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On Tuesday, January 24, 2012, Secretary of State Hillary Rodham Clinton held the first meeting of the International Council on Women's Business Leadership (ICWBL) at the Department State in Washington, D.C. The ICWBL serves the U.S. government in an advisory capacity on major issues in international business and economic policy, including the effective integration of business interests and women's economic empowerment into overall foreign policy; the role and limits of international economic institutions from a gender-specific perspective; and the Department of State's role in advancing and promoting the role of women in a competitive global economy.
The ICWBL will meet at least once a year and at such other times and places as are required to fulfill the objectives of the Council. Subcommittees and working groups will meet as appropriate for their assigned responsibilities. Secretary of State Hillary Rodham Clinton is Chair; PepsiCo Chairman and CEO Indra Nooyi and Cherie Blair Foundation for Women Founder Cherie Blair are Vice-Chairs.
ICWBL membership consists of representatives who are leaders of American and foreign public and private sector organizations and institutions having an interest in the role of women in international business, economic policy development and global economic growth.
The inaugural ICWBL meeting was streamed live on www.state.gov and DipNote. A text transcript of the Secretary's remarks during the meeting is available here.
You can learn more about the ICWBL here.
W.W. writes:
women represent the future
a trbute to gabrielle giffords on this one
Palgye in South Korea writes:
Chinese and Japanese companies are expected to be an appropriate donation will bring. My opinion, once at the airport in Moscow, many feel that this success. To Be or Not To Be id your `s.


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If you are interested in using this image, please consult Acknowledging the Website.
This record was last updated on 01 May 2012
Image Reference
Richard Bridgens, West India Scenery...from sketches taken during a voyage to, and residence of seven years in ... Trinidad (London, 1836), plate 11.
"The juice is conveyed in pipes from the mill to the boiling house . . . . Here it is converted through a succession of coppers. At each copper a Negro is placed to take off the scum as it rises, and when the temperature of that vessel has had its full effect, to remove it with a ladle into the next " (Bridgens). A (white?) overseer/manager is in the center foreground. A sculptor, designer and architect, Richard Bridgens was born in England in 1785, but in 1825 he moved to Trinidad where his wife had inherited a sugar plantation. Although he occasionally returned to England, he ultimately lived in Trinidad for seven years and died in Port of Spain in 1846. Bridgens' book contains 27 plates, thirteen of which are shown on this website; the plates were based on drawings made from life and were done between 1825, when Bridgens arrived in Trinidad, and 1836, when his book was published. Although his work is undated on the title page, a copy held by the Beinecke Rare Book Room at Yale University has a front cover with a publication date of 1836, the date usually assigned to this work by major libraries whose copies lack a title page. Bridgens' racist perspectives on enslaved Africans and his defense of slavery are discussed in T. Barringer, G. Forrester, and B. Martinez-Ruiz, Art and Emancipation in Jamaica: Isaac Mendes Belisario and his Worlds (Yale University Press, 2007), pp. 460-461, which also gives the publication date of the Bridgens volume (p. 333, note 2); for details on Bridgens' life, see Brian Austen, Richard Hicks Bridgens (Oxford Art Online/Grove Art Online). Thanks to Sarah Thomas for her help with this entry.

subset: commoncrawl


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Twitter is something of a unique social network that can be used to not only expressed opinion, but also chat with friends, keep up to date with the latest news, share images and much more besides. This is the type of service that is ideally suited for use on the move, and this is precisely what the Android app enables you to do. There is support for multiple accounts so if you keep one for business and one for personal use, they can both be managed from within the same app.
If you are using the app to share photos when you are out and about, you have a selection of image hosting services that you can use, but there is no choice when it comes to URL shortening; in fact there is very little scope for customization and tweaking within the app at all. The basics of accessing your timeline, direct messages and conversation threads is easy enough, as is the process of creating lists to make it easier to manage a huge number of people you follow.
It could be argued that the interface is in need of an overhaul as new features that have been added to Twitter feel somewhat shoehorned into the mobile version of the app. Navigating to different section of the app can take longer than it should, and not everything is intuitively located. It's something of a shame to find that there is no support for gestures such as swiping left and right to move through different sections of the app, but this is really a minor annoyance.
The latest version of the app, version 5, ships with these new features/changes:
- New design.
- Refreshed look and feel. Home, Activity and Discover now available by swiping in Timelines.
- Share photos in Direct Messages.
- Send and receive photos via DMs.
- Notifications from your network.
- Choose to view Replies, Retweets, and Favorites from only the people that you follow.
- Receive Push Notifications from the people you care about most.
- Favorite their profile to receive a Push Notification any time they tweet.
It's not perfect, and there are more feature-rich third party tools available, but the official Twitter app is a solid performer


text:
iHerb Customer Reviews
Savings of: $2.05 (14% off)
Please note limited shipping months for this item:
This item is heat sensitive. It is only available for purchase between October 1st and June 14th. We temporarily discontinue the item during the summer months, from June 15th - September 30th, because it might melt or spoil during transit.
My kids love it
Posted by 4622464008140325744 on Jun 17, 2014
My kids are like it (2y and 6y).
Posted by 5536655606530820035 on Oct 24, 2016
I'm not a fan of sweets and gummies., so I like the fact that it tastes pretty fine and that I don't have to do it so often, just once a day. :)
very good & tasty
Posted by Latti321 on Mar 27, 2014
My favorite vitamins :) I suggest them strongly to anyone. Taste of these gummies is a bit sour but sweet. Dosage is safe for most adults (check your vit D level in blood) and kids in order to maintain good level of vitamin D. During the winter I take 5000 IU of vit D. So these ones are more for fall & spring when there is some natural sun outside.
So good.
Posted by 5422740280574757772 on Feb 25, 2015
I order this for my 4 year old son. I taste it myself and these are so yammy. My kid love it too. Recommend.
Posted by 5442948671042623316 on Jan 25, 2016
I selected these gummies instead of a traditional swallowed pill and it has proved to be a nice little treat...and I am not so apt to forget to take my vitamin (which is a good thing since I have a deficiency).
Items 1-5 of 5 total


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From Treadmill to Trail
While no trail-simulating treadmill has been invented (yet), you can still develop strength and speed indoors
Illustration by Daniel Yagmin.
Jenny Spangler, winner of the 1996 U.S. Olympic Marathon Trials, is no stranger to treadmill running. After her daughter's birth, she did virtually all of her Trials training on the "mill."
In 1994, Alberto Salazar, Olympic-level coach at the Nike Oregon Distance Project, crushed Africa's hot and fast Comrades Ultra Marathon course record by training with treadmill mile-repeat sessions and a heater blasting in his face.
The indomitable Matt Carpenter, who is arguably the U.S.'s best mountain and trail runner, credits his most successful racing seasons to bi-weekly bouts on his garage treadmill. On his website, Carpenter writes, "One of the fastest ways to improve is to train with someone better than you … [my treadmill] does not care what the weather is like, what time of day it is or even how I feel."
Ultrarunner Michael Wardian is achieving top-level road and trail feats, thanks in part to many miles pounded on a treadmill. He was a 2012 U.S. Olympic Marathon Trials qualifier (2:17.49), USATF Ultra Runner of the Year in 2008, 2009 and 2010 and silver medalist at the 2011 World Championships 100K.
"My wife and I bought our treadmill the day our second son, Grant, was born," says Wardian. "I watch both our sons most mornings, and with a treadmill, I can spend time with them and still do my workouts."
Let's face it, elite or not, work, city living, busy schedules and inclement weather impact our trail time. If you are forced inside, here is what you need to know to treadmill train.
The Mill's Hill
When it comes to hill workouts, 2008 Olympic marathon qualifier Magdalena Lewy Boulet opts for the mill because it negates the impact of running back downhill between reps, which Boulet says helps keep her healthy: "I've found that I can stay injury free while running slower [on the treadmill] up a steep hill."
Brad Hudson, who coaches the elite Hudson Training Systems group in Boulder, Colorado (www.marathonperformance.com), touts the mill's uphill benefits. He often has his athletes run a six-mile progressive treadmill hill tempo run, starting out at a two-percent grade and finishing at a six-percent grade, saying it makes it easier to maintain a controlled tempo pace than the same workout outdoors.
Zero-Grade Speed
There are also benefits to running on no incline at all. "Some athletes use a flat grade so they can run faster," says Hudson. Running a fast time not only gives a mental boost, it provides a performance-enhancing neuromuscular effect: by employing a faster turnover rate during training, you reinforce a faster muscular response, which eventually allows you to run the same pace, unaided, outside.
For normal running, or outside-simulating speed work, the widely accepted rule of thumb is that running a given pace at a 1.5-percent incline equates to the same effort at the given pace outside on a flat, even surface. The small grade takes into account the lack of indoor wind resistance.
Next page: Two effective treadmill workouts for trail runners


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Larry J. Moldan
SLEEPY EYE – Larry J. Moldan, 55, of Sleepy Eye, died on July 7, 2013, at Sleepy Eye Care Center.
Funeral service will be 11 a.m., Wednesday, July 17, at the Trinity Lutheran Church, Sleepy Eye. Burial will be at Home Cemetery, in Sleepy Eye at a later date.
Visitation will be 4-8 p.m. Tuesday, July 16, at the Sturm Funeral Home, Sleepy Eye, and will continue on Wednesday from 10 to 11 a.m. at the church.
A complete notice will follow later in the week.


