Those can be found in every Shula Cut, whether it's the 8 oz. Filet Mignon or Shula's classic 24 oz. Porterhouse.
"We wet-age our meat because of the consistency and flavor it provides," Lydia said. "That's a trademark of the Shula Cut. It's all about great tasting beef."
If you're' looking to "Cowboy Up", the 22 oz. Cowboy Steak is a great choice; if you want something smaller but still filling, give the 16 oz. New York Strip a try – it's among the more popular items on the menu. A 16 oz. Cowboy is a recent addition to the menu that's good for diners who can't lasso the 24- ounce version.
If seafood is more your thing, you can't go wrong with the Jumbo Sea Scallops and the Cold Water Lobster Tails (one or two).
"Our menu is very well represented," Lydia said. "We've got a couple of cuts of meat for the steak connoisseur and for those guests just looking for a nice dinner."
The steaks and seafood, of course, are the stars of the menu, but the sides at Shula's on the Beach really complete the dining experience. Each of the sides is big enough to serve two people, so it makes it easy to select two or three. The Lobster Mashed Potatoes are a "must have," and you can't go wrong with the Crab Mac and Cheese and Double Baked Potato.
"We're lucky we have the power of longevity here," Lydia said. "Our consistency and quality has stood the test of time."
Just like the '72 Dolphins.