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Star Tracks: Monday, May 16, 2016 42 years, 2,191 covers and 55,436 stories from PEOPLE magazine's history for you to enjoy
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People Top 5
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- April 30, 1979
- Vol. 11
- No. 17
A Character Star Gets Her Perks Playing Coffee's Mrs. Olson
The Mrs. Olson role Christine has been playing for the past 13 years is a friendly Swedish adviser to newlyweds on Folger's coffee TV commercials. A household name west of the Mississippi, Mrs. Olson was a sitting target for Carol Burnett and Johnny Carson parodies which only last year made sense to the East Coast. That was when Folger's took on Maxwell House's Cora nationwide. (Cora's played by another old pro, Oz's Wicked Witch, Margaret Hamilton.)
So far the gambit seems to have worked: Folger's, already No. 1, is inching further ahead. But Christine measures her success not in dollars but in the warm response of her viewers. "They consider me a friend, it shows in their faces," she says, "and I'm a sucker for that."
Off the account, she speaks accent-less English, but as the granddaughter of Swedish immigrants, she is indeed fluent in their language. Born in Stanton, Iowa (pop. 574), which has since redesigned its water tower as a coffeepot in her honor, Virginia tagged along with her musician parents on the old Chautauqua tent circuit. When she was 9, her father died and her mother married Swedish Lutheran minister John T. Kraft, who moved the family to California. There Virginia went to Long Beach City College (where she is now in the Hall of Fame) and later to L.A. City College. At a 1939 dinner held by the latter's opera club (Virginia was president), she met Feld, 20 years her senior and by then an established stage and movie actor. He spent the evening pestering her with spitballs and love notes.
She rebuffed him, but not for long. "I had a conniving young mind," she concedes. "I thought I'd take this guy for whatever he was worth." Soon she found herself "falling into my own trap," and in 1940 they were married. They have two sons and two grandchildren. Under Feld's tutelage she made her acting debut, as Virginia Kraft, in his stage production of Hedda Gabler. When Warner Brothers offered a movie contract, she acquiescently changed her last name from Kraft to Christine. "It was during the war, and they thought Kraft was too Teutonic," she remembers. "And they said I would be compared to Kraft cheese if I were bad."
Christine's first film role was an ingenue version of Mrs. Olson, a young Scandinavian girl in the Errol Flynn potboiler Edge of Darkness. Then followed Westerns, serials, horror movies and the TV treadmill. She had become a regular (Perry Mason, Wells Fargo) in 1964 when she was asked to do a coffee spot and turned it down. "I'd done commercials before," she explains. "You had to smile and be phony, and that's not my style." Eventually she came around. "The spot was created to be warm and homey, to lend itself to realism," she says,
and the product was acceptable ("That's important to me").
Over the years Mrs. Olson has changed from cleaning woman to family confidante. And now Christine feels so comfortable with her character that she needs only a few minutes before each take to learn her lines. Still, it takes a full hour of makeup to transform Virginia into Mrs. Olson. When she broke her toe in 1976, the entire spot was rebuilt around Mrs. Olson's cast. People still stop her on the street to ask how her leg is mending.
Christine herself is a five-to-six-cups-a-day coffee drinker. But one perk her commercials do not bring is free coffee. "I used to buy whatever was on sale," she admits. Now it is always Folger's. "Think," she exclaims, "what would happen at the checkout counter if I bought something else."
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September 28, 2016
Princess Kate, Plus Chris Pratt, Kendall Jenner, Adele and More!
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Your Residential Real Estate Engineer thought it would be a good idea to do an open Q&A session right here on our blog since I've been getting all these questions from various investors on a number of topics. My thought is, the questions I'm being asked in private may be the same questions other investors have but they have been afraid to ask.
Now, I'm not claiming to have all the answers but I'm willing to share and if you've spoken to me on the phone before you know what I'm talking about. If I can't answer your question directly I'll at least point you in the right direction so you can get your question answered.
So, here is what I propose; Ask your question in the comment section and I'll respond and answer there as well. I also welcome others input.
Fire away with your questions, let's get this Q&A session started!!!!!!!!!!

subset: commoncrawl


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Poor Rilla Samsell.
And lucky Rilla Samsell:
She virtually got to turn in Marshall tickets for ones to see LSU.
Article Photos
Members of the Samsell family include, from left: Diana, Rilla, Lee and Madeline.
Rilla Samsell stands with Dr. Richard Brant, who supplied Rilla and the Samsell family with four tickets to the LSU-WVU football game after Rilla suffered appendicitis right before the season opener against Marshall.
Think about that one: Marshall or LSU. Hint: Unbeaten LSU will play in the BCS National Championship Game.
All 12-year-old Rilla, a student at Faith Christian, had to do was get sick.
All she had to do was suffer an appendix attack on the eve of the game while already in Morgantown with the rest of her family, father Lee, mother Diana and older sister Madeline.
Then it all worked out as she got to see her favorite, West Virginia, play LSU, instead of Marshall.
Not that many others saw WVU and Marshall play much either, the constant severe thunderstorms delaying and eventually ending their game. It was like the players, fans, coaches, stadium workers and media were going through their own bout with appendicitis.
Poor Rilla.
She did suffer from it.
"Our youngest daughter began to complain of stomach pains shortly after we arrived in Morgantown Saturday evening," Diana Samsell wrote in an email. "We took her to Ruby Memorial Hospital E.R. We discovered she had appendicitis, and she was scheduled for surgery early Sunday morning."
For the sake of television, the Marshall-WVU game - otherwise known as the Friends of Coal Bowl - was being played on Sunday afternoon.
And Sunday night. And almost to Monday morning.
Rilla would not be sitting in a seat or hiding under cover during the continual drenching storms.
She'd have to be in a hospital bed.
"The staff at Ruby was gracious and gave us a pediatric room that overlooked Mylan Puskar Stadium with a great view of the scoreboard," Diana wrote. "My daughter was extremely disappointed that we were going to miss WVU's opening-day game."
There was a TV in the room, too, so whatever Rilla couldn't see through her window - probably little - she could catch up on during the replays.
"Her surgery went well, and, although she slept through most of the game, I was able to watch it on TV, as well as occasionally viewing the excitement out the window around the stadium.
"I had a bird's-eye view of the lightning, evacuation and replays on the scoreboard."
Mother and daughter slept comfortably that night after the surgery.
That didn't lessen Rilla's pain about not seeing the game, even though her stomach pains abated.
