text:
LavenderPekoe wrote:During the holidays Adagio opens the site www.teawish.com for you to create a wish list. If you had created one during that time, you can still edit it and all that, but I don't think you can create a new one right now.
chamekke wrote:Incidentally, earlier tonight I added a whole bunch of teas to my shopping cart. However, because I wanted to do some more thinking and looking around before finalizing the order, I didn't go to Checkout. The next time I went back to the shopping cart, the shopping cart was empty! (No idea how that happened - I didn't delete cookies.) So now I have to recreate the list. It's not a HUGE deal, but if there were a Wishlist feature, it wouldn't be necessary.
chamekke wrote:If the Wishlist is never going to be restored (and I can't think for the life of me why Adagio wouldn't want to encourage their customers in buying more tea), then I would like to request that Adagio:
1 - Take down the now-defunct Teawish website, and
2 - Remove this thread so that we aren't continually reminded of what we don't have


text:
Broadcom Corp. and ARM this week announced that they had signed a major licensing agreement for the ARM Cortex A9 MPCore multi-core processor. Broadcom intends to target the technology towards next-generation mobile, wireless and other consumer electronics applications.
"This licensing agreement extends our ARM processor portfolio. The flexibility and scalability of the Cortex-A9 processor enables us to optimize development costs by addressing the requirements of wireless applications from a common core platform," said Nambi Seshadri, vice president and chief technology officer of mobile platforms and wireless connectivity division at Broadcom.
In addition to the Cortex-A9 processor, the agreement included ARM NEON SIMD (single instruction, multiple data) technology for the ARM Cortex-A series processors, designed to provide acceleration for advanced, feature-rich multimedia, gaming and compute intensive applications.
The ARM Cortex-A9 MPCore processor's scalable performance enables developers to exceed the performance of today's high-performance embedded devices while consuming significantly less power. In addition, the Cortex-A9 processor features power management features including adaptive gating, dynamic voltage and frequency scaling and the ability for each core to go independently into standby, dormant or power-off energy management states, providing control over the dynamic as well as the static energy consumed by both the processor and memories. The Cortex-A9 MPCore processor can contain up to four independently configured, but fully coherent cores carrying out multiple tasks on each one in parallel. However since any complexity is hidden in hardware, the processor can be programmed as easily as a single core processor by utilizing one of the many SMP-aware operating systems.
A single core Cortex-A9 processor is capable of delivering 2x the performance of today's smartphone processors and the ARM MPCore technology scales that performance even further. A four-CPU Cortex-A9 processor cluster is capable of delivering an unprecedented 10 000 aggregate DMIPS when clocked at 1GHz. To simplify and broaden the adoption of multi-core solutions, the Cortex-A9 processor supports system-level coherence with accelerators and DMA to increase performance and reduce power consumption at the system level.
Tags: Cortex

subset: commoncrawl


text:
LISTA indexes more than 600 periodicals, plus books, researchreports and proceedings related to librarianship. Subject coverage includes librarianship, classification, cataloging, bibliometrics, online information retrieval, information management, search engines, printed and electronic information sources, the information industry, scholarly communication, and electronic publishing. With coverage extending back to 1966, it is the oldest continuously produced database covering the field of information science.
Miami University has a long and proud tradition of student involvement in both radio and television productions. This exhibit will celebrate five decades of students in broadcasting. Many of these productions can be found online in the WMUB Archives. For questions about the exhibit, contact Marcus Ladd at email@example.com or (513) 529-0462.
More Options:
Classic Catalog |
OhioLINK |
Online Journals/Resources |
Lane Public |
WorldCat |
More Options:
Research by Subject |
Databases A-Z
More Options:
OhioLINK Home |
OhioLINK Catalog |
Research by Subject |
Databases A-Z
More Options:
Miami University Search |
Miami University Directory
A man of many hats, Bricker reflects on his Miami Libraries career
Grabach maps an ambitious course for retirement
Havighurst Special Collections included in $2.3 million estate gift
Staff Spotlight—Thom Gerrish


text:
You are the best,
Size Guide
Sold out
Long, straight-cut, sleeveless jersey dress.
100% rayon.
Machine wash cold
H&M uses cookies to give you the best shopping experience. If you continue to use our services, we will assume that you agree to the use of such cookies. Find out more about cookies and
how you can refuse them.


text:
Canisius Athletics
Recreation & Activities
The Recreation Services Department provides a variety of recreational programs and activities for students, faculty and staff to satisfy their leisure needs while stimulating interest and developing new programs to meet the needs and desires of the Canisius College community.
Canisius is home to 17 Division-1 teams. Learn more by visiting the Go Griffs website.


text:
Apr 06, 2012
Research: Federal Belt-Tightening Slows Compensation Growth
The survey was designed by InformationWeek and fielded online. The survey was promoted in InformationWeek's daily and weekly newsletters. In addition, email invitations with an embedded link to the survey were sent to qualified IT professionals from InformationWeek Business Technology Network print, newsletter and events databases. The survey was fielded from November 2011 to January 2012.
The information in this report is based on responses from 733 government IT professionals. Unemployed and part-time workers were excluded from these results, as were respondents from outside the United States. This report uses median rather than mean or average figures for salary and percentage salary changes to eliminate distortions caused by extremes at the high or low ends of the responses. (R4150412-GOV)
Survey Name 2012 InformationWeek U.S. IT Salary Survey; Government
Survey Date January 2012
Region North America
Number of Respondents 733 federal government IT employees, including 480 IT staff and 253 IT managers.
Purpose To track IT salary and compensation trends from the perspective of those on the front lines, InformationWeek conducts an annual U.S. IT Salary Survey. Now in its 15th year, it's the largest employee-based IT salary survey in the country. Last year 18,201 full-time IT professionals completed the Web-based survey. This year 13,880 took part. The goal of this trendable study is to measure various aspects of compensation, benefits and job satisfaction. This report focuses on the 733 government IT professionals who participated in the survey.
Research Report


text: Shutting Up Is Gluten Free Jan 23, 2016 @ 21:59 Source PREVIOUS NEXT What did you think of the image? Cancel reply More funny pictures from this site:Ellen DeGeneres' Backyard.Get over it..Motherhood. Yay. ➨ funny tumblrIf waking up late could be described with one picturePlanning To Have Kids? Look At This First.Perfect couple – Funny PicturesOK I Think I'm Staying At Home.I don't particularly love my job, but it is easy and pays the bills…how about you folks…do you love your jobs?Something To Admire′yea, Though I Walk Through The Valley Of The Shadow Of Death….′


text:
Local bridges receive funding
City parking change will start on Sunday
Alternate and overnight parking regulations on streets in the city of Dunkirk will be changing to assist snow removal efforts during the winter months. Overnight parking rules go into effect Sunday and stay in effect until April 5.
For overnight regulations parking is prohibited on the following city streets from 3:30 a.m. to 7 a.m.: Brigham Road; Brooks Avenue; Canary Street; Central Avenue; Columbus Street; Doughty Street; Eagle Street between Fifth and Sixth streets; Eagle Street between Lake Shore Drive and Second Street; E. Chestnut Street from Fizell Street to Warsaw Street; E. Sixth Street from Main Street to Maple Avenue; Franklin Avenue from Main Street to Wright Street; Franklin Avenue from Talcott Street South to city line; Irving Place; Lake Shore Drive; Lamphere Street from Seventh Street South to city line; Lark Street; Leopard Street; Lynx Street; Main Street from Lake Front Boulevard to Sixth Street; Main Street Extension from Newton Street South to city line; Maple Avenue from Main Street south to Talcott Street; Middle Road from Moffat Street to city line; Nichols Avenue; North Beaver Street and Pelican Street.
In addition, Plover Street; Point Drive North; Point Drive West; Roosevelt Avenue; Ruggles Street from Main Street to Wright Street; Taft Place; Talcott Street from Roberts Road to Franklin Avenue; Temple Street from Fourth Street to CSX tracks; Third Street from Main Street to Central Avenue; Washington Avenue between Third and Fourth streets; Second Street from Brigham Road to Brooks Avenue; Seventh Street from Woodrow Avenue to Brigham Road and Woodrow Avenue from Lucas Avenue to Sixth Street.
All other streets not subject to the above listed overnight parking are subject to alternate parking regulations. The alternate parking regulations change from weekly to daily for the winter months with the change effective Nov. 4 at 5 p.m. through April 6. Vehicles shall be parked only on the odd-numbered side of the street on odd-numbered days of the month and only on the even-numbered side of the street on even-numbered days of the month. The date of the day after the hour of 5 p.m. will determine the side which parking is allowed.
Warning notices will be issued for a short period of time after which strict enforcement will begin by issuance of parking summonses.
Vehicles in violation of overnight, alternate or any other posted regulations which hamper snow removal efforts by the Department of Public Works, or pose a hazard for access of emergency vehicles will be towed at the owner's expense.
Vehicles which block sidewalks and hamper sidewalk plowing will also be ticketed and towed if necessary.
"Please pay attention to snow plow operators and assist them with their efforts by giving them the right of way during snow storms," Police Chief David Ortolano said. "The Dunkirk Police Department is asking for everyone's cooperation in making the city a safe place for all those who live, work and visit here."
Any questions about parking regulations can be directed to the Commun-ications Desk at 366-2266.


text:
Gustave Caillebotte, Sunflowers along the Seine, ca. 1885–1886. Oil on canvas. Private collection
This event is expired.
Artist-teacher Susan Hyde Greene will lead participants in hands-on art-making exercises that explore Impressionists on the Water. Adaptable to all skill levels, these activities can enhance individual appreciation and be used in the classroom.
The $25 workshop fee ($10 for museum members) includes curriculum materials and a docent-led tour. Continuing education units (CEUs) are offered for teachers. Priority is given to special education teachers and facilitators.