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We're moving! Lensway.com will become Coastal.com on February 1st.
We're sorry, this frame is currently sold out.
(19) reviews
- Gender:
- Female
- Material:
- Acetate
- Color:
- Crystal Shadow
- Spring Hinges:
- Yes
- Progressive Eligible:
- Yes
- Lens Width:
- Lens Height:
- Bridge Width:
- Arm Length:
- 53 mm
- 44 mm
- 16 mm
- 145 mm
Size MatchHow will I know if these frames fit?
Product DescriptionLove L742 Crystal Shadow eyeglasses are totally geek-chic! These round eyeglasses come in grey purple acetate. The sides of frames feature a metal heart decal and also have a heart cut out on the arm tips. With its flexible spring hinges, you'll be sure to have a comfortable fit all day.
About the BrandAttention all young, fun, fashion addicts! If you love fresh, expressive colours, and bold, graphic designs then get your hands on a pair of eyeglasses from the Love Eyewear Collection. Love your style in Love Eyewear.
Rates estimated for shipping to: United States
- Ground Shipping$9.95
If you're not completely happy with your item, return it to us for FREE!
Within 366 day of purchase, you may return your order in its original condition. See Return Policy.
Within 366 day of purchase, you may return your order in its original condition. See Return Policy.
Get FREE shipping on orders over $99. Use Coupon Code: FREESHIP at checkout. Cannot be combined with other offers.
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Hi Bellas,
I wanted to wish you all Happy Holidays and Merry Christmas Eve to those who celebrate it! I will be going on a mini vacation to visit my parents in Orlando Florida. I can't wait to have some of mom's home made Filipino food...enjoy florida's warm weather and just relax!
My boyfriend and I each let each other open 2 gifts early since we won't be celebrating x-mas this year. He got me the True Blood book series so i'll be getting my fill of vampire tales during the holidays, lol.
I'm very thankful for all the loyal readers and subscribers and of course want to thank you all for sharing this last year with me. You're the best!
I will resume posting on Tuesday, December 29th, 2009 when I return. Till then, Ciao Bellas!
Atlanta Makeup Artist
Thursday, December 24, 2009
Happy Holidays!
Posted by MakeupByRenRen at 8:02 AM
7 comments:
- Becky said...
Merry Christmas Ren!
- December 24, 2009 at 9:25 AM
- slvrlips said...
Merry Christmas Bella!!!
- December 24, 2009 at 9:46 AM
- mina said...
Merry Xmas, Ren! Enjoy your time with the family! Thanks for all the time and effort you put into this fabulous blog!
- December 24, 2009 at 10:01 AM
- ejr286 said...
Merry Christmas, Ren. Enjoy the time away with your family!
- December 24, 2009 at 10:14 AM
- Askmewhats said...
Merry Christmas to you and your family Ren Ren :)
- December 24, 2009 at 11:10 AM
- michalswarm said...
Hi Ren thanks for your best wishesh. I wanna wish all of you marry Christmas as well as have great holidays. I am going Florida in these holidays. What are you doing??
cheap holidays to florida
- December 28, 2009 at 7:58 AM
- Kate Gene said...
Hey, Ren!
I hope you enjoyed your holiday! I love homemade Filipino food. Did your mom make lumpia? Mmm... I'm getting hungry! LOL!
By the way, I gave you an award on my blog. You're so talented and your tutorials are amazing!
- December 30, 2009 at 1:54 AM
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A great way to store belongings when you're on the go, the Shimano Balanca Medium Duffle Bag is made with durable textured fabrics and a water resistant bottom. The main compartment is accessible through a two-way zipper and has copious amounts of storage for clothing or tackle. Additional pockets are located on both sides, as well as, the front of the bag. The Shimano Balance Medium Duffle Bag is a great choice for traveling. It's small enough to save space, yet large enough to carry everything you might need for an overnight fishing trip.
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George Washington Huff was born 28 Feb 1816 in Kentucky, probably in Wayne County, possibly the son of Philip and Hannah (Spenser) Huff.[1] He died in Hart Co KY 22 Jul 1902.[2] At times George's family used the spelling Hufft.[3]
About 1834 George married Malinda Denton. She was born 10 Jan 1812 in Stokes Co NC and died 30 Dec 1901 in Hart Co KY. She was the daughter of Isaac and Mary S (–?–) Denton.[4]
In 1836, Washington Huff was fined for being delinquent in his service in the Wayne Co KY militia.[5] This is the only known source which gives the name Washington; George W Huff was used most often. He was listed in census returns as a farmer.
The first census where they have been found after starting their family is 1850 in Casey Co KY, p 304, 213-218.[6] By that date, they had five sons and a daughter. By 1860, they were in Hart Co KY, Dist #1, p 78, next door to Lorenzo D Huff and his family, with Mary S Denton, the grandmother.[7] Two more sons had joined the family, including a second one named John. In 1870, they were in Metcalfe Co KY, p 75, #235-236.[8] In 1880, they were back in Hart Co KY, enumeration district 84, p 17, close to several of their sons.[9] And in 1900, they were in the home of oldest son Clayton in Hart Co KY, p 8B-9A, 155-159.[10] Of Malinda's eight children, five were still living. Hannah and the two Johns had apparently died.
George W and Malinda Huff had the following children:
1. Clayton M HUFF was born on 14 Feb 1836 in Russell Co KY. Clayton M died in Metcalfe Co KY, on 19 Aug 1928. On 14 Feb 1857 when Clayton M was 21, he first married Martha Jane BELL in Hart Co KY. Born in say 1838. Martha Jane died in KY on 13 Jul 1860; an infant, John T, also died. On 18 Nov 1861 Clayton second married Mary S DENTON, daughter of Benjamin DENTON & Elizabeth HUFF, in Wayne Co KY. Born ca 1844 in Wayne Co KY, Mary died in Green Co KY, on 14 Apr 1886. Clayton fought as a Union soldier in the Civil War. He and his second wife had the following children:
i. George W J (1862-)
ii. Noah E (Died as Child) (1864-<1870)
iii. Isaac N (Died as Child) (1866-<1870)
iv. James W (1869-)
v. Powhatan T (1871-1950)
vi. Tina E (1873-)
vii. Eli M (1875-)
viii. Charles Miller (1881-1912)
ix. Robert E (Died as Child) (1881-)
x. Samuel C 1883-1937)
2. Lorenzo Dow HUFF was born on 12 Oct 1839 in Wayne Co KY and died in Crail Hope, Hart Co KY, on 17 Dec 1912. He was buried in Houk Cemetery, Hart Co KY. He served on the Union side in the Civil War and later worked as a photographer. On 30 Sep 1858, he first married Laura Frances GENTRY, daughter of Benjamin GENTRY & Emily MARTIN, in Hart Co KY. Born on 25 May 1844 in Hart Co KY, Laura Frances died in Green Co KY, on 13 Feb 1911. They had the following children:
i. Mary T (1859-1924)
ii. Jane C (1866-1891)
iii. George Benjamin (1868-)
iv. daughter (1874-)
v. John Miller (1878-)
vi. Clarence Underwood (1880-1968)
On 29 May 1912 when Lorenzo Dow was 72, he second married Isophene PIERCE in Metcalfe Co KY. Born on 4 Oct 1876 in KY, Isophene died in Green Co KY, on 9 Apr 1949. They had one child, born after the death of Lorenzo:
i. Lorenza Franklin (1913-1997)
3. William A HUFF was born in Aug 1842 in KY. William A died in Smiths Grove KY, on 3 Mar 1919. In the Civil War, he served as a private, Capt Ward's Independent Co; then Co G, 3rd KY Cavalry, 1862-1865 On 9 Sep 1859, he first married Mary Elizabeth STEWART in Columbia, Adair Co KY. Born in 1844 in KY, she died in Rocky Hill Station, Edmonson Co KY, on 5 Sep 1897. They had the following children:
i. Martha J (Died as Infant) (1862-1863)
ii. Sarah Elizabeth (1866-)
On 30 Jul or 3 Aug 1917 when William A was 74, he second married Elizabeth H LOWE in Barren Co KY. Born in 1848, Elizabeth H died in 1950; she was 102.
4. Isaac Newton HUFF was born on 23 Jan 1845 in Marion Co KY. He died in Crescent, Logan Co OK, on 25 Jan 1925. He also served as a privatet, Co G 3rd KY Cavalry, enlisted 9 Mar 1962. While home on leave in 1864, he contracted smallpox; two of the five soldiers on leave died of this disease, but he survived and got married. His neighbors who signed his pension application called him "Isaac Hufft." On 28 May 1864, Isaac married Elizabeth Ann JEWELL, daughter of James JEWELL & Margaret ATWELL, in Metcalfe Co KY. Born on 5 Mar 1844 in Metcalfe Co KY, Elizabeth died in Logan Co OK, on 30 Jan 1924. They had the following children:
i. James W (1865-)
ii. John G (1867-<1898)
iii. Mary C (1870-1953)
iv. Malinda Marquerite (1872-1928)
5. Hannah Cathern HUFF was born on 19 Mar 1847 in KY. She died in Hart Co KY, on 24 Dec 1891. About 1863, she married John R ATWELL, son of Richard Nevet ATWELL & Sarah P/Polly JEWELL, in KY. Born on 12 Feb 1839 in KY, John R/T died on 4 Jan 1924. They had the following children:
i. George R (1867-)
ii. Martha E (ca1869-)
iii. William P (ca1872-)
iv. David H (1873-)
v. Thomas A (1878-)
vi. James N (1878-)
vii. Sarah S (1881-)
viii. John G (1884-)
ix. Charles N (1887-)
x. Mary E (1889-)
6. John W HUFF was born about 1850 in KY. He married Leatha E NUNN, who was born ca 1852 in KY. They had the following children:
i. James W (1870-)
ii. Mary C (1872-)
iii. Henry A (1875-)
iv. Elizabeth Grace (1876-1967)
v. John O (1878-)
7. Hardin Thomas HUFF was born on 18 Aug/Oct 1855 in Taylor Co KY. Hardin Thomas died in Metcalfe Co KY, on 13 Sep 1943, and was buried in Young Cemetery, Metcalfe Co KY. He married Ann HARLOW. Born on 29 May 1853, Ann died on 28 Dec 1914. They had the following children:
i. William A (1877-)
ii. Barilla Elizabeth (1880-)
iii. Joseph Buford (1887-1969)
8. John T HUFF was born ca 1861 in KY. Because there was an older son John, it is possible he was not George and Malinda's son. In 1900, Malinda stated she had given birth to eight children; either he was the eighth, or a son Clinton was born and died without appearing in any census record. In 1880, Hart Co KY, John T Huff was a servant in the John Newton home. In 1900, there was a John Huff, b Aug 1859, in Hart Co KY in 1900 with a wife and family.
© Kathy Alvis Patterson, 2008
[1]A descendant, now deceased, named Luther Huff, sent much of our Huff data to my parents in the 1970s. Luther was a son of Lorenzo's son Clarence. His statement that George W was from Wayne Co led to our finding Philip Huff and Isaac Denton as near neighbors. He also said that George W and Malinda had a son named Clinton. [This is contrary to the 1900 census numbers.] The proximity of the father-in-law Isaac Denton to Philip Huff in various census years is the best evidence for his father. Apparently his sister Elizabeth married Malinda's brother Benjamin; their granddaughter wrote that her mother was a cousin of my family, apparently a double cousin.
[2]Dates are from gravestones. See Hart County KY Historical Society Quarterly. 11 Feb 1999.
[3]Granville W Hough, Laguna Hills CA, wrote me in 1991: "By family records [he] used a t at the end of his name. Census and other records do not always show the t, and some of his children dropped it; however, it appears that neighbors pronounced the name with a t. This characteristic may indicate that this family had a different origin from that of other HUFF families in the same area. It possibly descends from HUFFT or HOOFT families of VA and/or TN.
"The family tradition holds that the HUFF or HUFFT family was of German Origin, coming through VA to TN or KY and living in Harlan Co KY, then at Albany in Clinton Co, then Monticello in Wayne Co, then Crail Hope KY, which is near the intersection of Hart, Green, and Barren Counties."
[4] George W Huff's marriage record and 1840 census have not been found. His wife Malinda Denton's parents were living with his family in 1850 and with his son Lorenzo in 1870. The proximity of the father-in-law Isaac Denton to Philip Huff in various census years is the only evidence of his father. Apparently his sister Elizabeth married Malinda's brother Benjamin; their granddaughter wrote that her mother was a cousin of my family. A newly found brother is Lorenzo Denton, b in Stokes Co NC.
[5]Wayne Co KY Vital Records, Vol. 5, 1978, p. 166: "1836 Delinquent List. The following is a list of fines assessed in the 90th Regt. of Ky Militia by a Court held on the 1st Monday of November 1836. Capt Charles H. Hamilton's return: Washington Huff for Oct 1.00."
[6] George W Huff 35 farmer $100 KY can't rd & wr, Malindy Huff 38 spins NC can't rd & wr, Clayton M 10 KY attended school, Lorenzo 11 KY attended school, William A 8 KY attended school, Isaac D 5 KY, Hanah C 3 KY, John N 6/12 KY, Isaac Denton 77 NC, Mary Denton 77 NC can't rd & wr.
[7] 543-538: GW Huff 48 farmer $100 ditto [=KY], Malinda Huff 46 NC cannot rd & wr, Hannah C 13 KY in school, John N 10 KY, Hardin T 4 KY, William A Huff 17 farm laborer KY married within in year, Mary E Huff 17, KY married within year.
544-539: L D Huff 20 farmer $100 ditto [=KY] , Laura F Huff 16 ditto [=KY], Molley 1 ditto [=KY], Mary S Denton 87 MD.
[8] George W Huff 53 farmer $280 $100 KY, Malinda 53 keeping house, NC, cannot rd & wr, Hardin Thos, 14 works on farm KY cannot rd & wr, John T, 9 works on farm KY.
[9] 148-148. Lorenzo D Huff 40 mar photographer KY KY NC, Laura 36 wife mar keeping house KY KY KY, Mollie 21 dt sg KY KY KY, Jennie 14 dt sg KY KY KY, George 12 son sg KY KY KY, John 2 son sg KY KY KY. #146-146. Benjamin Gentry 59 mar farmer TN TN TN, Emily 56 wife mar keeping house KY KY KY. #150-150. George W Hufft 64 mar farmer KY Tenn VA, Malinda 67 wife mar keeping house NC NC NC, Hardin T 25 son mar farm hand KY KY NC, Anna G 26 dt[-in-la] at home KY KY KY, William A 2 grandson KY KY KY. #151-151, Isaac N Hufft and family. [water damaged, hard to read].
[10] Clayton M Huff head 64 Feb 1836 widowed 1 ch, 1 ch liv KY KY NC farmer, Linie C daughter 26 Jul 1873 single, KY KY KY, George W Huff father 83 Jul 1816 66 yrs married KY TN KY, Malinda Huff mother 87 Jan 1813 66 yrs married 8 ch, 5 liv NC NC NC