Her Prince Charming - today, her Santa Claus - came to the rescue.
"A wonderful pediatric doctor - Dr. Richard Brant - promised to visit my daughter in her room prior to her discharge," Diana wrote.
"As promised, he showed up Monday morning to wish her well, but, much to our surprise, he had a gift for my daughter - four tickets and parking pass to the WVU-LSU game on Sept. 24.
"He said they were his own personal tickets, and since he would not be able to use them as he would be working at the hospital, that he was giving to her so she would be able to go and experience a game with her family.
"... I couldn't believe it! What a special deed he did!
"I was floored by the compassion and empathy that this doctor had for my daughter."
Does a tear well up in your eye, too?
What a story for this day of days.
It's Christmas, the day Christians believe their savor was born in a manger.
We celebrate by giving gifts by the shopping-basketful.
Should we wait for just one day?
Just as Rilla and her family were blessed by a tenderhearted doctor, the doctor was blessed in his giving.
That was back in September.
What about us?
Wouldn't it be more wonderful to give something ourselves - like ourselves - during the course of the year.
Let's be courteous on the highways, in the stores and restaurants. Say "Have a nice day," to those we encounter, because their days might not be as enjoyable as ours and they might be the downtrodden. Offer help in those precarious situations for others.
Just think of all the smiles all around.
Let us all be Rilla's, accept the love of others, our brothers and sisters no matter race, heritage or beliefs.
Let us be Dr. Brant, offer the love of others to our brothers and sisters no matter race, heritage or beliefs.
What a wonderful world that would be.
And, to you all, Merry Christmas.
- Santa Koz


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Yes, it's true. Heading into Thursday night, the Jacksonville Jaguars had won three of their last four games.
But don't be fooled. They still aren't very good and their quarterback options consist of Chad Henne and Blaine Gabbert.
But Jaguars head coach Gus Bradley has figured out that maybe he doesn't really need a starting quarterback.
Last week, running back Maurice Jones-Drew threw a touchdown pass to Marcedes Lewis in Jacksonville's 32-28 win over the Cleveland Browns. On Thursday against the Houston Texans, it was wide receiver Ace Sanders, who threw a 21-yard touchdown pass to Jordan Todman.
If you're keeping stats at home, Sanders and Jones-Drew now have as many touchdown passes this season (one) as Gabbert.
(Via GIFD Sports)


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The conference will explore a number of key issues in art discourses today and also address a central concern of the HRC's theme in invoking the idea of world-making beyond cultural divides and instead, speaking 'to a domain of human connectivity'. We seek to explore the significance of connectivities and differences in the field of art: its practices, histories, institutions, inclusions and exclusions, ethical concerns and theoretical and methodological approaches under the overarching theme of 'the World and World-Making'. While much of the focus of the conference will inevitably be on contemporary transformations resulting in part from globalization and geopolitical changes in our world, including migrations and transnational movements of people and art as well as new means of human connectivity and cultural exchange, we also welcome papers that address historical dimensions of the theme of 'the World and World-Making in Art'.
The conference will be organized around 4 key sub themes:
1) World-Making and the concept of 'Global Art': Connectivities and Differences
2) Cosmopolitanism
3) Crossing Borders: artists, institutions, exhibitions and audiences
4) Indigenous World-Making in art


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More than we expected
By rpowell911
from Midland, GA
Comments about Frigidaire 22.07 Cu. Ft. Side-by-Side Refrigerator - White:
This refrigerator was purchased for our outdoor kitchen, after another brand failed to even make ice outdoors. We have a shade, covered, very large patio, and needed a refrigerator with icemaker for beverage and condiment storage. We originally purchased an 18 cu. ft. appliance by another brand, had their icemaker kit professionally installed, all to get only one batch of ice cubes in 1 weeks' time. Freezer temperature cranked all the way to it's lowest, and then if not removed immediately, they would melt. Sent that one back, got the new Frigidaire, couldn't be happier. it cost a tad more, but after cleaning it, hooking it up, levelling it, and setting the temps to the recommended settings (NOT all the way), we had ice within 6 hours, solidly frozen, and a short time later, very plentiful. Lots more room, quieter, and it has the works in the door. Couldn't be happier with this fridge. Should have bought this one first...
Bottom Line Yes, I would recommend this to a friend
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Nice side by side
By AllieGA
from Millwood, GA
I bought one year ago and have had only one problem with ice maker, which Frigidaire came out within a couple of days and repaired.
Works well
By Rosie1545
from Hondo, TX, United States
All 3 appliances work well. Nice looking. Like the crushed ice feature and amazed at the microwave/convection combo.
Nice Refrigerator
By Red45
from Ohio, United States
Overall, very satisfied with refrigerator. Good product for the price especially with appliances being so expensive and sometimes cheaply made.
Love it!!
By Byrd600
from NC, United States
It's just the right size for a small kitchen. Love the color.
Nice fridge
By Cparish
from San Marcos, TX, United States
Pretty nice, maintains temperature really well. It's very narrow though, there's really not a lot of space.
By Sportsfanatic5721
from Norwich, NY, United States
Huge upgrade from last refrigerator. Very spacious.
Great size!
By perduechick
from Reidsville, NC, United States
I love the size and the features! Ice maker is awesome along with water dispenser.
Just what we have been looking for!!!
By cletus2000
from Port Angeles, WA, United States
We've been using this for the past month. It's been amazing and just what we were looking for. We've also purchased other frigidaire products in the past. Great products!
Just average!
By Baileys Cook
from Oxnard, CA, United States
I purchased this product because of the name --- FRIGIDAIRE. I have been disappointed on a couple of features. One is the bins for vegetables and fruit are a very light plastic. I do not like the quality of these drawers. Another is that there is not enough room on the door for cans of soda. They have to be stored on the main shelves. But, this product is the right size being a counter model.
Bottom Line No, I would not recommend this to a friend
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Episode Description:
John F. Simon is a visual artist and software programmer whose work can be found in prominent museum collections such as the Museum of Modern Art, the Solomon R. Guggenheim Museum, and the Los Angeles County Museum of Art. He was also one of the app designers on the world's first app album, from Björk, called Biophilia.
In this episode we speak with John about his long-standing search for the source of creativity, and how that search has led him to explore a contemplative Buddhist practice. During the discussion with host Vincent Horn, John describes the strategy he uses to search for the source of his creativity and the parallels his strategy shares with meditation teacher Daniel Ingram's progress of insight map.