text:
Model Boats, Yachts & Ships
Whether you want a stunning museum-quality display model ship, or want to take to the water with a radio-controlled boat, we have the boat for you.
Our historic display models include famous ships such as the HMS Victory, Mary Rose and the Cutty Sark, handmade made to exact standards with many being limited editions. For something with a little more action our working boat models are a must with radio-controlled speedboats and classic toy model boats and submarines just take your pick.
Tue, 24th January 2017
Popular Now
5 hours 20 mins ago
MR S from NEW SOUTH WALES, AUSTRALIA
SafaSail Cap, navy/blue


text:
Most animal shelters provide basic veterinary care like dog vaccinations and treatment for sick cats, but some go above and beyond to help severely disadvantaged animals live happily ever after.
The American Society for the Prevention of Cruelty to Animals (ASPCA) is a leader in rehabilitating dogs and cats that have been severely injured by natural disasters or animal cruelty. In fact, the ASPCA is the only national animal welfare organization that has an animal behavior team solely for rehabilitating animal victims of violence, The Associated Press reports. According to its official website, it fights animal cruelty that may arise from puppy mills, animal hoarding, dog fighting, the exotic pet trade and more.
The patients in these programs have often been rescued from puppy mills where the conditions led to diseases like mange. Others came from previous dog-fighting rings, where they were either trained to be aggressive or are entirely traumatized from the violence they have experienced, the news outlet reports. Many times, the animal can be "saved" from its past and placed in a pet adoption program.
"Saving depends on your definition," Pamela Reid, an animal behaviorist and vice president of the ASPCA's anti-cruelty behavior team, told the news source. "We certainly save them from cruel and inhumane situations." VCA Animal Hospitals reports that often these rehabilitated pets require special homes and owners that are capable of providing ongoing intensive training in order for the pet to thrive.


text:
Left: Sweater, Girl by Band of Outsiders. Right: Shirt, Alcoolique. Jacket, Mauro Grifoni. Skirt, Girl by Band of Outsiders. Photography and collages by Martina Giammaria Styling by Maela Leporati Hair and makeup by Marialessia Colombo Model: Carmen at WhyNot Left: Shirt, Vivetta. Trousers, Alcoolique. Necklace, Cor Sine Labe Doli. Right: Sweatshirt, Nike. Click "Read More" for additional [...]
Tag Archives: TVSCIA
Naturalis Historia
October 29, 2012 – 10:23 am
By Alec Friedman | Posted in Fashion, Fashion Story, Shoot | Also tagged Alcoolique, Andrea Incontri, Band of Outsiders, Carmen, Closed, Cor Sine Labe Doli, girl by Band of Outsiders, Lotho, M by Missoni, Maela Leporati, Marialessia Colombo, Martina Giammaria, Mauro Grifoni, Missoni, Naturalis Historia, Nike, Vivetta, WhyNot | Comments (0)


text:
On Tuesday, December 20th, from 11:00 AM - 8:00 PM - Southwest Precinct Officer Scott Luckie will be giving the public a sample of his day, via a virtual twitter ride-along, or "tweet along".
Visit our SeattlePD twitter account, #tweetalong to follow their day. And of course, you can "follow" @SeattlePD on twitter every day.
Officer Scott Luckie
Officer Scott Luckie was hired by the Seattle Police Department in September 2008. He is currently assigned to the Southwest Precinct, second watch, Frank sector with the call sign 2-Frank-31. Officer Luckie patrols in the South Park area and the neighborhoods North of SW Roxbury Street and South of SW Holden Street. Prior to working second watch Frank sector, Officer Luckie worked third watch Frank Sector in the same area.
Officer Luckie was born and raised in the Seattle area and is a second generation Seattle Police officer following in his father's footsteps. Before becoming a police officer he worked at Underwater Sports and helped teach scuba diving classes. Officer Luckie also worked for the Seattle Super Sonics before they sadly departed the Seattle area. Officer Luckie went to school at Central Washington University where he studied Law and Justice. Officer Luckie is excited and happy to go to work every day where his work day is never the same as the day before.


text:
Police need your help finding missing man
SPOKANE VALLEY, Wash. - Spokane Valley Police needs your help finding a missing man with dementia.
71-year-old Samuel H. Counts has been missing since Friday, November 23, 2012.
Counts was last seen at his residence located at the 4900 block of E. 9th Avenue in Spokane Valley around 3:00 p.m.
Samuel left his residence to go to a local store driving a white 2012 Kia sedan, Washington state license plate #AJD4999. Samuel was last seen wearing a red and black jacket, jeans and white tennis shoes. Samuel is six feet tall and weighs 170 pounds. Samuel also has dementia.
Anyone who sees Samuel Counts or his vehicle is asked to call 911.


text: On the flip side of the iSeries being down 18% I can see that IBM is trying to do something about it. In the past two months I have been having troubles with my iSeries timeshare vendor while trying to test some software I am developing. I was speaking with an IBM employee about my woes and they said I should look into their Virtual Loaner Program (VLP: http://www-03.ibm.com/servers/enable/site/vlp/). All I can say is WOW! It is basically a program that gives short time frame (two weeks to 4 weeks) access to high end machines located at IBM. You are given your very own machine with root access. You connect with VPN and then use your choice of 5250 emulators (tn5250j) and editors (WDSc 6.0) to do your testing/development. The best part it is pretty darn easy to setup and you gain access very quickly (sometimes less than an hour)! They even give you the ability to save an image of the entire machine so you can load it on subsequent reservations! Some might think this isn't that big of a deal because their company doesn't mind if they use their machine to do personal development, but now that I am off on my own I don't have that luxury and have had to look to timeshare machines. This really does a beautiful job of promoting the iSeries in the area of making sure developers all developers have access to the resources they need. Thoughts? Aaron Bartell http://mowyourlawn.com/blog -----Original Message----- From: midrange-nontech-bounces@xxxxxxxxxxxx [mailto:midrange-nontech-bounces@xxxxxxxxxxxx] On Behalf Of Mike.Crump@xxxxxxxxxxxxxxxx Sent: Wednesday, January 18, 2006 8:14 AM To: midrange-nontech@xxxxxxxxxxxx Subject: iSeries down 18%? Ugh http://www.varbusiness.com/components/weblogs/article.jhtml?articleId=177101 086&cid=ChannelWeb_com_News Michael Crump Manager, Computing Services Saint-Gobain Containers 1509 S. Macedonia Ave. Muncie, IN 47302 (765)741-7696 (765)741-7012 f (800)428-8642 "The probability that we may fail in the struggle ought not to deter us from the support of a cause we believe to be just" Abraham Lincoln -- This is the Non-Technical Discussion about the AS400 / iSeries (Midrange-NonTech) mailing list To post a message email: Midrange-NonTech@xxxxxxxxxxxx To subscribe, unsubscribe, or change list options, visit: http://lists.midrange.com/mailman/listinfo/midrange-nontech or email: Midrange-NonTech-request@xxxxxxxxxxxx Before posting, please take a moment to review the archives at http://archive.midrange.com/midrange-nontech.


text:
Halo Firepit
by Landmann USA | Item #: 360540 | Model #: 28240 |
We're sorry, this item is not available in your selected Club. Check another Club
About this itemThe Halo firepit provides the perfect ambiance for any outdoor gathering or event and is lightweight for easy transport!
The Halo firepit provides the perfect ambiance for any outdoor gathering or event. The firepit provides 360 degree viewing of the fire and includes a spark screen to keep the embers contained. Constructed of sturdy steel and is easy to assemble. The full diameter handle allows the firepit to be easily transported to any gathering.
For additional questions or concerns regarding this product, please contact the Manufacturer's Customer Service Department at 1.800.321.3473.
Assembled Country
Assembled Size
28.5" x 28.5" x 17"
Component Country


text:
Bureau of Labor Statistics
Elementary educators enjoy one of the most engaging and rewarding careers available today. The Bachelor of Science degree in Early Childhood Education at Western Michigan University offers an unmatched education at a college ranked among the nation's top ten producers of professional educators by the American Association of Colleges for Teacher Education.
First and foremost, graduates learn methods, skills and strategies to become effective teachers. The requisite internship (12 credits) can be completed at a school conveniently near WMU-Southwest's campus located in Benton Harbor, Michigan. Additionally, students in the program learn how to use current technologies to enhance learning.
For students at Southwestern Michigan College and Lake Michigan College, WMU-Southwest offers a transfer option. Earn your degree on your terms, and very close by.
Students who complete the program will earn Michigan Elementary Provisional Certification. Learn more about the Michigan K-8 Teacher/Administrator Certification and the process for obtaining an Early Childhood (General and Education) ZS Endorsement.
This program at WMU-Southwest has been designed specifically for students who've completed two years of Elementary Education courses at Lake Michigan College or Southwestern Michigan College. See your academic advisor for transfer option information.
Graduates with the Elementary Education Bachelor of Science are certified to teach:
If your employer has a tuition reimbursement program, find out about WMU's deferment program for employer paid tuition.
Washington Monthly placed WMU on a list of national universities that offer "the best bang for the buck." WMU came in at No. 50 based on the economic value students receive per dollar.


text: Kenya Airways suspends flights to Blantyre following airport closure. Nairobi, March 17, 2014…Kenya Airways wishes to inform its passengers and the general public that it will be suspending direct flights between its Nairobi hub and Blantyre in Malawi from March 17, 2014 to March 29, 2014. This follows closure of the Chileka Airport in Blantyre for maintenance work on the runway. All guests flying to Blantyre will be rerouted though Kamuzu International Airport in Lilongwe, Malawi. The following guideline will apply for Rebooking/ Rerouting for all passengers booked to travel between March 16, 2014 and March 29, 2014:• One free change shall be allowed. • Full refund for fully unutilized tickets shall be allowed • Partially utilized tickets shall be refunded less sectors travelled. All rebooking should be done by March 24, 2014. Thank you for flying 'The Pride of Africa'.Corporate CommunicationsKenya AirwaysFor more information, please contact:Contact Centre +254-20-3274747