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Developments in European Television and New Media
November 17, 2010
Stephane Coruble, new business operations director, RTL Belgium, discussed the advancements Belgian TV has made in implementing video-on-demand and interactive TV advertising.
Members Only Content
This content is available to ANA Members only. Please login below or create an account.
You may already be a member. Find out if your company is already an ANA member.


text:
Another TeaWeek is upon us, Spring is around the corner, and so are Spring Harvests of Camelia sinensis!
Welcome to TeaDay, I think this is going to be a remarkable week on TeaDay. Stop by throughout the day and share what is in your cup, see what other TeaChatters are sipping, and join in the discussion of the day. Lots of fun, but also very interesting learning as we go.
Today's TeaPoll and discussion topic should raise a few eyebrows. It is a sensitive subject. I call it the China TeaSyndrome. Is there a melt down in the consumption of Chinese TEA. Has the situation affected your consumption of Chinese Tea? In case you have lived in a cave for the last year or so, I am refering to the concerns raised regarding Chinese food products and consumer goods...words like pesticides, lead, and Chinese Tea have been used too many times in the same sentence.
So, what say you TeaChatters? Weigh in on the subject as you share what is in your cup. Check back later to respond to others' comments.
Have a great TeaDay everyone...


text:
Add Your Name Now: 7 Days to Close Gas Chambers
In just one week, we could require the Obama administration to address the fact that animals are still being killed in gas chambers. It's up to us.
Currently posted to the White House's "We the People" petition site is an appeal asking for federal attention to the suffering that animals endure when they are gassed. It can take as long as 45 minutes for a dog or cat to die in a gas chamber. He or she may convulse, vomit, gasp for breath, attempt to claw through the walls, void his or her bowels, howl in panic, and even be bitten by other frightened animals. And some animals do not die, like Daniel, the Alabama dog who has become the face of the movement to ban gas chambers.
Compare this to an intravenous injection of sodium pentobarbital, administered by trained professionals, that assures that the animal "falls asleep," the same quick, painless loss of consciousness that we feel when we are given anesthetics before surgery.
But despite the cruelty of gas chambers and the affordability of humane injections, it is still legal to gas animals in 31 states. Let's change that. We have until February 18 to collect 100,000 signatures.
I'm going to add my name to the petition right now. Will you please join me?
Commenting is closed.
Stop the damn cruelty. Give all fur babies a chance for a good safe full of love live.
Please stop this barbaric form of torture.It is inhumane and cruel!
please stop doing that ,,,,,, think if someone put you in gas chamber why the way that's not humanity it's a devilish deed
I found about PETA only yesterday! Since i doubt you have an office in Belgium. There were already 2 petitions sent to the president that have failed, including the one against killing dogs in gas chambers. Please file the petition again untill it reaches the threshold!!!
Find a better solution
This is cruel and not humane treatment of the inoccent


text:
Custom Ink is getting in the cage by bob - over 8 years ago
"The photograph was taken on June 14,2008 at the Rockin' R in St. Robert Mo. The photographer was Tom Kitchen, who takes wonderful photographs. The event was Xtreme Cage Championship 27, which is a ..."View full details
Is this photo a winner?


text:
Tucson, an Urban Classroom for German Students
University students visit the city to learn about global conditions
University students visit the city to learn about global conditions
Annual summer trips educate University of Arizona students about the culture, politics and daily life of an isolated island nation.
Tucson archaeologists are beginning new chapters after decades at the University of Arizona, reveal ancient culture's uses for tough native plant.
Filmmakers are working on new projects that are being shown outside the island.
Blogger and advocate Jes Baker asks 'What do you love about your body?'
Alexis Gray, one of the nation's top forensic anthropologists, discusses how popular TV shows have changed the public's expectations about forensic science.
Thanks to parents who come from Germany, Mexico and school where 7-year-old learns English.
The two are preparing to be tested on their knowledge of the Chinese language, culture this Oct.
The U of A Poetry Center's spring symposium brings together cutting edge literary talent for a celebration of the creative freedom of poetry.
Find out about a cross-college collaboration between U of A arts and sciences that honors a century of Arizona statehood.
The UA community ponders a future with new leadership.
The U of A welcomes home a prominent alumna to give the 2011 commencement speech. Hear how Savannah's successful career started, and about the big change in her future.
Listen to Arizona educators - and students - talk about what they appreciate the most about the educational experience.
One of America's greatest poets, Billy Collins, visited Centennial Hall on Sunday, November 7th to benefit the University of Arizona Poetry Center.
From Karma to the Cosmos Tibetan Monks and Nuns learn about the physical world. Tibetan monks and nuns usually spend their whole lives learning about the inner world of the mind.
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You don't have to be a seasoned tailgater of twenty years to put on a successful tailgate party. In fact, you only need to follow the basics for the fun, delicious tailgating experience you're hoping for. The pros might tell you about all the bells and whistles you "must" have, from tricked-out trucks to portable sound systems. But if you're just starting out, you only need these four steps:
1.Pack Warm
During the first part of the season, the weather may be cool and comfortable. But give it a month or so, and you'll find yourself shivering in your team jersey. The key to tailgating at every game is being prepared for the weather. That means packing coats and beanies, serving hot drinks and soup, and investing in a canopy to stay dry. You may also want a portable propane fire pit for an added bit of warmth to keep the party going.
2.Choose Your Menu
Ask yourself this: why do people tailgate in the first place? Food, food, and food. Sure, they all want to cheer their team on at the game, but in the hours leading up to kickoff, they're focused on what's cooking. You want to put plenty of thought into your tailgating menu. Burgers and brats are always a solid choice, but you can find plenty of unique recipes outside of the classics if you're looking to change things up.
3.Gather Your Gear
Once you've settled on your menu, you'll need to assemble your tailgating kitchen. You want to keep two things in mind when selecting your tailgating grill: portability and power. First of all, since you'll be cooking from the parking lot, you need a stove that sets up and takes down like a dream. We're talking features like removable legs, a carry bag, and foldable side shelves. You also want to consider cooking power; you need a stove that heats up quick and can handle whatever food you want to throw on it. We've found that this tailgating stove hits the sweet spot between both of those elements.
4. Prep the Food
After you've gathered your ingredients and your cooking gear, you should prepare all of the food the night before. That means slicing the onions, forming the meat patties, and blending the soup all before you show up on game day. This will save you hassle at the tailgate party (have you ever tried to shape burger patties in a parking lot?), and it means the food will be ready to eat that much sooner. You also won't have to pack as much since you'll have finished all the food prep at home, which you'll be happy about at the away games.
And there you have it. Your game plan for an excellent tailgate party. Follow the steps and you'll be having a good time with good food at a good game (if your team is winning). Tailgate on, super fans.