Episode Links:
- iclock.com
- John's profile at the Gering & Lopez Gallery
- Björk's Biophilia
- Daniel Ingram's Buddhist Geeks interviews
Episode Artwork:
Vincent: Hello, Buddhist Geeks. This is Vincent Horn, and today I am joined by a very special guest: John F. Simon Jr. John, it's great to have you on the show. So glad you could take the time to speak with the Buddhist Geeks today.
John: It's great to be here. Thank you for having me.
Vincent: Yeah. I just wanted to share a little bit of the back story of how I got in touch with John. We did a little bit of meditation work together. You were in our first cadre of the Life Retreat program. And very quickly I learned that you have this incredibly rich artistic background that's not just as a professional artist but also as a contemplative. And as I spoke to you more and more about your practice of drawing and your practice of art, the more I realized what a cool topic this would be to explore on Buddhist Geeks. Such a great pleasure to have you on the show and I'm really excited to explore this with you more.
I wanted to mention that you are a computer-based artist or maybe you're most well-known for that.
John: That's right.
Vincent: And I was wondering if you could share a little bit about how does one get into computer-based art? Cause you got into this well before it was popular. I mean I think at least in the 80's, right?
John: That's right. I was doing photography and print making, especially silk screen. This was before any personal computers. So I was studying art but I was also studying earth science and have a degree in geology. And sometime around 1984, in the spring, I saw this little box on a desk which was the original Macintosh, and I saw MacPaint and something clicked. And I knew that I would be spending a lot of time working with software and drawing on a system like that.
Vincent: And at that point, did you switch over to a digital medium or was it a gradual process?
John: Well it was gradual because those machines were really expensive and hard to get and they didn't do that much. I was in an earth science program that had an affiliation with NASA, and they were using digital satellites to photograph the earth in a program called Landsat, and also to photography Mars which was the Viking program. And so I was drawn to those programs for the fantastic images that they were creating, but also because I was learning how to program a computer in order to do the work to process those images and study them. So I was both drawn to work like that for the visual aspects but also it gave me the skills and training to program a computer.
Vincent: Very cool. And I wanted to mention, just for people to have a sense of the kind of things that you have done, on the commercial side, a lot of people might be familiar with Björk's new interactive album app called Biophilia, and you programmed one of the songs in one of the apps within the app. And it also had a geology based thing to it.
John: Exactly.
Vincent: So I can see why, suddenly, it all starts to make sense.
John: That's why they drew me in. That was Scott Snibbe's project for Snibbe Interactive. They've done some amazing work and they had an idea to make a music album with Björk where all of the tracks would also have an app. So that was a fantastic project.
Vincent: Yeah. It was really cool when I first looked at it, I had the sense that in a certain way this is sort of the future, or at least one possible future, for interactive music experiences. It's pretty incredible.
John: Yeah. You know the promise has always been there for expanded experience: music, imagery, interaction, poetry, writing, drawing, all integrated, and we're starting to see things like that. It's an exciting time.
Vincent: Nice. And then I wanted to kind of jump right into one of the most interesting things, at least in my mind, in what I've seen in your practice of art and drawing, which is that you sort of developed a kind of contemplative drawing practice. And I wondered how that came about to begin with.
John: Okay. I was beginning to think about software as a kind of creative writing. You know, software not as a solution to a mathematical problem, but recognizing that the person that writes the software controls what you see, how you interact, there's an author there. So it's a kind of creative writing process. And so a lot of my software art works, which were made on stripped down laptop computers that were hung on the wall, explored these themes: color mixing as a kind of dynamic theory, or emergent behavior, so the question became how do you get the computer which is just executing these list of instructions to do something creative.
And it became more and more important to study the model that I was writing about as much as it was important to study the new algorithms for emergent behavior. So I sat down in 1999 with some cards and I began to improvise, and I thought well I'll just draw anything. I'll just doodle and I'll draw anything I can and then I will kind of try to watch what I'm doing while I'm doing it spontaneously, while I'm just doodling along. And see if I can come up with some generalized rules or some expert system for the way that I'm improvising. And so that's more or less how it started. And like I like to say: it was the wrong question but the right answer. Because in fact the complexity of that decision making is just incredible and far beyond what I've been able to make into rules. But the process of self observation started to open some doors and that's where the contemplative part came from.
Vincent: And before you started doing this, this sort of internal study of–I didn't completely understand–internal study of emergent systems or something like that? [laughter]
John: Let's say you sat down or I sat down with a piece of paper and just drew whatever we felt like drawing. Why did we draw that? And your drawing would be different than mine. So could I come up with some rules where that was coming from or why I chose to draw that way? And that focus turned me around to look at my own motivation, volition, my own intentions.
Vincent: Okay.
John: That's what set me on that path. And then by practicing that over and over again, you know I wasn't usually getting anywhere in terms of making a computer program that would solve that. But I was getting the benefits of this kind of inward looking calm, detached practice.
Vincent: Okay, really interesting. So when you say it was the wrong question but the right answer.
John: Yeah.
Vincent: Tell me about the answer. Tell me about what started to emerge as you began that kind of self observation through drawing.
John: I found it to be very similar to the kinds of things that come out in sitting practice. You go through phases where strong emotional experiences will emerge, annoyances, you know personal things. And then as you go, your view becomes broader. You sort of leave that part of yourself behind. And you get into more imaginative things, for instance, or you find yourself curling down and following one thought for a while. So eventually, and it took lot of years to get to, but eventually you get that focus and you get a style. And I think some new things, some new information, some worlds start to emerge.
Vincent: This was a daily practice as well.
John: Yes.
Vincent: This became a daily thing. You didn't start with that intention though right?
John: I did have in mind when I began that I should draw everyday.
Vincent: Okay. So there was a disciplinary dedication.
John: In the beginning I kind of had to push myself to find the time and now I have to tear myself away. But yeah there was a little bit of a discipline. Because I said I need to solve this to advance my work and so I got to commit the time to it.
Vincent: Okay. I got you.
John: I had some business oriented justification somewhere in there. [laughter]
Vincent: Yeah, in the beginning. I mean that's a good motivation right. [laughter]
John: Exactly.
Vincent: So if you were to look back now starting in '99, it's now 2013, 14 years.
John: Yeah.
Vincent: Especially in the early years, what sort of patterns like, now that you've looked back, what kind of patterns did you see emerge in both the drawing and also in your inner experience?