text:
Hot Chillys Men's Pepper Skins Base Layer Pants
Product Information:
From a day of action on the mountain, to your favorite fishing or hunting sport, these pants will be sure to provide the added warmth and comfort you need. With a relaxed fit and an anatomical design it will allow for freedom of movement during any activity. Stay warm and stay outside longer in the Hot Chillys® Men's Pepper Skins Base Layer Pants.
Click here for additional information relating to the Manufacturer's Warranty.
- Mid-weight
- Relaxed fit
- Moisture Transfer Fibers
- Smooth jersey knit
- Plush-back elastic for comfort at waist
- Gusset to ease movement and reduce seam bulk
- Flat seam construction reduces bulk and abrasion
- Style: PS3200
- Hot Chillys
Click here for additional information relating to the Manufacturer's Warranty.
Country of Origin: VietnamWeb ID: 4399071
Customer Reviews:
Rated 4.4 out of 5�by 22 reviewers.
Rated 5 out of 5�by squeegy perfect perfect fit - perfect delivery - perfect all around January 28, 2016
Rated 5 out of 5�by JR Great Value Great value. Very comfortable and fit well. I have worn these when temps are very low and they were great. January 27, 2016
Rated 5 out of 5�by Annita38 This product does have great features. I ordered Large because XL was not available. Really need an XL, if they become available. September 11, 2015
Rated 2 out of 5�by doons Sheds A lot Great fit, very comfotable but sheds excessively. After trying them on I had little black fuzzies all over the place. Looks like they would develop a wear hole in no time at all. Pricey February 3, 2015
Rated 5 out of 5�by Clyde66 Great fit Great fit, very comfortable and warm. Best of all, they don't bind or pull when bending or squating. January 26, 2015
Rated 5 out of 5�by Ry23 Did the Job keeping the legs warm I work outside in a lumber yard and spend most of my day outside this helped keep the legs warm without being bulky January 3, 2015
Rated 1 out of 5�by Shana These pants pillow like CRAZY These pants pillow and I have black fuzz all over the house. We even exchanged them thinking maybe we just got a bad batch. We bought two pair and exchanged two pair. However, they still pillow, meaning that it balls up and falls off the pants. I really wonder how long they are going to last. Even after washing them it does not help. December 8, 2014
Rated 5 out of 5�by Pam101 Warm My son wore these pants on a cold day while playing outdoors. He says they are warm and he wasn't cold at all. Plus the pants are comfortable. December 3, 2014
Rated 5 out of 5�by cuznt Comfort and great fit I of course tried to be smart this year and get my unders early, still i did have occasion to wear them once so far. While it was not deathly cold out, the feeling of the added warmth was immediate. The best part is how comfortable and soft they are. I did try to purchase these at my local Dicks, but they were nowhere to be found. October 2, 2014
Rated 5 out of 5�by dick Great product and keeps me warm like it said it would. Great product and FAST delivery. Ordered one afternoon and received it the next day at 2PM. March 13, 2014


text:
One Observer repeatedly appears at, or near, the scene of cases associated with the Fringe Division task force and Dunham's science team. His brief, succinct, and mysterious conversations, particularly with Walter, carry significant gravitas and imply great importance as to what he is sharing.
The ominous nature of the Observers makes them significant to the overall story-arc. Their appearance varies only slightly between suit, tie and hat. Modest, dark sunglasses are commonly donned. Their general demeanor is calm and collected. One of the Observers, August, who may have been in 'love' - shed a tear, suggesting that the Observers are capable of emotion. However, the discourse between two Observers suggests that they are unfamiliar with emotions, suggesting that, while they are capable of it, they are devoid of it. They possess the ability to read minds, the technology to view future events and to travel through time.
A group of at least ten Observers stand outside of the Statue of Liberty on Liberty Island, in this universe, after Peter vanished from the timeline. (The Day We Died)
In Letters Of Transit, one Observer causes a native to bleed from the ears while attempting to wipe his mind. Walter shares that September told him the Observers are from 2609.
Known Observers
- The Observer, aka September and later Donald, known for his mission around the Bishops' and Olivia. Seriously wounded (Back To Where You've Never Been) with what appears to be a gunshot to the chest.
- August, who felt a paternal love for Christine Hollis and may have been assasinated by his own kind as a result.
- December, who appears to lend some level of supervision to the others.
- July, whose activity has been to report August's misconduct.
- March, who recovered the time-viewing device lost at Reiden Lake.
- Captain Windmark, manages the occupying force in the north eastern US in 2036.
- The Commander, Windmark's superior who wants to study the Anomaly XB-6783746.
- The Child, who was bald displayed empathic abilities in Inner Child. His transportation to a safe location was also witnessed by the Observer. The tunnel the Child was found in had been sealed for at least seventy years. He was created in a lab with genetic material of another Observer (September). His brain developed differently and his maturation was stopped because he was a defect. He was labelled as Anomaly XB-6783746. He was scheduled to be destroyed but September hid him.
Historical Appearances
According to the episode August, The Observers (though it is not made clear which observer specifically) have been spotted at various important events throughout history evidenced by his appearance in notable historical paintings and images.
- An Observer is present as an onlooker in the crowd depicted in the painting "The Bloody Massacre" which depicts the Boston Massacre of 1770.
- An Observer is present, again as an onlooker in a crowd in a painting of Marie Antoinette being taken for execution during the French Revolution
- An Observer is present in a photograph of Archduke Franz Ferdinand and his wife leaving a building moments before their assassination which served as the catalyst for World War I.
|— Plot Relevant Questions —
|Address theories about questions on Observers/Theories Ask minor questions on the Talk Page
1) Do not answer the questions here.
- What is the relationship, or difference, between the time travelling Observers and the bald men occupying Manhattan in 2036 (Letters Of Transit)?
- Are Observers affected by the ultrasonic energy emitted by the box (The Box)?
- If not, why?
- Why do Observers take so much interest in the Fringe Divisions, and their cases, in both universes?
- What do the Observers hope to gain by taking control of the timeline in 2015?


text:
Happy New Year!
2012: Don't let the screen door hit you on the way out
December 31, 2012 at 8:43 am (Politics)
1 Comment
January 1, 2013 at 12:57 am
Here's hoping 2013 finds you and family happy, healthy and prosperous. Thanks for all you do to stand guard over liberty.


text:
Kim Wayans
With PARIAH, Kim Wayans proves herself to be a serious actress with great comic timing.
The Power of PARIAH
Our editorial slideshow look at the poetry of pariahs.
Well Versed
PARIAH's love of poetry is shared by many other great films.
Many Voices, One Score
A musical tour through PARIAH's soundtrack.
PARIAH Red Carpet Premiere
Images from the red carpet premiere of PARIAH, a Focus Features release.
Poetry in Motion
Actress Adepero Oduye discusses that long process in creating the lead character in Pariah.
Transforming Passion into Pariah
The filmmakers behind Pariah open up about turning their dreams into a feature film.
Tamar-kali Rocks Pariah
Listen up to Pariah musical star.
Dressing Pariah
A look at costume designer Eniola Dawodu.
PARIAH's Team Remembers Their Coming of Age Stories
Cast and crew of PARIAH remember the coming-of-age tales that moved them.
Sign up for updates on new film releases, casting announcements, special offers, & more.