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Thursday Jul 30, 2015 | 3:47 pm
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Ms. Fatemeh Keshavarz: If you don't plow the earth, it's going to get so hard nothing grows in it. You just plow the earth of yourself. You just get moving. And even don't ask exactly what's going to happen. You allow yourself to move around, and then you will see the benefit.
Ms. Tippett: I'm Krista Tippett. This hour, we enter the exuberant world of Rumi, the 13th-century Persian mystic and poet. Rumi's poems are best sellers in the West, and he's been celebrated globally by the United Nations this past year. Rumi has long influenced Islamic thought and spirituality, though his Muslim identity is often lost in translation. With an Iranian-American poet and scholar, we'll explore why that matters in our time. And we'll hear the lyrical words Rumi put to the common human search for meaning. He understood searching and restlessness as a kind of arrival. He saw every form of human love as a mirror of the divine.
Mr. Soleyman Vaseghi: (Lines of Rumi poetry recited in Persian)
Ms. Keshavarz: (translating) Wherever you are, whatever you do, be in love.
In his lifetime, the poet known in the West as Rumi was called Muhammad Jalal al-Din al-Balkhi al-Rumi. He was born in 1207 near the city of Balkh in what is now Afghanistan. When he was a child, his family fled Mongol invaders and settled in Konya in present-day Turkey. Rumi wrote in Persian, the literary and spiritual lingua franca of a civilization that stretched from the Mediterranean Sea to India. To most of the people who read him today from Tajikistan to Iran, he is known as Mevlana or Mawlana, our master.
Rumi left behind a vast body of lyric poetry, metaphysical writings, lectures, and letters, which have influenced Persian, Urdu, and Turkish literature across the centuries. Rumi also inspired the whirling dervishes, ascetics who base their practices on Rumi, including the dancing meditation that was part of his spiritual life. And in the late 20th century, Rumi's thought and poetry swept the United States in English translation. Lines from Rumi became widely quoted in diverse settings, lines such as "out beyond ideas of wrongdoing and rightdoing, there is a field. I will meet you there." Those who enjoyed such words often knew little about the man behind them or his Islamic mystical tradition of Sufism.
My guest today, Fatemeh Keshavarz, calls Rumi a world-class thinker, relevant to our painfully compartmentalized world.
Ms. Keshavarz: One of the reasons why he addresses the issues that are of concern to us so much today is because he belongs to a tradition, the Sufi tradition or the mystical tradition within Islam, which has always been concerned with the way human beings view themselves and each other and are able to relate to each other.
Ms. Keshavarz: I grew up in a family in which people played chess, read poetry, or argued about poetry. That was basically — only after I left Iran I realized that that's probably not what everyone else does all the time.
Ms. Tippett: So in this landscape where poetry of all kinds, including poetry woven into religious sensibility, I mean, what did Rumi mean in that landscape? How was he part of the spiritual sensibility of that world you grew up in?
Ms. Keshavarz: Well, he was a voice that echoed something that was, on one level, very familiar because a lot of other people had talked about it, but on another level, it was completely new because of the way he played with it, the way he made it his own game. And I mean "game" because playing is very serious for him. Laughing and playing are the most serious things in his poetry. So for me, he came into the picture as someone who said, 'OK, you've read the text. You know the words. You've looked at the history. Now transcend all that. Put it aside and live it. Encounter it.' If you ask me to think of a few words that, for me, describe his poetry, one of them is it's an encounter. You come face to face with something.
I never forget, I was once reading a ghazal that described a beautiful bird. You know, he said…
Ms. Tippett: The ghazals are odes, what we would translate as something a little bit different than a poem, right?
Ms. Keshavarz: Yes. Ghazal is about eight to 10, 12 lines normally, although his could be much shorter or much longer, and the main theme is love and these are like flashes of ideas as that come.
Ms. Tippett: OK.
Ms. Keshavarz: So I was reading one of those and he was describing these beautiful birds. You know, some can sing, some are colorful, and so forth. And I was, you know, enjoying this, walking the aviary, and he suddenly said, 'Well, what kind of a bird are you?' All of a sudden I realize I can't stay on the margins. You have to join in. And I think, in a way, the whirling is exactly a reflection of that. So he kind of comes into the tradition with all the intellectual legacy, but he says that's not enough, you have to do something else with it. Face it, play with it, dance it, bring it into your everyday life.
Ms. Tippett: You know, something that strikes me, there are a lot of themes in his writing, in his poetry, that you might call ascetic. You know, he's very aware of the limits of the physical and of the importance of the spiritual in that equation. And yet there's something incredibly sensual at the same time when you mention the whirling, the weeping of the whirling dervishes. There's dance and music.
Ms. Keshavarz: Yes. I would say that it's all on the same continuum of human experience. We are not divided into body and soul in a way, although he does talk about body and soul and there's no question about the fact that the soul is exalted. Ultimately the goal is to purify the soul and so on and so forth. But we don't have to think about the rest of ourselves as base or as not--in fact, it's a tool. It's a part of us that's very important. He does say--in one verse, he says, 'Love, whether of this kind or that kind'--and obviously it's either, you know, the kind of divine, spiritual, or the human-to-human love — 'ultimately leads you to the same king.' So in a way one is a practice for the other.
Ms. Tippett: Including physical love.
Ms. Keshavarz: Absolutely. The limits of it are recognized. But I wouldn't see it as — the body is not an obstacle on the way of the soul. It's a tool to be used for that journey.
Rumi imprinted that movement with a vividly sensual and poetic practice of spirituality that has been provocative and controversial across the ages. He crafted some of his most religious ideas in the form of erotically toned love poetry, which seems at once addressed to Allah or God and to an earthly beloved. Rumi inspired the practice of the whirling dervishes by spinning around a column as he recited his poems.
Ms. Tippett: Something you wrote about whirling that was so gripping to me said, for Rumi, the whirling is one way to stay centered while moving.
Ms. Keshavarz: Yes. And, you know, I do some speculation in my work: Does this have something to do with the fact that he traveled so young when he went all the way westward from the province of Khorasan to where is the city of Konya today, present-day Turkey, and the journey lasted about two years. He must have encountered so many different people and cultures and incidents, so it may have something to do with that. But he's certainly very appreciative of the ability to change your vantage point. At some point in his discourses he said, 'If you don't plow the earth, it's going to get so hard nothing grows in it. You just plow the earth of yourself. You just get moving. And even don't ask exactly what's going to happen. You allow yourself to move around, and then you will see the benefit.'
Ms. Tippett: Is there also something in the whirling that strikes you as very compatible with Islamic theology in general, or with Sufi theology, that might not be apparent to an outsider?
Ms. Keshavarz: Well, I think you could say that everything in the universe is whirling, is quickened with the force of love. That fits with the Sufi theology. We are like planets. We have to appreciate that, and in order to appreciate that, you have to join the dance. But there are also — there are interpretations. We can now look at whirling and say things like — for example, one hand is pointed towards the sky and the other one to the earth, so that's usually interpreted as bringing the heaven and the earth together, like staying connected with the two. Or the dervishes wear a black robe and a white robe underneath, and then they disrobe the black robe and they dance in the white. That's interpreted as the shedding of the ego.
But then the master standing in the center doesn't have to do it because he supposedly has tamed his ego. But all of these things have been interpretations later, done of the activity of whirling. Beyond that, you know, to me, it comes across as something much broader and more universal than Islam or any other religion. It's a kind of getting in tune with the moving earth.
Ms. Tippett: You've spoken a lot about love and love as the core of this spirituality. I think that also in the Persian culture in which you grew up, and Rumi as well, there is a connection between love poetry and imagery of the beloved and lovers, with religious ideas, which again you kind of have to introduce a Westerner into.
Ms. Keshavarz: The imagery is very often almost identical with profane, you know, mundane love poetry. By this, I don't mean to give any negative connotation to it, but love that is purely sensual and emotional, human love. To me, I think it's a statement by poets like Rumi and others like him, that there isn't really a boundary between the two. It's the same thing. It's the same human experience.
And there is another medieval Sufi, actually a bit later than Rumi, who says that you can't look at the sun directly, but you can look at its reflection in the water. Our humanly experience of love is that reflection in the water of our senses, and it's God's way of teaching us and guiding us from this to the actual looking at the sun when you have gained the ability. I was just thinking of a particular ghazal as I was saying that and, you know…
Ms. Tippett: Yes, I wanted to ask you if you had anything you would read or recite, yes.
Ms. Keshavarz: Yeah, I think that that actually could help see how one would lead to the other and actually the ambiguity between the two. It's a source of great poetic force.
Ms. Tippett: And you mean one — and the other would be human love and divine love.
Ms. Keshavarz: Human love and divine love, exactly.
Mr. Soleyman Vaseghi: (Lines of Rumi poetry recited in Persian)
Ms. Keshavarz: (translating) If anyone asks you about the houris, show your face, say: like this. If anyone asks you about the moon, climb up on the roof, say: "Like this." If anyone seeks a fairy, let them see your countenance. If anyone talks about the aroma of musk, untie your hair and say: "Like this." If anyone asks: "How do the clouds uncover the moon?" untie the front of your robe, knot by knot, say: "Like this." If anyone asks: "How did Jesus raise the dead?' kiss me on the lips, say: "Like this." If anyone asks: "What are those killed by love like?" direct him to me, say: "Like this." If anyone kindly asks you how tall I am, show him your arched eyebrows, say: "Like this."
Ms. Keshavarz: So the whole ghazal is a description of the physical beauty of the lover, but at the same time, it's a fairly long poem. At the end, it leads us to blind with envy the one who says, "How can a human being reach God?" Give each of us a candle of purity, say: "Like this." In the end, human beings can get to that candle of purity and reach God, and all human beings can do that.
Ms. Tippett: It is also an act of pointing at what is now — right? — what is physical and human, as you say, as the only way we have of imagining.