John: Yeah. In the beginning it was more rigid. It was more logical. And also as I improvised forward I tried to push the drawing, in the beginning, tried to push it more to something more recognizable. I try to push it toward a subject, early on. And later I began more to trust and just to believe if I just really let go and let go that it wouldn't deteriorate into, I didn't know what. There was a fear there that had to let go of. So finally you could just improvise and trust that something was going to be coherent and emerge. And so now I improvise in that way and really it's a joy to let go. And the real surprise is that things do emerge and sometimes even coherent figures and subject emerge.
So I don't really consider what it is that's coming out on the page until really late or till I say the drawing is done and then I try to look at it and say what is that one. What's the story there?
Vincent: Really interesting. And were there particular like insights that happened as you went along, or were there particular shifts that happened where after which things really changed?
John: Yeah, it's true. There have been about, I'd say four or five what I called major phases of symbols that have come out. And sometimes I get to a symbol which I would call a "totality symbol". It's like a symbol that sort of summarizes on as many levels as I can what I think–I don't know what you say–is going on or the zeitgeist or whatever. So it tries to capture something bigger than me and something at my scale and something that's going on inside of me. So in the beginning there were like tile patterns. There were symmetric patterns and the patterns kept dissolving, kept going apart in the drawing.
So there'd be a portion of the symmetric pattern that would be coherent and then the other parts of the drawings they would fly apart. And I went so far as to make a software or artwork called "Swarms" where the patterns formed and un-formed and like that. And then around September [2001] when I was in New York City there was this big event with the World Trade Center and then after that it shifted; no more dissolving pattern. In some way that was like I don't what. There was a pattern bursting apart in the drawings and then a change. And then it went into some, I would say, more like biological forms, and I was caught up in kind of a Turkish pattern done with ovals which sometimes reemerges, and I was caught up in that pattern for a little while and made a piece of software about that. And then that led to, up to about the time my son was born and then that pattern shifted out.
But there's other things that go on at the same time. I don't want to say that's all that goes on, but I often get a pattern that becomes persistent for a very long period of time in most of the drawings, or it'll be the kind of immediate tendency that I'll have. And I'll go through and I'll make larger artworks that reflect that. And a lot of the show in 2007, and again my solo show in 2010, were all derived from blowing up and making larger the smaller drawings that were persistent. So somehow I felt like what becomes persistent over a long time in the drawing is something significant.
Vincent: How are you then tying that to, or do you connect that with the contemplative process? How are you making sense of these pattern shifts, which are obviously not just happening in the drawing but they also have an interior correlation in your experience, like your subjectivity is somehow tied to this?
John: Yeah.
Vincent: That's really fascinating.
John: Yeah. I've been looking for maps to try and explain that or to follow that, and I went through a lot of psychology. I read a lot of Carl Jung to look at his thoughts about the unconscious. But it wasn't until I got into the eastern practices, Advaita Vendata and Buddhist meditation, that there were some records that showed, like you're saying, the kind of typical patterns that emerge if you move inward or look inward. The recent one that came out of that life retreat, because we had a special guest Daniel Ingram came one week and I end up reading his book, and he gives a very specific map. And you can find that map in, you know, those phases of thought in the drawing as you go.
Vincent: Okay. That's really interesting cause many people who listen to Buddhist Geeks probably know of Daniel Ingram and he is map, you might call him a map monger. He's very into the maps and he's got into, I think what you're describing is, the progress of insight map. Tell me a little bit and we can just go really geeky here. If people don't follow it might be helpful to go listen to some of the interviews we've done with Daniel. But I mean this is really interesting because you're coming from a different background and then you're picking up these kind of eastern contemplative maps, which has been around for a long time. And tell me about the connections you started seeing between some of your experiences and some of these sort of Buddhist models or Buddhist maps.
John: Okay. I've been thinking a lot lately, actually very much in the last month or so, about dependent arising, and there's a lot of writing about that. Because ultimately what I want is not to master contemplative practice but I want to know the source of creativity.
I want to know where these ideas are coming out of, and what it is, and what shape it is, and work with it because this is the thing that I've had my whole life is this need to do creative work. And so my work has become this kind of study of that. So I looked at dependent arising and how it talks about one thing that happens in the world affects one thing that happens in your body. It's kind of a map of how emotions and thoughts arise. And that's really what I wanted to think about. And there was a set of work that I did in 2009, that led to the show in 2010, where I was drawing these rectangular forms that overlapped each other, and they kind of formed an oval, all the overlaps, they would go all the way around, and I was calling them cycles, and so one rectangle on top of another rectangle going all the way around.
This looks to me now like this map of dependent arising, cause I envisioned them as this flow. And in fact I drew a river along and crossing the rectangle. It's probably hard to visualize. But the river went around the cycle, and I use to talk about the river being this, basically, our conscious thoughts. You'd follow the river along from rectangle to rectangle in this sort of course of dependent arising, and of course it ends up being a cycle itself. That's what comes out of that. Dependent arising makes a cycle itself. And I worked with that for quite a while and I kept drawing cycle and cycle and cycle for months. I was drawing these cycles. And finally I thought, "why am I drawing these cycles?" And then I thought "maybe it's the thing that's inside the cycle that is what's trying to form. It's not the cycle itself but it's the negative space inside."
And then these profiles started to come out and emerge. And what I saw was the self, I'm calling it the self, this profile that was the center of this cycle which was really only formed by all of the things going around it, was coming out, so the self being the product of the cycle of dependent arising. And that seemed to be a teaching that matched up you know. It sort of clicked for me then like maybe the way I'm thinking about how whatever. Because I'm focusing on how my creative activities are arising and trying to note that and draw that on the paper, it's actually reflecting in some way something that's really happening. Do I make any sense to you? [laughter]
Vincent: Yeah. And I'm thinking of….
John: I mean could it really teach you that? Could you really learn that? You know what I'm saying? Could it really be? But I did have a real deep sense of the self being the construction of our thoughts, from that drawing process, that coming out that way.
Vincent: Sometimes I think one hears statements like my running is my meditation practice.
John: Exactly.
Vincent: Or whatever it is. And I think for most people that have a serious practice of some sort, they kind of recognize that as being just a way that people can kind of relate to what one is doing. But what I hear you describing is very different than that. It sounds like in a lot of ways that is a meditation practice, but it's very different.