text:
When I'm Sixty-Four: Paul McCartney Then and Now
by John Colapinto
The New Yorker
June 4, 2007
Paul McCartney's music-publishing business occupies three stories in an elegant eighteenth-century building on Soho Square, in London. His office is on the third floor and is reached by a small elevator off the lobby or by a narrow staircase, whose walls are lined with framed photographs of McCartney and other sixties rock stars-including a black-and-white shot of a young Brian Jones taken by McCartney's first wife, Linda, who died in 1998. The office, which overlooks the square, is furnished with a rolltop desk, a vintage jukebox, two large de Koonings, and a carpet featuring stylized musical notes-a Sammy Cahn-like touch that is nevertheless pure McCartney. Though he conceived the idea for "Sgt. Pepper's Lonely Hearts Club Band," the first art-concept rock LP, he has never made a secret of his Tin Pan Alley inclinations. Besides being the surviving member of the most successful pop-songwriting partnership of the twentieth century, he is a music impresario whose company, M.P.L. Communications, owns rights to more than three thousand songs and Broadway shows, including Buddy Holly's catalogue and the musicals "Annie," "Guys and Dolls," and "Grease"-all part of a show-business empire that, along with the royalty he earns on every Beatles record sold, has made him one of the richest men in England.
While accountants on floors above and below him administer his musical properties, McCartney oversees various creative projects. When I visited him in May, these included a DVD compilation of his videos, including some Wings songs; a DVD of "Ecce Cor Meum," a lush choral work; and his latest pop album, "Memory Almost Full," a suite of deeply personal songs that reflect, often starkly, McCartney's awareness of aging and loss as he approaches his sixty-fifth birthday, on June 18th. (It is a milestone that he admits he finds difficult to contemplate. "The thought is somewhat horrifying," he told me. "It's like 'Well, no, this can't be me.' ")
McCartney was sitting on a small sofa at one end of his office, peering at a laptop computer on the coffee table in front of him. He was dressed in a long-sleeved gray T-shirt, rust-colored pants in Glen plaid, and leather-free black running shoes. Arrayed in chairs around him were his project manager, Paddy Spinks; a female assistant; and five young men-employees of a Web-design company that is helping to promote "Memory Almost Full," which will be released next week. Last year, McCartney decided not to renew his contract with E.M.I. Records, which had been his label since 1962, when the Beatles were signed by George Martin. McCartney's new album will be the début release from Hear Music, a record label co-founded by Starbucks, and will be sold at the company's coffee shops as well as at record stores and on iTunes-a first, since for years Apple Corps., the multimedia company that the Beatles founded in 1968, had been battling Steve Jobs over the use of the name Apple.
McCartney, who said that he had grown "sick" of the long lead times and "boring" promotional practices of conventional labels, decided to try this new method of distributing his music as "a way to get as excited about releasing a record as we used to be in the old days, with the Beatles." He nevertheless seemed to find some aspects of the digital-download revolution difficult to adjust to. After looking at sample screen-saver images of himself lounging in a black armchair (the images will be available for download on his Web site), he and the Web team discussed how to promote "Nod Your Head," a rousing rock tune on "Memory Almost Full."
"Why not give the whole track as a free download and let people do their own videos?" Nick, one of the Web-team members, suggested. "They'll post them on YouTube."
McCartney glanced at Spinks, who sat just outside the circle. Nick, anticipating an objection, explained to McCartney that on the Internet you have to surrender a certain amount of control to fans, and see what happens. "That's the essence of viral marketing," he said.
"No, no," McCartney said, eager to show a willingness to go along with the new methods. "I'm O.K. with giving the whole track free." But he sounded a little uncertain. He looked again at Spinks.
"Let me think about it," Spinks said.
McCartney turned to a video that the team planned to post on his Web site: shaky images of the New York studio where he recorded "Memory Almost Full." As they huddled around the laptop to watch the clip, McCartney asked, "Shouldn't we let people know I shot this?"
"We could, but-" one of the young men began.
"Because if Dylan shot that," McCartney continued firmly, "I'd wanna know."
The Web team began discussing ways to identify McCartney as the video's author. One man suggested superimposing the word "PaulCam" over the images. McCartney said that he liked the idea. The meeting began to drift, and McCartney looked at his watch. The Web-team members quickly rose, and McCartney, dispensing pleasantries, ushered them, along with his assistant and Spinks, to the door. Then, putting on a suit jacket that matched his pants, he headed to lunch at a nearby restaurant.
McCartney's hair, which he admits to dyeing, still falls in bangs over his forehead, but there are deep lines in his face, and the doe-like eyes that once set teen-age girls screaming have a rheumy quality. Yet, to a remarkable degree, his body retains its youthful vigor, and his stride, when he reached the sidewalk, called to mind the twenty-three-year-old who bounded across the grass at Shea Stadium in 1965, and the twenty-seven-year-old who strode barefoot over the zebra crossing on the cover of "Abbey Road."
McCartney had not gone three steps on the sidewalk when a burly young man with a military haircut lunged into his path and thrust something at him: a CD-"The Beatles 1"-along with a black marker. McCartney took them and opened the CD's jewel case.
"Put it to Lloyd," the man said.
McCartney signed the CD and handed it back. "There you go, mate," he said. Then, hands in his pockets, he resumed his walk.
The speed and violence with which the fan had accosted McCartney were jarring, and I remarked that the man could have been another Mark David Chapman.
"Yeah, or it could have been Jesus, come to give a blessing," McCartney said. He added, "When your number's up, it's up."
McCARTNEY has recently suffered a series of tragedies, beginning with the death, from breast cancer, of Linda, to whom he had been married for twenty-nine years. George Harrison died of cancer in 2001, and, last year, McCartney separated from his second wife, Heather Mills, after four years of marriage. The split-and impending divorce-prompted ugly stories in the tabloids; several of them quoted leaked court papers in which Mills accused McCartney of drunkenness, and charged that he had pushed her into the bath during a quarrel and cut her on the arm with a broken wineglass. The week I arrived in London, the newspapers were filled with the testimony of a former bodyguard, who claimed that McCartney had been suffering from depression. McCartney told me that he usually tries to ignore the stories, but that he had seen those about the bodyguard's claims. "This was actually in a shop where I was picking up another newspaper," he said. "So you read it, and it's just not true, and then you have to make the decision as to whether to counter it and say, 'This is not true.' But there's too many of them. And I would just be spending my life not having lunch, not playing guitar, not making a record, just merely answering untrue allegations." For this reason, he said, he has made a policy of not commenting on the divorce proceedings.
Still, there is an unmistakable sadness in McCartney's gaze and muted manner, and even the up-tempo rock songs on "Memory Almost Full" are tinged with melancholy. The album's penultimate track, "The End of the End," is a fragile ballad in which he imagines his death and hopes that it will result not in grief among his survivors but in the telling of funny stories at his wake.
At Signor Zilli, a small, expensive Italian restaurant, McCartney was greeted by a grinning maître d' with a comically pronounced Italian accent: "Ahh, Mister-a Paul-a! You come! You looka wonderful!" "It's the medication," McCartney quipped, glancing apologetically at the other diners. He was shown to a table near the front of the room; within a few minutes, a waiter appeared with an eggplant appetizer, a pasta entrée (he has been a vegetarian since the early seventies), and a glass of red wine. While he ate, McCartney talked about his life as a Beatle and his relationship with John Lennon. He recalled how Lennon had winced the first time McCartney played for him the opening lines of "I Saw Her Standing There," which had originally been "She was just seventeen / She'd never been a beauty queen." He mentioned that "If I Fell" was perhaps his favorite song by Lennon, and he expressed astonishment that the Beatles had ever come into existence. "What are the odds that those four guys would find each other?" he asked.
The chef, who had emerged from the kitchen, approached our table. He asked McCartney to sign his jacket. McCartney gamely autographed the front of the man's uniform, then said that he had to return to his office. On the walk back to Soho Square, McCartney detoured down an alley, where, on the side of a shop's wall, about ten feet off the ground, there was an enigmatic graffito made of tiny mosaic tiles depicting a television and, beside it, a primitive drawing of a head. McCartney had recently seen people photographing the images, and this had given him the idea of creating his own guerrilla graffiti campaign in the neighborhood, to promote his new album. He pulled out his cell phone and took a photograph of the wall. A man pushing a hand truck did a double take and stopped, staring.
"Hey," McCartney said in a neutral tone.
"You want me to push you up the street, then?" the man asked, in a Cockney accent.
McCartney immediately relaxed. "Yeah," he said, laughing. "I'll just hop on." A young man in tinted glasses appeared and gestured brusquely to McCartney with his cell phone. The man with the hand truck moved a step closer. McCartney realized that he was cornered. "Er-yeah," he said. The man in the tinted glasses aimed his cell phone camera at McCartney, shifted his own head into the frame, and took a picture. Then, wordlessly, he took off. McCartney was clearly irritated. "O.K., I don't usually do that," he said, as he hurried up the street. The man with the hand truck caught up to him and asked for an autograph. McCartney, apologizing, said he had nothing to sign. The man complimented him on his 1983 album, "Pipes of Peace." McCartney thanked him and began walking, even faster than before.
"That was my fault," he said. "I stopped moving."
THE next day, McCartney was driven to Sussex, about two hours southwest of London, by his assistant John Hammel, who has worked for him for thirty-two years. McCartney owns a house in Sussex and has built a recording studio nearby. He had an appointment at the studio with Carlos Bonell, a classical guitarist who was helping him with some technical aspects of a guitar concerto. Bonell arrived a few minutes before McCartney did and waited in a small kitchen adjoining the control room. "Other pop musicians who have tried classical music often just tack together short, two- or three-minute snippets of melody to build up a nine-minute movement," Bonell said. "Paul establishes a theme and knows how to develop it; he completely understands classical composition. Which is incredible in its way, because he can't read or write music." Bonell explained that his task in the studio is to transcribe on musical staff paper the passages that McCartney has composed on his guitar and on his computer. His first session with McCartney, in early May of last year, happened to fall on the morning when the British newspapers broke the news of McCartney's separation from Mills. Bonell hadn't heard. "I got here and before I met Paul I was asked by his assistant to 'be discreet,' " he said. "I thought, Discreet? O.K., he's a Beatle, after all. Then I met him and he told me straight out about it. Then he got down to work." McCartney's ability to focus on his music impressed Bonell. "You'd be in the middle of a passage, the phone would ring, and it would be Paul's solicitor," he said. "He would go and talk to him. Then, bang, it was right back into the piece." Keith Smith, McCartney's recording engineer, who was standing nearby, said that McCartney had come to the studio nearly every day for months after the separation. "He actually worked harder," Smith said.
McCartney appeared in the kitchen just after 1 P.M., wearing a blue dress shirt and brown corduroys. He was in a jaunty mood. The previous evening, he had attended the Classical B.R.I.T. Awards, in London, where he had won in the category for best album, for "Ecce Cor Meum" ("Behold My Heart"), which he had begun composing in 1998, around the time that Linda was dying of cancer, and which he had completed, often in tears, he has said, after her death. I asked if he had gone out to celebrate after the ceremony. "No, actually," he said. "Got a good night's sleep, since I knew I was working today."
He sipped some tea, then entered the control room, which was hung with batiks and dominated by a twenty-foot-long sixty-channel mixer. Bonell sat with a ream of staff paper in his lap; Smith was at the mixing board. McCartney faced them in a red swivel chair, and Hammel brought him a piece of whole-grain toast covered with melted cheese. While he ate, he talked with Smith about the awards ceremony, which they had both attended. Smith mentioned two female winners, who, he said, had been looking for McCartney afterward. "You're kidding me!" McCartney said. "Ah," he added in a mock-tragic tone, "they're too young."
Smith opened a sound file on his computer: a portion of the concerto that Bonell had recorded a year ago. No one in the room had heard the section since then. "Not since last May," Smith said. "A bad time."
"Not a wonderful month, no," McCartney murmured. He leaned back and put his feet on the edge of the mixing console.
Smith clicked his mouse, and music poured from the speakers mounted above the console-a plangent swell of strings and brass overlaid by the precise embroidery of a classical guitar playing a melody with a Spanish influence. McCartney had used a synthesizer to create the orchestral sounds; later, he planned to assign real instruments to replace the computer-generated ones. "A very mellow trombone would get you that," he said, as a soft, rounded tone joined the mix. "French horn, even. Very pianissimo."
When the passage ended, an assistant entered the studio holding a CD recording of McCartney performing with Jools Holland, the British keyboard player and television host, and a small band on a recent radio program. McCartney instructed the assistant to put the CD in the player. The room filled with the sound of "Dance Tonight," the opening track on "Memory Almost Full." McCartney plays the mandolin and sings ostensibly happy lyrics ("Everybody gonna dance tonight / Everything gonna feel all right"), but his voice, once preternaturally smooth, has developed a rasp, and the song's minor chords gave it a mournful air. McCartney listened, nodding in time to the music. When the song was over, Bonell pointed out that McCartney's mandolin had been slightly out of tune.
"Yeah, I know," McCartney said. "But I liked that. The Beatles always called it 'a fairground sound'-the way music sounds when you hear it live. We used it on some of our early LPs."
As Smith cued up a new section of the guitar concerto, McCartney continued to reminisce. "I remember when the Beatles first started to use orchestral arrangements," he said. "George Martin would hire classical musicians to come to E.M.I. studios. There was a lot of smirking from the classical guys in the early days. When we were recording 'Hey Jude,' we asked them to add some handclaps in the sing-along at the end. One of them refused. He said, 'I was not trained to clap.' " Bonell and Smith laughed.
Bonell began to transcribe a guitar passage while McCartney talked about his intermittent attempts to learn to read music: first, as a boy, when he briefly took piano lessons, and grew bored; and, later, as a Beatle, with the same result. "Now I don't even want to learn," he said. "The notes don't seem to go with what I'm hearing." He said that Lennon also could not read or write music. "Someone once told us that the Egyptian pharaohs couldn't read or write-they had scribes to put down their thoughts. So John and I used to say, 'We're like the pharaohs!'"
After discussing the arrangement for a sweetly melodic movement called "Romance," McCartney and Bonell went into an adjoining room with hardwood floors containing a concert grand piano, vibes, guitars, and other instruments. They sat beside each other on stools, facing a window through which they could see Smith in the control room. Both men picked up guitars and prepared to work on some passages that McCartney wanted to refine. But first he played the opening bars of a Bach bourrée. He said that he and George Harrison used to play it together as a "party piece" in the early sixties. He showed how one of the chords had become the opening notes to "Blackbird." He played a snatch of that song, then stopped abruptly. "O.K., back to work!" he said. "That's enough fun. It'll end in tears."
He asked Smith to play through the studio speakers a guitar phrase from the beginning of a movement called "Farmboy"-an ascending run of five notes that McCartney had recorded sometime earlier. Smith played the phrase. "O.K., stop there," McCartney said. He turned to Bonell and explained that he wanted the figure to include "more notes."
Bonell performed the phrase, adding more notes.
McCartney grunted. "I'm trying to get, like, twice the amount of notes in," he said. "So instead of-" he played an arpeggio-"it should be. . . . " He tried to play the sounds he heard in his mind, but stumbled.
Bonell's fingers flew over the frets.
"Yeah," McCartney said, still not hearing it. "Um, there's a note on the way, a passing note."
Bonell played a fancier run up the scale.
"Yeah," McCartney said, dubiously. He attempted to sing the phrase but couldn't capture it. "It just needs two notes for every one," he persisted.
Bonell tried again.
"Yeah, that's probably it," McCartney said. But he didn't sound sure. He suggested that they move on to another passage. They worked this way for almost an hour.
At 4:30 P.M., McCartney announced that the session was over. It was Friday, and Hammel was supposed to drive McCartney to Mills's house in Brighton, to pick up Bea, the couple's three-year-old daughter. McCartney, who has joint custody, never allows his work to interfere with his time with Bea. Last February, Steve Jobs invited him to play three songs at the public unveiling of Apple's new iPhone. McCartney agreed, but reneged when he learned that the launch coincided with Bea's nursery-school vacation.
McCARTNEY'S father, Jim, was a cotton salesman and jazz trumpeter in Liverpool, who played local gigs with his group, Jim Mac's Jazz Band, in the twenties. McCartney's mother, Mary, a midwife, was the main breadwinner. The family moved frequently around Liverpool when McCartney was a boy, and was always strapped for cash, but McCartney recalls a happy childhood, in which music had a significant role. His father played jazz standards on the piano and took him to brass-band concerts. In his teens, McCartney started listening to local skiffle groups, and fell in love with Elvis and Little Richard. When he was fourteen, he traded a trumpet his father had given him for a guitar. That year, his mother was diagnosed with breast cancer. She underwent surgery and died soon after. Around that time, McCartney wrote his first song, "I Lost My Little Girl," a love ballad. "I didn't think I was writing anything to do with my mum," he said. "But from this perspective I possibly was." He explained, "She died when I was fourteen, so you get that terrible thing of not being able to picture her face, after a few years. It's sort of a horrific feeling of slipping away."
McCartney's father, in an effort to get Paul and his younger brother, Michael, to go to bed on time, had rigged up a radio receiver and earphones in their room. Paul fell asleep each night listening to music and radio plays, and he has said that this "did incredible things to your imagination." He told me that some of the sonic games on "Sgt. Pepper's Lonely Hearts Club Band" derived from his memories of listening to the radio. McCartney conceived the idea of opening the album with the sound of a crowd laughing when he recalled the excitement and mystery of hearing laughter from an unseen studio audience in a radio show. "You didn't know what made them laugh. Did someone's pants fall down? What was it? That's what we were trying to re-create. Putting in those things that got your imagination going."
On July 6, 1957, when McCartney was fifteen, his friend Ivan Vaughan persuaded him to attend the Woolton Parish Church fête, across town in Liverpool, to watch a skiffle band led by a student from Quarry Bank High School. McCartney was riveted by the band's sixteen-year-old leader, John Lennon, who was playing banjo chords on an incorrectly tuned guitar and making up lyrics as he went along. After the show, McCartney joined the musicians backstage, sat down at the piano, and began to show off. He played a song by Jerry Lee Lewis, then, borrowing a guitar, played Eddie Cochran's "Twenty Flight Rock." A few days later, McCartney learned through a mutual friend that Lennon wanted him to join his band. Lennon later admitted to the Beatles' early biographer Hunter Davies that he had struggled with the decision. "I'd been kingpin up to then," he said. "Now, I thought, if I take him on, what will happen?"
McCartney taught Lennon how to tune a guitar and form proper chords, and after playing his first gig with the Quarry Men-a club dance-revealed that he had written a few songs. He played "I Lost My Little Girl" for Lennon, who responded by writing a song of his own. The two began skipping school, hanging out at McCartney's house, and writing songs together. "If he did something good, I'd want to do something better," McCartney said. "If I did something good, he'd want to do something better. It's just the way we worked." Later, he added, "None of us could read or write music, so it was all intuitive. That's what was so exciting about it. You heard a chord and 'What was that? What happened?' 'I don't know.' 'Do it again!'"
As aspiring songwriters who also wanted to perform their work, Lennon and McCartney had no role models; at the time, most rock musicians sang songs written by professional writers. Buddy Holly was an exception. "We loved him," McCartney said. "I remember hearing 'That'll Be the Day' and the lyric 'That'll be the day-hey-hey when I die.' " He paused. "Die? In a pop song? That was dark, man. We loved that." McCartney also admired older songwriters-Cole Porter, Rodgers and Hammerstein, George Gershwin-and was delighted to learn that Lennon shared his enthusiasm. "One of John's favorite songs was called 'Little White Lies' "-written by Walter Donaldson, in 1930-"and that always surprised me, when I met him. I went, 'Ahh, wow.' That was something we had in common." They strove to incorporate the structural complexities, lyrical sophistication, and elastic chord changes of those classic songs into their rock-and-roll songwriting.
In the first year of their friendship, McCartney and Lennon wrote a hundred songs, two of which, "Love Me Do" and "The One After 909," eventually made it onto Beatles albums. Meanwhile, McCartney was still attending grammar school, at the Liverpool Institute. On his daily bus ride, he had become aware of a schoolmate, almost a year his junior, who got on one stop after him. The boy wore rock-and-roll clothing and had an Elvis pompadour, which aroused McCartney's interest. "But, being an older guy, you didn't strike up a conversation," he said. One day, the boy sat next to McCartney and introduced himself. His name was George Harrison, and he played the guitar. McCartney and Harrison got together to jam, and in 1958, at McCartney's urging, Lennon invited the four-teen-year-old Harrison to join the band.