Ms. Keshavarz: Exactly. Exactly. There's a famous Sufi tale that this young disciple approached the master to enter the order day after day. And finally the master said, 'Have you ever fallen in love with a woman?' He said, 'No, not yet. I'm only 18.' He said, 'Well, go try that first.'
In the "Song of the Reed," Rumi reflects on the human spirit through the metaphor of the ancient reed flute or ney that is popular in Middle Eastern music. This poem opened the Masnavi, Rumi's compendium of rhyming couplets that explored issues of Sufi theology and the spiritual journey.
Ms. Keshavarz: (reciting) Listen to the story told by the reed of being separated. Since I was cut from the reed bed, I have made this crying sound. Anyone apart from someone he loves understands what I say. Anyone pulled from a source longs to go back. At any gathering, I'm there, lingering and laughing and grieving, a friend to each, but few will hear the secrets hidden within the notes. No ears for that. Body flowing out of spirit, spirit out from body, no concealing that mixing. But it's not given us to see, so the reed flute is fire, not wind. Leave that empty.
Ms. Tippett: There's a theme that is part of that, that runs all the way through, about separation and longing as part of — well, not just the spiritual life, but being human, and also a kind of sense that the separation and the longing themselves are a kind of arrival.
Ms. Keshavarz: On one level, you have to get on the road. You have to get started, you know, just like the earth that, you know, have to plow the earth, you have to get moving. On another level, time and again he reminds us that the destination is the journey itself. So there isn't a point where you say, 'OK, I'm here, I've reached, I'm done, I'm perfect. I don't need to do anything anymore.' In the incompleteness of that, the need to move forward is inherent in that incompleteness, in the process of going forward that you make yourself better and better and you, in a way, never reach. So the separation is the powerful force that keeps you going. If you ever felt that I have arrived I've reached, this is it, then you wouldn't go any further.
Ms. Tippett: You know, and I think it is counterintuitive in our culture — not that we necessarily think this through very often, but we think of desires and longings as something that we need to find something to meet, right?
Ms. Keshavarz: Yes, yes. And we want to meet it really fast.
Ms. Tippett: Yes.
Ms. Keshavarz: Exactly.
Ms. Tippett: Because somehow the feeling of longing and separation from whatever it is, especially if we don't know what it is we want, that that is unsatisfying and there's something wrong with that. And yet what Rumi is saying is that, you know, the longing itself is redemptive and is progress, kind of.
Ms. Keshavarz: Yes. And the longing itself — and also not to understand exactly what that longing is, in itself, is very productive. I think one idea or major concept that the Sufi tradition and Rumi in particular have to contribute to our current culture is value in perplexity, the fact that not knowing is a source of learning, something that propels us forward into finding out. Longing, perplexity, these are all very valuable things. We want to unravel things and get answers and be done, but as far as he's concerned, it's a continual process. We can't be done. And that's good.
Ms. Tippett: I also have a feeling that Rumi is saying we also, though, at the same time need to be intentional about what we choose to be perplexed by. Does that make sense? I mean there's this poem: "Stay bewildered in God and only that. Those of you who are scattered, simplify your worrying lives. There is one righteousness. Water the fruit trees and don't water the thorns. Be generous to what nurtures the spirit and God's luminous reason-light. Don't honor what causes dysentery and knotted-up tumors. Don't feed both sides of yourself equally. The spirit and the body carry different loads and require different attentions."
Ms. Keshavarz: Yes. Yes. I think the energy can't go in all directions completely in control and you have to choose because you have one life. You have to spend it wisely. So absolutely, he would say choose, be selective, recognize your own value. At another point he says, 'You are an astrolabe to God, you know, don't use yourself for things that are not worthwhile.'
But I want to linger a little bit on that idea of being scattered because that's a key concept in Sufi thought. And actually it's something that the Buddhists also talk about a lot. And that is our mind just jumps from one thing to the other and, you know, the Sufis call it the onrush of ideas into our minds. And in some ways, if we allow it, it takes us over, you know. You know, what am I going to do about that credit card? You know, how am I going to — what do I do about this student paper, you know, whatever else is that you're concerned with, my family, my kids, my future. So it all invades your life and so in a way you're pulled in all directions. You're scattered. So one of the purposes of his poetry and one of the concepts the Sufis talk about is to collect that scatteredness.
Mr. Houman Pourmehdi: (Lines of Rumi poetry recited in Persian)
Ms. Keshavarz: (translating) When pain arrives side by side with your love, I promise not to flee. When you ask me for my life, I promise not to fight. I'm holding a cup in my hand but, God, if you do not come till the end of time, I promise not to pour out the wine nor to drink a sip. Your bright face is my day. Your dark curls bring the night. If you do not let me near you, I promise not to go to sleep nor rise. Your magnificence has made me a wonder. Your charm has taught me the way of love. I am the progeny of Abraham. I'll find my way through fire.
Ms. Tippett: What do you hear in that? What do you reflect on in that?
Ms. Keshavarz: It's about steadfastness, about staying centered and keeping your eye on the goal. But at the same time, very much being in love and allowing the ecstasy of love take over. You see, he is very aware of the fact that, as human beings, we are limited. We have our limits. We just are not able to do everything that we desire to do. Our rationality is there, is very helpful. It does its job in questioning things and showing the way, but that has its limits, too. What opens the way beyond that is love. What enables us to feel the pain and still go forth in the face of all of that, is experiencing that love. And if you look at our lives, you know, people who produce great works of art, who are creative, who do something that goes beyond day-to-day activity, have that kind of steadfastness, that kind of devotion that lets them go through. What I see in that poem is that I promise to have that, but that comes from you. It's your magnificence, your love that gives me that energy, that power to stay, and I promise to hold onto it.
Ms. Tippett: And "you" is — the beloved is God, is Allah.
Ms. Keshavarz: Yes, and that's where the ambiguity comes in, of course, because you should be able to relate to it as a human being in love with another human being. That would be your entry into the poem.
Ms. Tippett: It's also probably important to note that Rumi had a great turning point with a friendship, with Shams, a Sufi master. I think it is actually helpful that the love relationship out of which Rumi drew so many of his analogies, you know, is not a romantic love relationship. And what you're saying to me is that love is the core, but to think about the many forms that love takes in our lives. I mean, there's also the passionate love that we have for our children.
Ms. Keshavarz: Yes, and so they are a blessing and they all have their own place. And in the end, we don't replace them with the divine. It's like warming up, in a way, like getting you ready for a major exercise, a physical activity. You warm up gradually. You get yourself to a state where you can do it, test your abilities, see your problems and issues, ask your questions, quarrel with yourself, and get ready for it. And I think all these forms of experience of attachment with other human beings are various ways of experiencing that.
In many ways, our radio program is just the beginning. Our Web site, speakingoffaith.org, reveals the world of Rumi from many directions. You can see a video performance of our guest, Fatemeh Keshavarz, and the Lian Ensemble, with Rumi's poetry set to the ney, santur, and other classic Persian instruments, or download my entire unedited conversation with Fatemeh Keshavarz through our Web site, our podcast and our weekly e-mail newsletter. All this and more at speakingoffaith.org. I'm Krista Tippett. Stay with us. Speaking of Faith comes to you from American Public Media.
Ms. Tippett: Welcome back to Speaking of Faith, public radio's conversation about religion, meaning, ethics, and ideas. I'm Krista Tippett. Today, "The Ecstatic Faith of Rumi," the 13th-century Persian poet and mystic.
In recent years, English translations of Rumi's poetry by the American poet Coleman Barks have sold more than half a million copies in the U.S. UNESCO has declared 2007 International Rumi Year to honor the 800th anniversary of his birth. Rumi has been the subject of creative work by contemporary artists from composer Philip Glass to pop icon Madonna.
But such popular renditions of Rumi often give little hint of his Islamic identity. He was the son of a Muslim teacher, born in the center of Persian Islamic civilization. He spent time as the head of a madrassa, religious schools which were centers of great learning, at the same time that Western Europe had fallen into the dark ages. Rumi's themes of separation and longing come straight from the heart of Islamic theology. There is no idea of original sin, but rather of a human tendency to forget and thus become separated from Allah or God. Islam imagines faith as zikr or remembrance of a knowledge that is embedded in human beings. My guest, Fatemeh Keshavarz, finds resonance in Rumi for the deepest challenges before the world and Islam today.
Ms. Tippett: I'd like to talk about Rumi's Islamic grounding and identity. That gets lost in 21st-century translations.
Ms. Keshavarz: Absolutely.
Ms. Tippett: Coleman Barks' translations are the ones that many people have read, that became popular, I assume. I was reading his introduction to The Essential Rumi. You know, he suggested that with a mystical writer like this, you know, he suggested that placing this person in historical and cultural context is simply not a central task. And he wrote, "My more grandiose project is to free his text into its essence."
Ms. Keshavarz: I think one thing that Coleman Barks has done, he has written Rumi's ideas in the American poetic idiom. He's made it accessible to the broad readership, and that should definitely be valued. And, you know, don't hear me saying anything else on that. But I don't think you can free people from the context in which they live, and I don't think even if you try to do that, that that serves a useful purpose. I don't see Rumi as detached from the Islamic context at all. In fact, I see his work as actually and completely immersed in the Islamic tradition. I tell you, it would be hard to read a single ghazal, not even the Masnavi, which is expressly a work with theological and mystical intentions, but even a ghazal, it would be hard to read a ghazal and not find quite a few illusions to Qur'anic verses, to sayings of the prophet, to practices in the Muslim world, so I don't think we need to separate him from his Islamic context. The way first I visualize this myself is that he goes through the religion, he lives it, absorbs it, and uses it in his way. So in the process, he self-births a lot of things. He changes a lot, reinterprets a lot of things, but he does not step outside of it. He lives in it. Let me give you an example.
Ms. Tippett: Good.