John: So I when I went to the Life Retreat I was trying to find some kind of confirmation like that. So I know when I told you that in the beginning it was like oh yes, that's his running or something. And I think there's an aspect of that, but I mean I wouldn't be in that if I wasn't getting the phenomenon. I'm there to figure it out. I mean I wouldn't be in contemplative practice if that wasn't happening.
Vincent: Yes.
John: I would be back into programming or something. So there it was, and I just wanted to find out "is that really happening?" Is that really what's coming up in the thoughts and is that really coming down? But when you told me about noting, and I thought about that a lot, and that is also one of Ingram's big things is that you sit and you note, and you even had us practice that, you watch what comes up with your mind and then you kind of label it: I'm hearing things. I'm seeing. You know whatever. Feeling the chair like that.
You note everything that's going on. But for me it's direct like brain to hand. I started calling it marking practice. This drawing I started calling it marking because it's going right from the impulse to the hand. That's also another way it works. So you know, some people draw to music and that's the exercise you get in drawing class sometimes. So you put on fast music and you make little lines. You put slow music and you make loopy lines. But what is it if you look into your thoughts? And then what comes up?
Vincent: Yes. So correct me if I'm off here. But it sounds like when you're doing this marking practice there's a process of going, sitting with a blank card or blank canvass.
John: Right.
Vincent: And then you're sort of, in a certain way, just letting something come out, and you're noticing from where it's arising or what the intention is or what the motivation is that's driving the movement of your hand across the page. Is that sort of accurate?
John: It's true and it's not one thing. It's not the same thing and that's the beauty. In 14 years, it's never been the same. That's the thing that gets you. But basically you're letting it come out. But sometimes you're more self conscious and sometimes you're less and sometimes you're tired and sometimes you're on it. And it's always the times when you're really in a good state, when you're really in a good meditative state and you're not thinking and you're really not present, that the drawing comes out in a way and it blows your mind because you can make a reading on it. And maybe it is that you're just making it up but you're just making up the drawings too. So what does it mean really? I don't know. That's what I'm here to try to understand.
Vincent: And you know as you're describing this practice, it strikes me that one very different thing in how you're approaching this is that your interest or your motivation to start this wasn't about trying to eliminate suffering or get into some sort of enlightenment experience. It was very much about creativity. Could you talk a little bit more about that and why that drive is actually something that could lead one into this very deep introspective process?
John: In the beginning it was art and science. I was reading Leonardo magazine and there's a lot of groups, especially in computer graphics at that time and Siggraph, that are there about combining technology and art. And I could never, I liked it a lot and I liked a lot of the things going on in technology art, but it was never totally synthesized for me. And then finally I realized, somewhere along the line, that they're categorically separated. So if you talk about science and art, just because they're made into separate categories you can never totally resolve. And where is the resolution of this, the thing that you love about discovery in science and the thing that you love about discovery in art? It's in creativity.
You need to talk about something, I don't what you'd say, a larger more encompassing than the Venn diagram. So I went back into creativity and that's when I started to think about "where is it, why is it that I feel everyday I want to make something or discover something?" And that's the gateway to that path. That's how you start into this kind of self contemplation. You start to look inward to say "who is that's thinking, who is it that's creating, any ideas coming from inside of me, am I just making it up or is it you know some external information being transmitted to me?" There are lots of great theories. I went to every source that I could find that would try to work with those ideas: where ideas come from, where information comes from. So I think to go back that way in a creative practice is a way of opening up.
And then I thought I was going to get to the source. I thought I was going to find the source of creativity in myself. That there was going to be like this nugget there and all I have to do then is mine that, and there would be my work as a creative artist would be so much easier, that I would just mine this creative source. But as you go back into the creative source, it doesn't get any more narrow, and you can't use any reductionism at all on it. In fact, it broadens into your whole life and you realize that first of all everything influences your creativity and then every venue is a place where you can exert creative choices.
So if you're really practicing that creative work, the way you speak to someone, what you eat in a restaurant, how you decorate a room. Those kinds of things, they're all part of being involved in creating. Even more broadly, the motivation for nature, constantly, is to plants go to seed, animals have more animals. That's all creative practice. We're all out there creating. That's life. It's creative in that way. So that broadens that again and then you're thinking about your connection to the environment and what you're creating. I'm having children and I'm creating and continuing this process of life. So just a simple consideration of what you want to draw today can lead you backwards and all that.
Vincent: What I find so interesting in what you're saying is that you had this idea going in about trying to find the source of creativity, and I can't help but notice a parallel for a lot of meditators, and for myself included, that people usually come in with a sense of "I'm going to find awakening or I'm going to find enlightenment. I'm going to be there to witness it or be there to observe it. And somehow if I find it then I'll have it and I'll able to be like be stable in it." I can't help but hear parallels to what you're describing. Very interesting.
John: I think that's the magnet. That's what drew me toward contemplative practice was that the dialogue, seemed to me after reading, I mean I'm telling you I read in all fields to look for something similar, and that was something that resonated. I could find a resonance in contemplative practice. And of course because people are sitting calmly and letting thoughts arise and then working with those thoughts.
Vincent: Now one thing that comes to mind here, and I think it's perhaps an important place to explore, especially for folks like yourself who are really at the edge of multiple disciplines, is: in what ways are some of these different approaches, in what ways do they reveal something different about life? And since you've really gone deeply into many disciplines: art, technology, contemplation–how are you seeing those different fields and what they reveal as being different? Do you notice differences there?
John: Yeah. Yeah. I don't know. There's all different flavors. I've thought about this a lot. I'll sit in meditation and do noting practice or just watching thoughts with no pencil and that goes somewhere. That's something. And the maps that you see, generally the maps that you see in Vipassana and Theravada Buddhist maps, they're pointing you to something. They're pointing you to a place which is freedom or a certain kind of openness of thought, a certain kind of lack of suffering. But as John Daido Loori says: the artistic path is the crooked path. So I've crossed those little towns, but as you're suggesting, they're little outposts there that aren't necessarily, what we would say, like the ultimate goal of Buddhism but are still pretty interesting places to hang out and interesting people.
Yeah. You get somewhere in the mastery of drawing and you start to reveal kind of inner worlds and inner logics that are pretty fascinating. I think the same thing happens when you construct scientific theory or when you get into a computer program. I mean when I'm in a program and I'm thinking about writing a traffic simulation, for instance, I'm living in that. So all my choices about how the buildings are represented, and how the cars are represented, and what the inner rules of the traffic are. That's not an ultimate goal, but that's a stable place that you can exist and move around in, it creates a kind of world there. And then you create that world and the software and you exhibit that, or show that, or share that, and same with the drawing.