The Quarry Men was no longer a high-school band singing improvised lyrics but had become a well-rehearsed group with an accomplished lead guitarist, original songs, and professional ambitions. This transformation was largely the result of McCartney's drive and focus, despite Lennon's title as leader. When I pointed this out to McCartney, he shrugged. "I've got a lot to answer for," he said.
In the summer of 1958, Lennon's mother, Julia, was killed by a car driven by an off-duty police officer, and Lennon became, like McCartney, a motherless teen-ager. "That was a big bond for us," McCartney told me. But the friendship was not highly demonstrative. "We were Northern boys, and you didn't talk about your feelings. You didn't sit around complimenting each other," McCartney said. "So when he said something, you knew he meant it. I remember one time when we'd been skiing all day and we were back at the hotel room, and John and I were paired up in a room, and George and Ringo were in another, and we were listening to a cassette tape of 'Here, There and Everywhere'-one that I wrote." He paused. "Which album is that on? Is that 'Revolver'? Anyway, I remember John was taking off his ski boots and he said, 'That's a good one, there.' And I just felt great. That was true praise."
In 1960, after playing at second-tier venues around Liverpool and doing a short tour in Scotland, the group (now calling itself the Beatles, a play on Buddy Holly's backup band, the Crickets) was booked for several performances in Hamburg, Germany. With Pete Best on drums and Stuart Sutcliffe on bass, they played marathon gigs of several hours each, fortifying themselves with beer and amphetamines. The following year, they returned to Hamburg, where they began wearing their hair combed forward, in a style devised by Astrid Kirchherr, a German art student who was Sutcliffe's girlfriend. In Liverpool, the Beatles had become the main attraction at the Cavern Club, where, in late 1961, Brian Epstein, the manager of a local record store, saw them play. He became their manager, and, on June 6, 1962, the Beatles secured a record deal at E.M.I. Four months later, with Ringo Starr on drums, they released their first single, "Love Me Do." It reached No. 17 on the British charts. In January, 1963, they released their second single, "Please Please Me," which went to No. 1, and the following February the Beatles came to America to play the "Ed Sullivan Show."
McCARTNEY owns a house in London, on a secluded street in St. John's Wood, a short walk from the E.M.I. recording studios, on Abbey Road. (He divides his time between London and Sussex.) He bought the house in 1964, and wrote many of the Beatles' most famous songs there, with Lennon and on his own. The house, an unpretentious, three-story Edwardian, is shielded from the street by a ten-foot brick wall and an automatic safety gate, which McCartney operates by remote control. McCartney arrived at the house at midday on Tuesday, after spending the weekend and Monday, a bank holiday, with Bea. Later that afternoon, he was to meet his eldest daughter, Mary, a photographer, who planned to take pictures of him that would be used to promote the new album. (McCartney has two other children by Linda-Stella, a fashion designer, and James, a musician-and he is the adoptive father of Heather, Linda's daughter from a previous marriage, who is a potter.)
McCartney was dressed in a gray-brown suit, the knot of his tie pulled down, his shirt collar open. He unlocked the front door and showed me into a wide entry hall, which was lined with framed photographs, many of them taken by McCartney himself, including one of a road worker in India wearing a psychedelic-looking costume, and spattered with mud. There was a large bouquet of flowers in a vase on a table, and, in the kitchen nearby, McCartney's flower arranger was trimming the stems of still more blooms. (The bouquets are changed each week.) His housekeeper, Maria, was at the stove. McCartney greeted them cheerfully and led me to a large living room at the back of the house. The immaculate room contained a big square wooden coffee table, a couch, several armchairs, and a bookcase, and the walls were hung with modern art: a canvas by Philip Guston, another de Kooning, and an expressionistic oil painting of a steer, by McCartney himself; he pointed out, with pride, the sinuous freehand line with which he had drawn the animal's horns. A pair of French doors at one end of the room opened onto a sunlit garden. A winding central path led to a small geodesic dome, which McCartney had built in the sixties to use for meditation.
In a corner of the room was a well-polished upright piano with yellowed ivory keys. "This was my dad's piano," McCartney said. "More amazingly, it was bought from Brian Epstein's father-Harry Epstein-when none of us had ever heard of the Epstein family. But they had a shop in Liverpool that sold musical instruments. It was called North End Music Stores-NEMS-which is what Brian's company was. We, the Beatles, were signed to NEMS enterprises. My dad bought this when I was a boy." McCartney leaned over the keyboard and played a rippling arpeggio. The piano had a warm, old-fashioned tone. He launched into the barrelhouse introduction to "Lady Madonna." After a couple of bars, he stopped and straightened up. "I had in here, in the sixties, a Steinway that I have in my house in the country now, a baby grand, which I wrote most of the Beatles stuff on," he said. He added that in this room he and Lennon had worked on the sequence for the medley on the second side of "Abbey Road."
McCartney moved to a set of bookshelves that held two small framed photographs of him and his brother, Michael, as children, posing with their parents. He pulled out a hardcover copy of "Pilgrim's Progress," and opened it to the flyleaf. "This is from Auntie Dil," he said. The book was inscribed "To Paul" and dated 1953. "I didn't like it at all," he said, replacing it on the shelf. "I liked that Auntie Dil gave it me. Trying to keep me on the straight and narrow." He turned and walked toward the kitchen, calling to his housekeeper by crooning, "Maria, I just met a girl called Maria." He asked her for tea with soy milk, and soon she appeared in the living room, carrying a teapot and cups on a silver tray. "Would you like me to pour?" she asked.
"We'll pour!" McCartney said, sounding aghast.
When McCartney was about sixteen, he wrote the song "When I'm Sixty-Four" on his father's piano. "It really is weird," he said. "You get to sixty-four, you go, 'Why did I write a song called "When I'm Sixty-Four"?' " For years, the song was a bouncy instrumental, without lyrics. "It was like a musical spoof," he said. "But then what happened, years later-another great thing about John and I having known each other so long and so intimately is he would often say to me, 'What about that tune, that thing you always used to play on the piano? You should do something with that.' " McCartney wrote the lyrics in his twenties, and recorded the song for the "Sgt. Pepper" album. "It was the right time to write the lyric," he said. "It's a more sophisticated lyric than I would have written at sixteen, that's for sure. It's a little tongue-in-cheek, which helps. 'Stating point of view.' 'Fill in a form.' It's quite cool. It's quite an economical lyric. I heard it recently." He laughed. "Obviously! Heard it a lot recently-I wonder why?
"But another one John said to me was 'Michelle,'" McCartney went on, referring to the ballad from "Rubber Soul," which contains several lines in French. The song's melody dates to the Beatles' first days together, when Lennon was attending the Liverpool College of Art, and would invite McCartney and Harrison to parties with his classmates. "We used to go in black turtleneck sweaters and try to look enigmatic and older," McCartney said. "All the girls were older. And one of the things I used to do was sit in the corner with a guitar and try to look interesting and French." He would play the chords that would eventually become "Michelle," and mutter pseudo-French phrases. "So John said, years later, 'What about that "French" song you used to do? That's got a good tune.' " His friend Ivan Vaughan was married to a woman who studied French. "So I'd go round her house and say, 'Gimme some clues. I've got this idea for "Michelle." What rhymes with that?' She'd go, 'Belle,' and I'd go, 'O.K., wait a minute: ma belle. Oh yeah, good.'"
As the Beatles matured, Lennon and McCartney collaborated less directly on songs, but they continued to trade ideas. McCartney began writing "Paperback Writer" in 1965, after reading in the Daily Mail about an aspiring author-possibly Martin Amis, he said. He imagined the song as a would-be author's pleading letter to a publisher. One day, he arrived at Lennon's house, in the London suburb of Weybridge. "I said, 'Look, I've got an idea here, it's a letter.' He said, 'Yeah, what?' I said, 'Something like this: "Dear Sir or Madam" '-and I virtually read out this letter to him. And he said, 'Good, that's it.' I said, 'Well, we could-' And he said, 'No, that's it. Done it!' That's a good collaborator."
The melody to "Yesterday," also from 1965, came to McCartney in a dream. He brought it to Lennon, unfinished, with nonsense lyrics as a place holder: "Scrambled eggs, oh my, baby, how I love your legs." The song became a standing joke between them for days while they tried to find words to fit the melody. McCartney finally wrote the lyrics during a three-hour car trip from Lisbon to the south of Portugal which he took with his girlfriend at the time, Jane Asher. "The words are quite mature for a kid," McCartney said. "Rather kind of dark. Yet it doesn't communicate itself as too dark somehow. But again I wonder, psychologically, looking at that now, I sort of think of the words 'Why she had to go, I don't know, she wouldn't say. I said something wrong, now I long for yesterday.' Was that harking back to my mum?"
McCartney was no less accomplished as a bass player than he was as a songwriter, though he took up the instrument only after the Beatles' original bassist, Stuart Sutcliffe, quit the band, in 1961. "I thought, O.K., I'm lumbered with it, let's think of something to do here," McCartney told me. "And James Jamerson, the Motown bass player, provided the answer. His bass lines were so seriously good." However, McCartney developed a unique style, using his gift for melody to compose counterpoint bass lines that added to the Beatles' songs a movement and depth still unequalled in popular music. Lennon told an interviewer in 1980, "Paul was one of the most innovative bass players who ever played bass." McCartney's other notable talent was his singing voice, which he could alter to fit whatever style of song he was playing: throwing his voice into an ecstatic high register, like a young Elvis Presley, on a song like "Can't Buy Me Love," or belting like Little Richard on "I'm Down." "I'm very lucky with my voice," McCartney said. "I have no idea how it happens."
Between 1963 and the end of 1965, the Beatles wrote and recorded six albums: "Please Please Me," "With the Beatles," "A Hard Day's Night," "Beatles for Sale," "Help!," and "Rubber Soul." They also toured regularly, and starred in two movies, "A Hard Day's Night" and "Help!" This productivity was possible, in part, because of the system then in place for making records. "In the very early days, we were just told by the grownups-George Martin and the producers-what they wanted," McCartney said. "They'd say, 'We need so many songs, you come in at ten o'clock, you've got a half hour to have a cup of tea and tune up, we'll start recording at ten-thirty, you'll go to one-thirty. You've then got an hour break until two-thirty, then we'll record until five-thirty. In that morning section, we'll do two songs, and in the afternoon two more.' It was fascinating. Often, George and Ringo hadn't even heard the song. John and I would say, 'Goes like this' "-he sings the chorus to Lennon's song "Girl," from "Rubber Soul," in which Lennon intersperses each yearning sigh of the word "girl" with a long, hissing inhale. "And John would say, 'I want a breathing thing. I want to breathe in.' All the ideas would spill out there and then. Obviously George and Ringo were so brilliant that they would just go, 'Yeah, yeah.' They wouldn't go, 'What do you mean?' None of that. Ringo would stand there with his sticks, do a couple of beats. We'd just go to our things and play.
"Because of that way of working," he continued, "you knocked off at five-thirty, so now you had time for an evening. Very civilized. I was living in London, so I'd go to the National to see Colin Blakely in 'Juno and the Paycock,' go to the movies, 'Far from the Madding Crowd,' go to an exhibition, a reception. All these great things. So the next morning, when you're having your cup of tea before recording, you'd be talking about that, and you'd be informed by it."
His new record includes a song called "That Was Me," an upbeat rock tune on which he demonstrates that his voice is still capable of startling clarity and range. The song contains a verse about his Beatle days: "That was me / Sweating cobwebs / Under contract / In the cellar / On TV / That was me!" I mentioned that the song seems to express amazement at the life he has led.
"That's exactly it, and I am amazed," he said. "How could I not be? Unless I just totally blocked it off. There were four people in the Beatles, and I was one of them. There were two people in the Lennon-McCartney songwriting team, and I was one of them. I mean, right there, that's enough for anyone's life. And there was one guy who wrote 'Yesterday,' and I was him. One guy who wrote 'Let It Be,' 'Fool on the Hill,' 'Lady Madonna'-and I was him, too. All of these things would be enough for anyone's life. So to be involved in all of them is pretty surprising. And you have to pinch yourself. That's what that song is about."
At the same time, McCartney said, the Beatles' legacy can be a burden. "You're always doing stuff in the shadow of something, and obviously if you've been in the Beatles you're in a big shadow," he said. "So that now I can write a song and I must admit that there is an element of naturally dismissing it. Thinking, It's O.K." Nevertheless, he added, there are a few songs on his new album, such as "The End of the End," which he can listen to and say, "****, that's really good." In particular, he said, he likes the ingeniously circular lines:
On the day that I die
I'd like jokes to be told
And stories of old
To be rolled out like carpets
That children have played on
And laid on while listening
To stories of old.
"But no," he went on. "There is this sort of inevitable perception that takes time to wash off. It's like a layer of dust that naturally attaches itself to whatever you do. Dylan said it well when he was asked if he'd ever write another song like 'Tambourine Man,' and he said, 'I couldn't-that was then.' I think there is a huge truth in that. You couldn't. I'm not going to be as interested, perhaps, in the subject of a young paperback writer now as I was then, because I was a young paperback writer, sort of. My age group was. So 'Paperback Writer' in itself wouldn't happen now."
MY last meeting with McCartney took place in Regent's Park, near his London home. He had suggested that we meet at a small café beside a boat pond on the park's western edge. I arrived a few minutes early. The sky was overcast and threatening rain, and the park was deserted. In the distance, I saw McCartney enter the park, wearing a chocolate-colored suit and a blue shirt. He stopped and gazed at an empty children's playground. Then he saw me, waved, and joined me at a table on the patio of the café. This seemed an appropriate setting to discuss the Beatles' breakup, which began after the recording of "The Beatles" (known as "The White Album"), in 1968, when Lennon had fallen in love with Yoko Ono, and conflicts over business decisions were dividing the group. In 1969, Lennon persuaded George Harrison and Ringo Starr that the band should hire Allen Klein, an abrasive, tough-talking American, as its manager. (Brian Epstein had died two years earlier.) McCartney wanted to hire his father-in-law, Lee Eastman, a lawyer. The other Beatles felt that this arrangement would give McCartney an unfair advantage, and accused him of trying to exert too much control over the band. The three other Beatles signed with Klein, but McCartney held out. In May, 1969, Klein renegotiated the band's contract with E.M.I. The new agreement called for the group to produce two new albums a year until 1976, at an unprecedented royalty rate (up from thirty-nine cents per LP sold to fifty-eight cents, until 1972, after which it would increase to seventy-two cents).
In January, 1969, the group had begun filming the movie "Let It Be," which was intended to show the Beatles happily recording a new album. Instead, it documented the group's dissolution, portraying Harrison as surly and bitter, Starr as morose and listless, and Lennon as withdrawn from everyone except Ono, who was always at his side. McCartney is shown repeatedly trying, and failing, to inspire camaraderie and excitement in his bandmates. Ono's presence at every session was clearly an obstacle.
I suggested to McCartney that it's difficult to know whom to blame for Ono's presence at the sessions-Lennon, who brought her along, or Ono, who stayed when she was obviously unwelcome. "Let's not blame either of them," he said. "It's a long time ago and it's water under the bridge. They were . . . in love. And that excuses an awful lot of things." Lennon, it has since been reported, was also using heroin at the time, which didn't help communication between him and McCartney. I asked McCartney how significant Lennon's drug habit was. "I actually don't know," he said. "John and I never talked about it." He added that he can't bear to watch "Let It Be."
In late 1969, when the differences among the Beatles proved insoluble, the band broke up (the split was made public a few months later), and McCartney suffered what he has described as a breakdown. "Withdrawal from the band," he told me. "But it wasn't just that the band had broken up. It was the circumstances under which the band had broken up. I actually had to sue them. There was no other way. I tried for months to find some other way. I tried originally to sue Allen Klein, to get him out of the picture and just sort of tidy up. But he wasn't a party to any of the agreements. And they said the only people you can sue are the other Beatles. I said, 'Well, I can't do that.' So this then plunged me into sort of-not a depression, but a difficult, a very difficult time, where I was going to meetings and it was three against one. And that's not fun. When they're your friends.
"There are people still, to this day, who say, 'He sued his friends,' " he continued. "As if I did it lightly. Like it was a fun thing for me to do."
Suddenly, a young woman was standing nearby. "Sorry to interrupt," she said, "but can I take a picture of my sons with you?" Her two small boys stood some way off. McCartney, unhappy about the intrusion, said politely, "I'd rather not, actually, if you don't mind. I'll shake hands with you. But I don't do photos."
"I want to send to my parents-"
"I know, darling, you and everyone. But I don't do it. That's why. I hope you don't mind. I hope you don't think I'm being big-headed-"
"No!" she said.
"But I think your sons are wonderful."
Eventually the woman went away, and McCartney said, "Everyone's got a camera. Everyone's got a phone, man. It's not just the paparazzi-which I've had two of this morning. And I've had two requests from the public as well, to take a photo with them. And I don't want to take a photo with every single person in the world-especially when I'm having a private moment."
I returned to the subject of the Beatles' breakup. "It really was hellishly tough times and I very nearly went under," he said. "I was suing my friends, I wasn't working, I was drinking in the daytime to try to sort of pretend I was 'partying,' and I wasn't. And Linda was my savior. Linda was absolutely my savior. Strong woman. She just was able to hang in there and help me hang in there." I asked if any songs had come out of this dark period. He thought for a moment, and said, " 'Maybe I'm Amazed' "-a power ballad about his need for Linda at a time in his life when, as he sings in the song, "I'm a lonely man who's in the middle of something that he doesn't really understand." The song appeared on his first, extraordinary solo album, "McCartney," which was released in April, 1970, days after the Beatles announced their breakup.
In March, 1971, the British High Court ruled in McCartney's favor in his case against Lennon, Harrison, and Starr, and the Beatles' business affairs were put in receivership, effectively disempowering Klein. "Then it was all finished," McCartney said. "We got rid of Klein. Over the years, our friendship came back. And the guys, one by one, thanked me." By 1972, the other Beatles had grown disenchanted with Klein and did not renew their contracts with him. Klein sued the Beatles for breach of contract, and they countersued. (The cases were eventually settled out of court.)
In the mid-seventies, McCartney and Lennon, after not having seen each other for years, got together in New York, where Lennon had moved. "He was clean and wonderful," McCartney recalled. "I'd meet him when I'd go through New York often-to regain the feeling we had in our early days was a great, full-circle type thing." By the time of Lennon's murder, in December, 1980, they were friends again. "Which is something that I'm eternally grateful for," McCartney said. "That would have been really difficult if we hadn't."
A cold drizzle began. McCartney suggested that we go into the café, which was empty. We sat in a corner. I was curious to know whether he thought of the sixties as a magical time. "I think I remember it in that way," he said, without conviction. "But, like everything, there's the juxtaposition. When I wrote 'Let It Be,' for instance"-a song that begins "When I find myself in times of trouble / Mother Mary comes to me"-"I'd been partying too much. I had a sort of dream where my mum came to me and said, 'It'll be O.K. Let it be.' That's where the song came from. So I obviously wasn't doing too great. It was not just the golden memories."
The mention of his mother - whom he referred to in his conversations with me almost as often as he did to the Beatles - reminded me of something McCartney had said on our first meeting in his office at M.P.L., five days earlier. That day had been sunny and mild, the kind of beautiful spring afternoon in London that had inspired him to write the joyous "Good Day Sunshine," from "Revolver." We had been talking about the many losses he has lately suffered.
"I'm the same as anyone else as far as all that's concerned," he had said. "Losing my mum when I was fourteen was a major tragic event in my life. But, when I think about myself, I am, over all, pretty optimistic, pretty enthusiastic, pretty much into getting on. One of the reasons being, she would want that. I know for certain she would want that. I know Linda would want that. I know John would want that, and George would want that. My dad would want that. They were very, very positive people. And the idea that their deaths would plunge me into some sort of morose depression would bother them. I know that for a fact. So that helps me to not go there. " As he spoke, his eyes moved to the large window overlooking Soho Square, where the sunlight flickered in the new leaves. "When the sun is shining, as it is today," he said, "I'm in love."