Ms. Keshavarz: You know that in his discourses — I try not to use the word "sermons" because "sermon" brings such a specific connotation that's probably not there. But the discourses are when Rumi is sitting in a local mosque, in the local gathering, talking to people. It's very interactive, it's very informal, and he kind of steps down the pulpit in a way and reaches out to the people and it's very poetic even though it's in prose and he didn't write it down. His students and, you know, people around him took it down. On one of these occasions, he quotes a Qur'anic verse, if I might quote the Arabic, is (recites Qur'anic verse in Arabic). We — this is the royal "we," God — we stand down the zikr and we will be its protector. Now, the word zikr in Arabic means "remembers" and traditionally the commentators have defined the word zikr as the Qur'an itself, and they have good reason to do so because elsewhere in the Qur'an, the Qur'an refers to itself as zikr and remembrance, in part because humanity is described as forgetful, so the Qur'an is a way of remembering.
Now, he says the commentators have said that this verse refers to the Qur'an itself, that God says we have given you the Qur'an and we are — that I am the protector of it. And he said (foreign language spoken). That's fine. (Foreign language spoken), but there is this interpretation, too, that God says (foreign language spoken). "We have put in you a desire and a quest, and I, God, am the protector of that desire." That's a very different interpretation. First of all, it opens it immediately to all humanity.
Ms. Tippett: I think that there is something in Rumi's writing which is so large, so generous. I don't like the word "universal" because I think in some ways it waters things down.
Ms. Keshavarz: I agree with you. "Generous" is a very good…
Ms. Tippett: Yeah. But it's easy to read this and also I think people from many different religious traditions can read this poetry or his discourses, or people who are not people of faith can read it and feel themselves addressed and feel their spiritual lives addressed.
Ms. Keshavarz: Yes. And I think sometimes people feel that if they take away or overlook the Islamic flavor of it, maybe that makes him more accessible, more theirs. I think generosity and openness is a very good way of putting it. If you're not rooted in the specific and in the small, in the local, you can never see the broader vision. You have to love a tradition and to be completely immersed in it before you can subvert it and transcend it. You have to…
Ms. Tippett: Before you can subvert it from the inside.
Ms. Keshavarz: Exactly. And you have to love it for you to think that I want to open it up, I want to make it better, and then go forward with it. And, you know, you can't break laws in an acceptable way unless you know them really well and practice them with tradition. That's the only time. And that's what I think he does. He's so well rooted in the Islamic tradition, so completely aware of the nuances, that he says, you know, 'Hey guys, we can open it up here. Look. Look at this. This is what you always thought, but now look one step beyond.' And he can do that precisely because he's rooted in the tradition.
Ms. Tippett: And I think it's true also that around the same time that Rumi was entering popular imaginations by way of poetry, there were images of Islam suddenly in the news in this post-9/11 world which were so very different from that. I mean — and, you know, you've written that Rumi is a true child of an adventurous and cosmopolitan Islam. And, you know, those are not two words that you would associate with headline Islam that we've had these past years.
Ms. Keshavarz: I'm actually, you know, really glad you bring this up because I think one thing that's desperately needed at this point, to show the adventureness, the surprise, the play, the aspects of his work that now are not normally associated with that part of the world. You kind of think that, you know, people just — it's all religion, and it's religion followed in a fairly institutionalized and stylized and, you know, planned form. Not at all. I mean, he's playing with it all the time. So I think another contribution he could do for us right now, exactly in this post-9/11 environment, is to bring out that side of the Muslim culture, that contribution to the world.
Ironically, just as Rumi has been rediscovered in the U.S. and Western Europe, the Sufi brotherhood formed by his followers has been banned in periods of recent history in Turkey, where Rumi did most of his writing and where he's buried. The whirling of the whirling dervishes, which Rumi first innovated as a form of dancing meditation, has been reduced, some say, to mere entertainment. I asked Fatemeh Keshavarz about Rumi's legacy in Iran, where she grew up, the center of the Persian world of literature and culture to which Rumi also belonged.
Ms. Tippett: Rumi still as much alive in Iran now as when you were growing up? How does that look?
Ms. Keshavarz: Well, I tell you I can't keep up with the books that are published in Iran about him. Yes, absolutely. You know, there's this debate whether he was a Persian or a Turk or an Afghan. You know, it is completely really irrelevant again, but for Iranians he is just such a household name. You will have — in your house you will have the Qur'an, you will have the volume of poetry of Hafez, another great figure from the little bit later period, and the Masnavi of Rumi. And then depending, of course, like any other culture, you have people who more immersed in his work and more familiar. They know him at different levels obviously. But, yeah, I wouldn't say that the interest in him has changed or lessened at all.
Ms. Tippett: I mean, I hear in my conversations that Islam in Iran is — there's great intellectual discourse and study and, you know, that's just not a story that we hear. So I mean, I'm just curious, you know. This subversive, playful, cosmopolitan quality of — are those also part of the discourse in Iran?
Ms. Keshavarz: Absolutely. You know, I send out lists to my friends called "Windows on Iran," precisely for that. Just once a week I send out information about Iran that they don't get to see in the media. Like in the month of June, for example, there's a book fare in Iran. You know how many people visited this past book fare in June in one week? Two million people visited the book fare. You know, I send this out and then I get these messages: Wow, this is happening in Iran? Or I send pictures.
I just realized afterwards that our visual vocabulary has been affected. If we think of Iran, we only have certain visions of unfortunate moments in recent history that get repeated. And our language — Rumi is so aware of that. Language can take over our lives and make us not see things. He actually has a fabulous verse, he says (Persian spoken). "Speak a new language so that the world will be a new world." I mean this is the most sophisticated, philosophical approach to language. Now we talk of language as being constitutive of experience, but that's exactly what he said. You know, 'get yourself a new language and then you will be able to see a new world.' And that's definitely what we need to do in relation to that part of the world, certainly with Iran, to see the dynamics. A tremendous amount is going on that we don't get to hear about.
Ms. Keshavarz: (Lines of Rumi poetry recited in Persian)
(translating) To speak the same language is to share the same blood, to be related. To live with strangers is a life of captivity. Many are Hindus and Turks who share the same language. Many are Turks who may be alien to one another. The language of companionship is a unique one. To reach someone through the heart is other than reaching them through words. Besides words, illusions, and arguments, the heart knows a hundred thousand ways to speak.
Ms. Tippett: You know, I can't help but look at Rumi's life and be struck by how the poles of culture and place in terms of, you know, where he moved and where he lived and settled, are all such important poles in our world today. There's Afghanistan, there's Turkey, which is somehow becoming symbolic of the struggle to define what is Western, right, what is not. There's Persia, there's Iran. Do you ever think about that, about Rumi's legacy and where he came from and how that echoes in the world today?
Ms. Keshavarz: I consider myself tremendously lucky to be able to grow up with that language. But to tell you the truth, I think that all parts of the world have their own Rumi. I believe that we just need only to explore those traditions and look for them. So in a sense, I think he is just one other giant, you know, one other figure who is very important right now. I agree with you, it's very important to read him, to look at the vision that he has for humanity because it's so healing, it's so needed to correct some of our short-sightedness and, you know, some of the problems we have with not being able to see the larger picture. So in that sense, I agree with you. But I don't know if I want to think of that part of the world as having any kind of monopoly on this.
Ms. Tippett: OK.
Ms. Keshavarz: I think, if anything, his vision is that all humanity is pregnant with God. You know, we all in various parts of worlds and traditions. We have people like him. We just have to find them.
Ms. Tippett: You ask a question in something you've written: "How is one to nurture this God buried like a ruin in the treasure of one's being, and let it permeate all of life?" How does your encounter with Rumi — your ongoing encounter with Rumi, how does it help you live with that question, answer that question in your life?
Ms. Keshavarz: You know, the most important tool he has, which is hope, is what we need to nurture in ourselves. And hope, the energy to move, the energy to go, to never think that this is not worth it or I am done, I am tired, that's what he's given me. I can read them for hours, I can teach them for hours. I can come back to it and be surprised again. The gift is a kind of whirling that keeps your life to be a constant move on the road, and then according to your abilities, what you can see, what you can hear, what you can cherish, you get your own rewards. You put it together. Again, you give birth to your own God. Life kind of comes to life with his works.
Ms. Tippett: With Rumi's words.
Ms. Keshavarz: Yes. And, you know, depending on where I am and who I am at that point and I'm doing, I get something out of it. It actually has a fascinating verse. He says (Persian spoken), says, "I am fire. If you have doubts about that, bring your hands forth." That's the dramatic flare I was talking about, you know. 'Bring your hands forth, touch me, and I'll tell you what I'm about.'
Visit us online at speakingoffaith.org. If you've encountered Rumi's writings, tell us how they've spoken to you. What in his spirituality surprises or draws you in? Look for "Share Your Story" on our Web site. While you're there, learn much more about Rumi's world and his writings, watch video of musical performances of Rumi's poetry, and listen to readings from his poetry in Persian and in English. Also, download my entire unedited conversation with Fatemeh Keshavarz.
And Speaking of Faith is now available on iTunes U, an enriching resource for teachers and lifelong learners. This free collection is organized by subject and features additional tools for learning. Let us know if you use Speaking of Faith in your courses. Your input will help shape our offering. Look for the iTunes U link at speakingoffaith.org.
Special thanks this week to Houman Pourmehdi, Soleyman Vaseghi, the Lian Ensemble, Omid Safi, and Stanford University's Continuing Studies Department.
The senior producer of Speaking of Faith is Mitch Hanley, with producers Colleen Scheck, Shiraz Janjua, and Rob McGinley Myers, with assistance from Anna Marsh. Our online editor is Trent Gilliss. Our consulting editor is Bill Buzenberg. Kate Moos is the managing producer of Speaking of Faith. And I'm Krista Tippett.