And I think that the idea is that you'll go into a place in meditation, and you'll reach a certain kind of equanimity and certain kind of way of dealing with the world, and then go back out into the world. That's the end of the Ox Herding Pictures, the end of the cycle, and where the cycle returns: go back out into the world with that experience and then share that.


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North County Audiology
12396 World Trade Dr Ste 205 San Diego, CA 92128
Clinic staff
Kenneth Podlenski
Dr. Podlenski received his Doctor of Audiology from the University of Florida. He completed his clinical first year at the San Diego VA Hospital. After leaving the VA Hospital, Dr. Podlenski worked at the Hearing and Balance Center in Kearny Mesa before joining North County Audiology. Dr. Podlenski is passionate about the field of hearing health care. He specializes in clinical audiology and working with patients to develop appropriate hearing solutions. Dr. Podlenski understands that patients often have many reservations about pursuing amplification and takes the extra time to answer any questions they may have in a pressure free environment. Dr. Podlenski is a fellow of the American Academy of Audiology and is Board Certified in Audiology. He is also a memeber of the California Academy of Audiology as well as the Academy of Doctors of Audiology.
Clinic reviews
Read 4 verified patient reviews for North County Audiology! Their average review score is 5 () from 4 reviews.
"They adjusted my hearing aid to fit to perfection. "
"He was down to earth and very friendly. "
"They were really professional with their work."
"The doctor was very professional. He had outstanding knowledge of the hearing aid, and was extremely helpful. I'm definitely a long-term customer and highly recommend him. Great service."
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About this clinic
Our goal at North County Audiology is to ensure that our patients have an experienced, friendly and knowledgeable hearing doctor. We are proud to offer just that to the San Diego community. Come in and see our friendly, professional and caring staff.
Clinic services
- Hearing testing for adults and children over 5
- Tinnitus evaluation
- Assistive Listening Devices
- Custom earplugs and hearing protection
- Hearing aid services
- Hearing loss diagnosis
Call this clinic today!
(858) 217-5573
Hours of operation
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text:
Rummage sale
Lycoming Presbyterian Church, 825 Arch St., will hold a churchwide rummage sale from 8 a.m.-1 p.m. Lunch will be available.
Dip meal slated
ELIMSPORT - Elimsport United Methodist Church, 16145 S. Route 44, will hold an old fashioned dip meal from 4-6:30 p.m. A "dip" (serving) of meat or main dish is $2.50, along with 75-cent "dips" of hot and cold side dishes. Bottomless hot and cold beverages are available for 75 cents and dinner rolls for 25 cents. Smaller dips, at a discounted price, are available for children 10 and under. Takeouts also are available. This month features roast turkey or baked ham or a ham barbecue sandwich.
Community yard sale/Heritage Day
WOOLRICH - Woolrich Community United Methodist Church will be visible at several homes along Park Ave. during the community yard sale days on Saturday. There will be many items of interest as well as good food. At 10:30 a.m. Sunday, the church, 1080 Park Ave., will observe "Heritage " Sunday. The womens chorus will sing.
Chicken dinner
QUIGGLEVILLE - St. Michael's Lutheran Church, St. Michael's Road, will hold a chicken and biscuit dinner from noon-2 p.m. The meal includes all-you-can eat chicken and biscuits, mashed potatoes, vegetable, coleslaw, applesauce, cake, fruit salad and drink. Takeouts are available. Cost is $8 for adults and $4 for children.
Pastor installation set
Bethany Lutheran Church, 369 Broad St. in Montoursville, will celebrate the installation of the Rev. David B. Letscher as its pastor at 3 p.m. Bishop Robert Driesen, of the Upper Susquehanna Synod, will preside and the Rev. W. Stevens Shipman will be the guest preacher. Holy communion will be celebrated. A reception will follow afterward in the church social hall.
Joe Murray Band to perform
TURBOTVILLE - The Joe Murray Band will present an evening of country gospel music starting at 6:30 p.m. at Zion Lutheran Church, 39 Paradise St. A free-will offering will be taken. Prior to the performance, members of the church youth group will serve a soup and sandwich meal in the church social hall featuring various soups, sandwiches, assorted desserts and hot and cold beverages. For more information, call 649-5195.
Special speaker
MANSFIELD - Dr. Michael Palmer, a psychologist who has worked in Tioga County for the past 23 years, will be the speaker during Holy Child Parish Health Ministry's program at 7 p.m. at Holy Child Church, 242 S. Main St. The program is free and open to all.
TUESDAY and THURSDAY
Key life decisions seminars
Key Life Decisions seminars will be held at 7 p.m. Tuesday at First Baptist Church, 380 W. Fourth St., and at 1 p.m. Thursday at the Annunciation Church Fleming Center, 720 W. Fourth St. Topics include financial rules of the road, estate planning, tax planning, senior living, end of life care and life celebration (end of life planning). RSVP for Tuesday by calling 322-3204 and RSVP for Thursday by calling 323-9456.
Pulled pork barbecue buffet
PENNSDALE - Pennsdale Trinity United Methodist Church, 658 Village Road, will hold an all-you-can-eat barbecue buffet from 4-7 p.m. The meal, catered by Springman's Country Store, will include pulled pork barbecue, spitfire barbecue, chicken quarters, Country Store baked beans, cole slaw and macaroni salad, beverages and homemade desserts. Take-outs are available. Cost is $10 for adults, $5 for children 6-10 and 5 and under are free.
Free community dinner
St. Paul Calvary United Methodist Church, 1427 Memorial Ave., will hold a free community dinner at 5:30 p.m. featuring Italian night with ravioli, salad, bread and dessert.
Retirees eat free
A free lunch will be served for retirees at Montoursville Presbyterian Church, 900 Elm St., at noon. All retirees welcome, free-will donations accepted. The next lunch date is Sept. 28.
Free fellowship meal
WATSONTOWN - A free fellowship meal is scheduled at St. John's Lutheran Church, 6590 Musser Lane, from 4:30-6:30 p.m. featuring chicken and biscuits, mixed vegetables, fruited jello or applesauce, dessert and beverage.
Daniel's Closet open
Redeemer Lutheran Church, 1101 Washington Blvd., will hold its Daniel's Closet from 9-11 a.m. offering children's, women's and men's clothing for free. Also, donations of clean, seasonal clothing will be accepted at the church on Thursday from 5-6 p.m. or by calling the church office at 322-2333 to make other arrangements to drop off items.