text:
Last month, I participated in a conference with my fellow U.S. Ambassadors and other U.S. diplomats in Washington, D.C. At the opening event, on March 13, 2012, Secretary Clinton announced that she was releasing the first-ever policy guidance on gender integration for the State Department. This new guidance instructs our embassies and bureaus to implement specific steps to promote gender equality and advance the status of women and girls in all of our work in order to further both our national security and foreign policy goals. You can read more about the policy guidance in this fact sheet. Ambassador Verveer also wrote a DipNote entry about the policy guidance.
Later in the day, Ambassador-at-large for Global Women's Issues Melanne Verveer and I met with a group of U.S. Ambassadors to discuss the new guidance and exchange examples of our experiences with integrating gender into all aspects of our diplomatic work. The discussion was lively and encouraging -- while much remains to be done, my fellow ambassadors were excited by progress made and the path ahead.
I have made it a goal to change and improve the lives of women in the countries where I am privileged to serve. Key to implementing this goal has been to build a dynamic, theme-driven people-to-people program that starts by defining issues of priority to women and, then, identifying the barriers to making progress in these areas.
In Mexico, where I currently serve as U.S. Ambassador, the U.S. Embassy team is helping Mexican institutions address issues of violence against women and women's empowerment. Whether by supporting non-governmental organizations (NGOs) addressing domestic violence, strengthening one-stop justice centers for victims of crime, helping women prepare for political office, or assisting Mexico's special prosecutor for crimes against women and human trafficking, the U.S. government through USAID has stood by Mexican organizations as they strive towards women's equality and empowerment. For example, Mexico's Family Justice Center in Nuevo Leon is a model for providing comprehensive services to crime victims, specializing in attending to women and families. Families can receive in a centralized place emergency shelter, medical attention, childcare, and access to prosecutors and police to assist with their cases. USAID supported the development of a manual that details how to establish and operate these justice centers, which are slated for replication in other states.
While I served in Argentina from 2006-2009, the U.S. Embassy tackled the widespread issue of trafficking in persons (TIP). Working with the amazing local activist Susana Trimarco, whose daughter was kidnapped and believed to have been a victim of sex trafficking, we secured grant funding to allow Susana's Foundation to provide training on victim identification and protection to anti-TIP units of provincial police departments in Argentina. We also supported Argentina's government, congress, and NGO activists to pass and implement Argentina's first federal anti-trafficking law. In addition, we partnered with NGO Vital Voices to support their organization of the second hemisphere-wide summit on women's issues, which included a very high-powered group of women's leaders from the public and private sectors, including Presidents Bachelet and Fernandez de Kirchner of Chile and Argentina.
Our embassy in Buenos Aires also worked with Maria Rosa Gonzalez and her NGO to encourage women in one of Buenos Aires's poorest villas to band together to fight the ravages of PACO, a drug more addictive and deadlier than crack cocaine. It is critical that as we in embassies work to meet the Secretary's gender policy directive we must identify and connect local champions to opinion leaders and allies at the federal, state and local levels.
When I was Coordinating Director for Development and Economic Affairs and Deputy Ambassador at the U.S. Embassy in Kabul in 2010, I oversaw the formation of an interagency Gender Task Force that linked our diplomatic efforts and assistance programs to a larger, more comprehensive strategy, in line with the benchmarks set out in the National Action Plan for Women of Afghanistan (NAPWA). The Task Force, which continues to meet regularly, ensures that policies and programs focus on the specific and unique needs of women, including the all-important task of measuring the impact and outcome of U.S. and Afghan programs.
U.S. Embassy Kabul also developed the government-wide Civilian Assistance Strategy for Afghan Women -- under which the U.S. government is providing more support to address the literacy, poor health, extreme poverty, human rights, and political exclusion that affect the lives of Afghan women. The Civilian Assistance Strategy addresses gender discrimination and inequality in Afghanistan by building sustainable capacity and institutionalizing opportunities for women across the public, private, and NGO sectors in line with NAPWA.
Ensuring that Afghan women are active participants in the political process since the end of Taliban rule has also been a high priority of the United States and the international community. In July 2010, Embassy Kabul hosted a meeting between a delegation of Afghan women, Secretary Clinton, and EU High Representative Catherine Ashton prior to the Kabul Conference hosted by Afghan President Karzai. At this meeting, the Secretary heard directly from the delegation and was able to bring their concerns to the table -- along with encouraging the participation of Afghan women -- at the Kabul Conference. At the conference, Secretary Clinton announced several new areas of support, which are now improving the health of Afghan women and their families and promoting greater gender equality.
As our nation's Ambassador to Mexico, I look forward to continuing our work to carry out the Secretary's vision of putting women at the center of our foreign policy agenda. The evidence is clear: investing in women will produce a stronger, thriving America and more secure and stable partners across the globe.