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iHerb Customer Reviews
Savings of: $1.00 (13% off)
Arrowhead Mills, Whole Grain Organic Buckwheat
Posted by Reviewer3339239 on Mar 04, 2009
This was a good product. It makes wonderful pancakes and when you eat the pancakes, you feel full all day long!
Posted by Reviewer1298185 on Sep 13, 2011
You need to get used to the taste!
Unfamiliar taste
Posted by Reviewer2702320 on Nov 22, 2011
Better mixed with another kind of flour
organic buckwheat flour
Posted by 5564862385962855745 on Mar 27, 2015
The four is good but the packaging needs to be improved. These bags were wrapped in plastic bags but there was flour leakage. The bags looked banged up.
Items 1-4 of 4 total


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He fought hard for the 3A. Too bad it's a sore spot for him still. I just hope he has a decent LP. Unlike JT KR PC JR etc, this is Sawyer's last year so there's probably no more "maybe next year's" for him. This is it.
I think you are right. I'm just glad I have the stream. I thought I would totally miss the SP altogether!I think that's normal. There seems to be a significant time delay with the stream, plus it cuts out for several seconds at 5-minute intervals (at least for me).
Oh Daisuke...you freaking rock!
I just noticed that both of the Junior World Champions have the highest TES in the sp for ladies and men :D
Huh, I just noticed that Sawyer's TES is only 0.25 behind Takahashi, and it's 0.31 ahead of Abbott.
Yuzuru Hanyu JPN 37.85
Florent Amodio FRA 37.18
Daisuke Takahashi JPN 36.83
Shawn Sawyer CAN 36.58
Jeremy Abbott USA 36.27
Denis Ten KAZ- 35.67
Jialiang Wu CHN 35.48
Ross Miner USA 34.88
Takahito Mura JPN 33.74
Adrian Schultheiss SWE -30.92
Jeremy Ten CAN 26.87
Kevin Van Der Perren BEL 25.38
Daisuke Takahashi JPN 41.21
Jeremy Abbott USA 38.35
Shawn Sawyer CAN 33.57
Denis Ten KAZ -33.07
Florent Amodio FRA 32.83
Yuzuru Hanyu JPN 31.46
Adrian Schultheiss SWE 31.32
Ross Miner USA 29.97
Kevin Van Der Perren BEL 29.93
Jeremy Ten CAN 29.61
Takahito Mura JPN 29.46
Jialiang Wu CHN 28.58
Looks like PCS is what determined the order. TES is all over the place with the highest TES to go to the person in fifth (Hanyu) fourth (Amodio) then first (Takahashi).
Kind of random that Adrian got 7th in PCS though he is 10th overall.
Last edited by Mrs. P; 10-23-2010 at 12:20 AM.
I guess Takeshi Honda mentioned the zero spin for Jeremy during the NHK broadcast? Can someone here confirm?
For those who can read Japanese (or use Babelfish):