Community yard sale
SALLADASBURG - Salladasburg United Methodist Church, 404 Main St., will sell hot dots, kraut dogs, sausage sandwiches, baked bean and other baked goods at the annual community yard sales event. Also, tables will be for rent at $5 per space. Call 398-4071 or 398-0539 for reservations. Proceeds will benefit the church kitchen restoration.


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DETROIT - Jordan Lynch and Northern Illinois won a MAC title game that lived up to the hype.
Now the Huskies are lobbying for a chance to play on an even bigger stage.
"I hope we get into a BCS game," Lynch said. "We showed the country what we can do tonight, and we play our best game every week."
Article Photos
The Associated?Press
Kent State quarterback Spencer Keith (3) is sacked by Northern Illinois defensive end George Rainey (46) during the third quarter of the Mid-American Conference championship game on Friday.
Lynch ran for three touchdowns, including a 2-yarder in the second overtime, and Demetrius Stone's interception in the end zone gave No. 19 Northern Illinois a 44-37 victory over No. 18 Kent State in a stirring Mid-American Conference championship game Friday night.
Both teams were hoping a win would boost them into the top 16 of the BCS rankings and give them a berth in one of college football's marquee bowls. Kent State was No. 17 in those standings coming in. The Huskies were No. 21 and need an unlikely jump.
Northern Illinois could pass Kent State and UCLA, which is 16th in the BCS rankings but lost the Pac-12 title game to Stanford on Friday night. Texas is 18th and plays at Kansas State on Saturday, while Boise State is 20th and plays at Nevada. But Michigan is 19th and doesn't play at all this weekend.
Northern Illinois coach Dave Doeren is still holding out hope.
"You look at the top 16 teams in the BCS, and you aren't going to find a team that plays as consistently as we do, wins every game they are supposed to win, and plays as well as we do in every phase of the game," Doeren said. "We got big plays on offense when we needed them tonight, we got big plays on defense, and our kicker made every kick we needed. I don't know anyone else who brings all of that."
The Huskies (12-1) certainly dominated for much of the night, but the Golden Flashes (11-2) tied it at 34 in the final minute of regulation.
Kent State trailed 27-13 earlier in the fourth before scoring two touchdowns in a 15-second span.
It was 34-all at the end of regulation, and after the teams traded field goals in the first overtime, Northern Illinois needed only two plays to reach the end zone. A 23-yard run by Akeem Daniels set up Lynch's final TD.
Kent State reached the 9, but on fourth down, Spencer Keith had to scramble to his right and throw a desperation pass that was picked off by Stone in the end zone.
"That was a great football game, but it is going to be hard for us to swallow for a few days," Kent State coach Darrell Hazell said. "Lynch is just an extraordinary football player, and we had a lot of trouble tackling him. We're not the first team he's done that against."
Northern Illinois won its second straight MAC title, the first team to do that since Central Michigan in 2006-07.
Lynch threw for 212 yards and ran for 160, but it almost wasn't enough. Northern Illinois' three previous trips to the MAC title game were decided in the final minute, and this one took even longer.
Down by two touchdowns, Kent State rallied in stunning fashion. Keith's 5-yard touchdown run with 4:53 remaining in the fourth quarter capped a 96-yard drive. Then Lynch fumbled on what looked like a botched exchange with Daniels, and Zack Hitchens picked up the ball for the Golden Flashes and went 22 yards to the end zone.
Lynch weaved his way to a 9-yard touchdown run with 3:12 remaining, but Kent State again had an answer. Keith scrambled to his left and threw a 19-yard scoring pass to Tim Erjavec with 44 seconds to play.
It was the first MAC championship game to go to overtime - a thrilling finish for a league that doesn't always get much attention. This year's title game had more at stake because of the BCS implications, and the league embraced a Twitter-friendly buzzword that seemed particularly appropriate Friday night.
"I love the word 'MACtion' that everyone is using," Doeren said. "You've got great teams and great coaches in this league - we prove that every year - and we just went out with a huge target on our backs and won every game. That's a great accomplishment."
The Huskies haven't lost to a MAC opponent since Oct. 1, 2011. Their only defeat this season was against Iowa in the season opener.
With Northern Illinois leading 17-13 in the third quarter Friday, Lynch led the Huskies on a 10-play, 75-yard drive and capped it with a 1-yard touchdown run. The highlight of that drive was Lynch's 44-yard run to the Kent State 4. On the play, Lynch broke the major-college record for yards rushing by a quarterback in a single season. He finished the game with 1,771 yards. The previous mark was 1,702 by Michigan's Denard Robinson in 2010.
The Golden Flashes got off to the start they wanted, taking a 10-0 lead in the first quarter. But that was a bit deceiving. Kent State's touchdown came after A.J. Sebastiano fumbled on a punt return, giving the Golden Flashes the ball at the 22. Dri Archer's 15-yard scoring run made it 7-0.


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MLB Banners measure 2' x 8' and are made of thick nylon and embroidered with your favorite MLB team logo and lettering. The MLB banner edges are bordered with ten (10) metal grommets for hanging in your sports room, at your next tailgate party, or as an inside or outside decoration.
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Days Of Glory
Join Date: Oct 2006
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Liston Knocks Wlad into the cheap seats in a hurry
Strong champion.
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when considering any historic HW matchup the chin is most important
these guys are good enough to hit each other.
wladimir would get knocked out by most historic great HW
most of them.
especially the punchers with good chins and either and ability to land from longer range, (liston had a bigger reach and a better jab than wladimir's)
or can worth their way inside, but not so far inside where they can get tied up (like tyson, who was a master at keeping his hands free and firing just the sort of shots that wladimir eats when he's trying to tie a fast guy up.
also, the two guys that went the distance with klitschko recently (ibragimov and haye) were both midly fleet of foot
all great HW outside of marciano were very fleet of foot compared especially to ibragimov.
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Look at all these racist blacks, butthurt Brits, xenophobic Americans, etc. in this thread.
You guys are pathetic.
All of the best black heavyweights have been exposed, destroyed and humiliated by the Klitschkos and other Eastern Europeans.
The same thing is happening in many other weight classes too.
Soviets/Eastern Europeans weren't allowed to turn pro until the 1990s because of the cold war/iron curtain.