text:
New Era Men's Kansas City Chiefs Sideline Authentic 59Fifty Red Fitted Hat
NOW: $19.99 (42% off!)
Was: $34.99*
Product Information:
Reach paydirt in style with the New Era® Kansas City Chiefs Sideline Authentic 59Fifty® Fitted Hat. The raised, embroidered Chiefs logo on the front and distinctive stitching pattern offers a crisp look whether you're at the game or on the couch. The hat's COOLERA® technology wicks away sweat while DRYERA® technology repels weather-related moisture. Turn the corner on your way to six with the New Era® Chiefs fitted hat.
- Kansas City Chiefs 59Fifty® fitted hat
- Embroidered, textured Chiefs logo on the front
- Stitched New Era® logo on the left side
- Embroidered NFL Shield logo on the back
- COOLERA® technology wicks moisture and keeps you dry
- DRYERA® technology repels weather-related moisture
- Flat visor has the ability to curve for personal preference
- Structured, six-panel cap with button on top
- Ventilated eyelets increase airflow and keep you cool
- Colorfast properties retain original hues without fading
- Features shrink-resistant fabric for convenience
- Interior, branded taping and moisture-absorbing band
- Officially licensed by the NFL
- Fabric: 100% polyester
- New Era
Country of Origin: ImportedWeb ID: 15627746
Customer Reviews:
Rated 4.8 out of 5�by 4 reviewers.
Rated 5 out of 5�by KCFan87 Great for game day. Comfortable fit. Great for game day. I wear this hat almost everyday. August 28, 2016
Rated 5 out of 5�by Ducks This product is quality Quality materials,great fit and finish,good price.I'll be buying all my newera hats from dicks in the future!! February 24, 2016
Rated 5 out of 5�by Badnewsbud Great hat Good looking hat at a great price. High quality hat. January 11, 2016
Rated 4 out of 5�by thomas92 Great looking The only thing that keeps this hat from receiving 5 stars is that it is kind of rough in the front and it irritates the skin on my forehead a bit. Other than that it is great. December 31, 2014
1-4 of 4