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COLORADO SPRINGS, Colo. (July 4, 2008) – There were fireworks at the 2008 NORCECA Continental Men's Junior Championship on Friday, but it was Cuba that was lighting the fuses.
A hard-hitting Cuban team defeated the U.S. Men's Junior National Team, 25-19, 25-18, 25-20 in the semifinals. Team USA will play Mexico for the bronze medal on Saturday at 5 p.m., MDT.
Cuba pounded Team USA by converting 47 of 71 kill attempts (66 percent) while the United States converted 28 of 69 (40 percent). Cuba also had six aces as opposed to three for the U.S. Junior Men.
"We were not completely on our game tonight, but Cuba had a lot to do with this," U.S. Head Coach Shawn Patchell said. "They played a powerful game and had us on our heels most of the match. I'm pleased with the way we competed for the entire match. We now have to regroup and get ready for the bronze-medal match tomorrow."
Murphy Troy (St. Louis, Mo.) led the U.S. Junior Men with 14 points on 10 kills, two blocks and two aces. Kyle Caldwell (Newport Beach, Calif.) added 10 points on nine kills and one ace.
Austin Ellis (Corona del Mar, Calif.) scored six points on four kills and two blocks. Tri Bourne (Honolulu, Hawai'i) added three points. Joe Kauliakamoa, Jr. (Las Vegas, Nev.) and Tyler Jaynes (Granite Bay, Calif.) each scored two points and Brian Muesenfechter (Florissant, Mo.) and Srdjan Nadazdin each added one.
Patchell started Bourne and Troy at outside hitter, Jaynes and Ellis at middle blocker, Caldwell at opposite, Kauliakamoa at setter and Erik Shoji (Honolulu, Hawai'i) at libero. Muesenfechter started the third set for Bourne.
Kasey Crider (Granite Bay, Calif.), and Nadazdin both played as substitutes.
The NORCECA Men's Junior Continental Championships is a qualifier for the 2009 FIVB Men's Junior World Championship.
No. First Last (Position, City, State, Club or University, USAV Region
1. Kasey Crider (S, Granite Bay, Calif., Pepperdine Univ., Northern Cal)
2. Tri Bourne (OH, Honolulu, Hawai'i, USC, Aloha)
4. Kyle Caldwell (Opp, Newport Beach, Calif., Balboa Bay VC, Southern Cal)
5. Brian Muesenfechter (OH/OPP, Florissant, Mo., Lewis Univ., Gateway)
7. Austin Ellis (MB, Corona del Mar, Calif., Balboa Bay VC, Southern Cal)
8. Srdjan Nadazdin (OH/MB, Los Alamitos, Calif., Long Beach State Univ., Southern Cal)
10. Tyler Jaynes (MB, Granite Bay, Calif., Pepperdine Univ., Northern Cal)
11. Joe Kauliakamoa Jr. (S, Las Vegas, Nev., Brigham Young Univ., Southern Cal)
12. Brad Lawson (OH, Honolulu, Hawai'i, Outrigger Canoe Club, Aloha)
15. Erik Shoji (L, Honolulu, Hawai'i, Outrigger Canoe Club, Aloha)
17. Murphy Troy (OH, St. Louis, Mo., Univ. of Southern Cal, Gateway)
18. Joe Sunder (OH/Opp, Greensburg, Pa., Penn State Univ., Keystone)
Head Coach - Shawn Patchell, Brigham Young Univ.
Team Manager - Tom Pingel, USA Volleyball
Asst. Coach - Craig Dyer, Penn State Univ.
Asst. Coach - Dan Friend, Lewis Univ.
Pool A
Canada 3-0
United States 2-1
Dominican Republic 1-2
Puerto Rico 0-3
Pool B
Cuba 3-0
Mexico 2-1
Guatemala 1-2
El Salvador 0-3
Pool A
June 30: Dominican Republic def. Puerto Rico, 18-25, 20-25, 25-23, 25-21, 15-13
June 30: Canada def. United States, 27-25, 25-15, 25-21
July 1: Canada def. Puerto Rico, 22-25, 23-25, 25-23, 25-19, 15-11
July 1: United States def. Dominican Republic, 25-15, 25-20, 25-20
July 2: Canada def. Dominican Republic, 25-20, 25-10, 25-21
July 2: United States def. Puerto Rico, 22-25, 27-25, 25-18, 25-22
Pool B
June 30: Cuba def. Mexico, 25-16, 25-19, 25-12
June 30: Guatemala def. El Salvador, 27-25, 25-18, 25-19
July 1: Cuba def. Guatemala, 25- 8 25-15 25-14
July 1: Mexico def. El Salvador, 25-20, 25-18, 25-11
July 2: Mexico def. Guatemala, 25-27, 25-23, 25-16, 23-25, 15-5.
July 2: Cuba def. El Salvador, 25-12, 25-10, 25-9
July 3: Quarterfinals
Mexico def. Dominican Republic, 25-21, 25-15, 25-20
USA def. Guatemala, 25-22, 25-12, 25-23
July 4: Classification 5-8
Dominican Republic def. El Salvador, 25-19 25- 8 25-16
Puerto Rico def. Guatemala, 25-15, 25-13, 25-16
July 4: Semifinals
Cuba def. United States, 25-19, 25-18, 25-20
Canada def. Mexico, 25-17, 25-17, 25-13
July 5
Classification 7-8: Guatemala vs. El Salvador
Classification 5-6: Puerto Rico vs. Dominican Republic
Bronze Medal: United States vs. Mexico
Gold Medal: Cuba vs. Canada


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