Now Soviets/Eastern Europeans are allowed to turn pro and we're already taking over boxing and are dominating the higher weight classes.
We're also dominating the amatuers. Most of those great amatuers will become great pros.
This is just the beginning of the Eastern European domination.
Eastern European fighters are superior.
The Klitschkos are the negrocutioners.
Wlad and Vitali are the two most dominant fighters of all time.
Either Klitschko beats any HW from any era.
Last edited by Sadistic; 08-30-2011 at 09:02 AM.
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Wlad would get destroyed by the likes of Lewis.. i know that for sure
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Wlad easily destroyes all of the greats of the past, live with that haters. The sooner you accept the fact that you are witnessing the greatest HW of all time, the sooner the nightmares will stop.
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Warrior and King
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WLad and Vitali are decent to very good fighters. Wlad certainly is a HOF'er. But they have dominated the division at a time when it is as weak as its ever been. Its no different than Floyd and Manny, 2 HOF'ers who are in a WW division that is not to great.
Viva Gareth Bale!
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I will say this.
People discredit the brothers on here far too easily.
People also tend to look back in history and see some boxers as better than they actually were.
I have no doubt that in 20 years time people will look far more favourable on the K brothers.
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bo jungle
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text:
The hand-drawn greeting cards festooned with a twinkling snowman and stocking-capped penguins belie the fact children battling life-threatening diseases illustrated them.
In a very real way, the lovingly drawn characters represent an interplay of hope and light the kids have for themselves and others this holiday season.
You'll find their handiwork featured on Make-A-Wish Foundation of Michigan holiday cards.
Sale proceeds help fund wishes that the Michigan foundation has granted since 1984 to children with deadly diseases. The average cost of fulfilling a wish in Michigan is $7,500. The most requested wish is a trip to Walt Disney World.
So far this year, the foundation fulfilled 365 wishes for 500 eligible children, said Laura Varon Brown, the foundation's communications director.
The timing to fulfill a wish is crucial, Brown said.
"Some kids aren't ready for the wish to be completed, and some want to complete their treatment before the wishes," Brown said.
"It can take five to six months, to more than a year, depending on funding and status of the child, (his or her) medical status, to fulfill a wish," she said. "And some can't decide what their wishes are yet.
"Some are rush wishes for children who need to go sooner, and we make sure any rush wish is fulfilled."
The cards drawn by the Michigan children reflect an aspect of the holidays that is poignant to them, Brown said. The foundation does not release children's last names.
Madison, 14, of St. Joseph, diagnosed with acute lymphoblastic leukemia, is a wish recipient who drew a charcoal-smiling snowman with wide open branchlike arms, as if awaiting an embrace.
Madison recently enjoyed a shopping adventure that included a limousine ride in a Hummer and holding a live lobster at her favorite restaurant.
She soon will be done with her chemotherapy treatments.
Diagnosed with restrictive lung disease and a muscle disorder, congenital myopathy, siblings Ethan, 7, and Emily, 9, of St. Clair, north of Detroit, drew gift-exchanging penguins to reflect their close friendship.
Ethan wished for an outdoor play set in 2009 and, for this year, for Emily, a vacation to Walt Disney World.
The foundation doesn't focus on the gravity of children's precarious health.
"We never use the word 'terminal,'" Brown said. "With medicine and miracles, the kids get better, and we hope they get better. We hope that wish is the extra medicine."
And it is, said Dr. James Fahner, chief of pediatric oncology at Spectrum Health's Helen DeVos Children's Hospital.
"For children with a life-threatening or life-limiting illness, whose outcome is uncertain, or a cure cannot be guaranteed, we look for other ways to provide therapy for that child," said Fahner, who also is chairman of the state Make-A-Wish Foundation's board.
"The anticipation of a wish is a special kind of therapy all its own. A child is sometimes separated from their regular community, and the excitement of a trip and adventure allows them to see life with a lot of hope and possibility."
E-mail the author of this story: email@example.com


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That Ball Derek Jeter Fouled Off Before Getting His 3,000th Hit Is Up for Auction Again
This time, the reserve has already been met.By Joe DeLessio
This time, the reserve has already been met.By Joe DeLessio
Somewhere, non-greedy souvenir-snagger Christian Lopez is crying, just a little.By Joe DeLessio
Minka Kelly didn't know much about baseball before she met Derek.By Joe DeLessio
Really.By Joe DeLessio
He might as well.By Joe DeLessio
He now has a World Series ring, among other things.By Joe DeLessio
How did Michael Kay and John Sterling handle the milestone?By Joe DeLessio
Derek Jeter joins one of baseball's most exclusive clubs. How does he rank among its members?By Will Leitch
Robinson Cano has a chance.By Joe DeLessio
He's two hits away from 3,000.By Joe DeLessio
The Yankees shortstop is three hits from 3,000.By Joe DeLessio
He picked up career hit No. 2,997 in last night's loss to Cleveland.By Joe DeLessio
Prices have doubled on the secondary market.By Joe DeLessio
Joe Girardi had hinted last night that he would not.By Joe DeLessio
He collected two hits last night in the Yankees' 9–2 win over Cleveland.By Joe DeLessio
Finally, some coverage of Jeter's pursuit of the milestone.By Joe DeLessio
Let's see, where were we?By Joe DeLessio
The Yankees hope that he'll be able to return to the lineup as soon as he's eligible.By Joe DeLessio
With Jeter on the disabled list, we have to make a few assumptions.By Joe DeLessio
He'll need to pick up the pace if he wants to get No. 3,000 at home.By Joe DeLessio


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Novobiocin is a new antibiotic isolated independently by three different groups of workers.1 The names given to this antibiotic, and the companies under whose supervision it was discovered, are as follows: Cathomycin (Merck); streptonivicin (Albamycin) (Upjohn); and Cardelmycin (Pfizer). Preliminary in vitro studies have shown that the antibiotic is active against the commonly encountered Gram-positive bacteria and also against certain Gram-negatives.2 Of particular importance is the fact that staphylococci resistant to other antibiotics are highly susceptible to Novobiocin. Experimental infections in animals have also indicated a high degree of activity with little toxicity.3 Laboratory studies and a clinical trial in 75 patients comprise the present report.*
Sensitivity Tests.
—Concentrations of novobiocin causing inhibition of growth of streptococci and pneumococci were determined in tryptose phosphate broth containing 3% human blood; 0.5 ml. amounts of a 10-4 dilution of an overnight culture were added to equal amounts
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