text:
Shocking Stories of Citizens Like You—Crushed by Big Government
- A child rescuing a bird charged as a criminal
- Releasing heart-shaped balloons becomes a felony
- Collecting rainwater leads to weeks behind bars
In USA vs. YOU, experience the documented stories of your liberties violated—and learn what you can do to reverse this escalating trend.
A diverse group of public interest groups, from Right on Crime to the ACLU, are united in this effort to restore fairness to America's justice system.
You will be signed up to receive Liberty & Justice for All, with news and analysis defending the rule of law. Your information is secure, and it is Heritage policy to never share it with a third party.


text:
I cosleep with my 11mo son and husband. My son is not a very good bed mate! He thrashes a lot in his sleep, he kicks off the covers, rolls around, talks, whines, fusses and sometimes cries. Most of the time he is not even awake! I have no problem with night nursing since he and I go right back to sleep together. Some nights he clearly needs soothing, which I do for him. But his kicking wakes me up every hour! Many nights my husband goes out to the living room so he can at least sleep peacefully. But I still get awakened by thrashing baby. Has anyone experienced a thrashing baby in the bed? How did you handle it? Thank you for any input!
No announcement yet.
Co-sleeping with a thrasher
new posts
Co-sleeping with a thrasherTags: None
Same boat here ... even with an almost 11 month old. We have a queen size bed with the mattress on the floor. We put her crib mattress on the floor in the corner and put our mattress right up against it with no gaps. She thrashes so i just scoot her way over. I keep telling myself I'll put her on her crib mattress but haven't gotten that far. Usually if i give her enough room to throw her arms and legs out we are fine. It seems like some nights she just wants her own space. But then again our room can get warm in the wee hours.
Come to think of it she doesn't really do that when we keep the room really cool. That may be it.
My 4yo and 2yo did the same thing at that age, and still do. But now, they often roll over on top of us. Some nights a good night's sleep is hard to find.
My 4yo sleeps with us one night a week (thursday's everyone sleeps in Mommy and Daddy's bed) and my 2you comes in every other night or so.
When they were in there all the time we would take turns with who "snuggled" the fighter. This gave the other parent the majority of the bed and a relatively peaceful night sleep. Hope this helps!
New Forum Member
- Mar 2008
- 1326
Naomi- Leader API of Frederick MD
Mother to O (4yrs) and E (1.5)
I imagine if I was in your situation I would have another sleeping nest to the main sleeping area.. (if a queen mattress was on the floor for the parents, then a single futon butted up to it would be the extra surface) and when the child is asleep and starts to have 'creative' sleep he could be gently pushed over to his thrashing area...with his own blanket!
I imagine it could be a toddler bed also, just brainstorming. If that child wakes up, cuddle him again untill the thrashing starts! Then repeat!
My son at 5 months does this too..usually wanting to be turned over or wants a snuggle. Our bed is fairly small for the three of us and I've been wondering how to remedy that. I like the idea of placing another sleep area near our bed for him to prevent him from waking me up continuously however our bedroom is too small for that. I wonder what else I could do to fix this...
Thanks for the feedback! Our room is small and we have a dog who also loves to cuddle so we can't really put the mattress on the floor without creating new problems. I've thought about bringing in a crib to do the "side-car" arrangement so maybe I could push baby over on nights when he's all over the place. Similar idea to the adjacent mattress. But I'm still resistant to any type of crib set-up...except on the really hard nights! Right now we have a bedrail on my side of the bed so I can put him pretty close to the edge, but it still gets crowded when he thrashes a lot. The temperature idea makes sense too...he seems to get especially fussy when he's snuggled warmly in the middle. The other night he slept soundly in his own little spot, withouth any covers, just PJs! He's a strange mix of "I need to cuddle with mommy all night long" and "get out of my way, I'm sleeping!"


text:
Calin Charming Pastel 12 inch Doll
Corolle • In Stock • 82498
18 months & up. Calin Charming is the perfect 'my first baby doll' for a child to cuddle. This adorable, blue-eyed 12-inch baby doll has a bead-filled body that allows children to pose her just like a real baby! Dressed in a pink fuzzy 1-piece outfit and sleep hat, this doll has a beanie body and a soft vanilla scent for added delight.
5 out of 5
5 out of 5
5 out of 5
5 out of 5
Elk river, mn
12 months - 18 months
Great quality!
July 18, 2015
This doll is so soft and cuddly! My daughter received it as a gift for her first birthday and she loves it! It smells like cupcakes, also, which is a bonus! I highly recommend it!
Customers Also Bought


text:
Build a Plane builds two planes, Day 3: Nonstop learningWednesday, June 19th, 2013
It might have been totally new territory to the students, but Rauk's tutorials also proved enlightening to observers who have spent many years in aviation. "I learned something on drilling I didn't know," said Mark Van Tine, chief executive officer of Jeppesen, who has been helping to build one of the airplanes. "That's a nice way to start the day out."
Glasair and Build a Plane cooperated on the construction of a Sportsman in 2008 with four teens who went through the Two Weeks to Taxi program. This is the first time, however, that the organizations have shepherded eight students working on two airplanes simultaneously. What's more, a privately owned Sportsman has been in and out of the main hangar while the owner flies off the 40 hours required under the regulations governing homebuilt/experimental aircraft. The near-constant activity in the hangar is a happy soundtrack for general aviation.


text: The Airowgun is the latest in paintball technology. It is the only bow-powered paintball marker in the world today. Deadly accurate and ultra-quiet because of air push physics. Outranges most other paintball markers by nearly 30 feet. The Airowgun by itself mounts to most compound and recurve bows with aluminum risers. Even better no use of CO2 or compressed air.


text:
Flash Furniture Navy Blue Fabric and Mesh Drafting Stool w/ Arms
by Flash Furniture | Item #: 769468 | Model #: WLA7671SYGNYAD |
Free shipping
- $ 179 98 179.98
Non-members pay 10% surchargeJoin now!
- Shipping
- Free shipping
- Enter ZIP Code for shipping options
- Estimated arrival
Delivery estimates, taxes, and fees are based on ZIP Code. Club Pickup orders are based on your club's current price and item availability on the day of payment.
About this itemThis drafting stool offers premium comfort and style to anyone in need of a tall task-style stool.
This drafting stool offers premium comfort and style to anyone in need of a tall task-style stool. An ergonomically contoured mesh back with a locking posture adjustment and height adjustable arms ensure you will find the right position to complete your tasks with ease. A pneumatic seat height adjustment allows a smooth transition to your perfect level. With a navy blue fabric upholstered seat, a breathable mesh fabric back, and a 3-inch padded seat, you will find this chair both stylish and comfortable.
Manufacturer Info
For additional questions or concerns regarding this product, please contact the Manufacturer's Customer Service Department at 1.866.266.4312.
Assembled Country
Component Country
Member reviews & questions
Ask & Answer
Policies & plans
Shipping Information
Shipping Information
Standard - 2 to 6 business days
Warranty Information
Our products have a 2 year warranty for parts. This warrants against defects in manufacturing. If the products are used excessively (more than 8 hours/day), and have excessive weight (over 225 lbs) applied, the warranty is void. New parts will be sent out, or the item will be replaced at our discretion.
related products
1 of


text:
I know. I know. You're still full from Thanksgiving dinner. And you don't have time for groceries because you are out shopping the "Black Friday" sales. But Raley's has an offer that's hard to refuse - free breakfast. Friday, Saturday and Sunday all you have to do is spend $50 at the checkout and you will get the following:
Spend $10 - 6 bulk bagels
Spend $20 - Jimmy Dean Roll Sausage
Spend $30 - Minute Maid orange juice
Spend $40 - Bar-S Bacon
Spend $50 - 1 dozen Raley's large eggs
The coupons are available by clicking the red Raley's ad on the www.sacbee.com homepage and printing the coupons. Here's the best part of the deal: Spend $50 and you can use all 5 coupons. That's a great Sunday breakfast. And by Sunday, we're bound to be hungry again!


text:
Womens Columnist Pants
Columnist Pants for Women
A fab fit for the office or anywhere, really, our Columnist pants have a head-turning tailored look. A low-rise waist complements this slender cut, which comes in barely boot, ankle, slim and slim flare leg options. The quality of the Columnist pant will have you trying them out in every one of our structured fabrics – from our studio stretch to our double weave to our refined denim. Our patterns have a fine suiting quality, like window pane plaid, houndstooth, gingham and tweed. You can pair any of these beauties with a Portofino convertible sleeve shirt for an effortlessly sexy look. But the Columnist goes well with just about everything. Why not try it with a Barcelona cami, one-button blazer and a fabulous new watch?


text:
- News tagged "x-e2"
Friday, 18 Oct 2013
Fujifilm Announces X-E2 Mirrorless Camera and XQ1 Compact with X-Trans Sensor
Fujifilm has announced two new cameras; the X-E2 is their newest mid-range mirrorless camera, it comes with a new 16MP X-Trans II sensor and hybrid auto-focus. The XQ1 is an enthusiast compact with a 12MP X-Trans II sensor inside.
All News Categories
News for Past 12 Months
Subscribe to HWZ Here!
Subscribe now to receive latest tech news, articles and promotions straight to your inbox!
By signing up, you indicate that you have read and agreed to the Terms of Service and Privacy Policy.