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Don't get Jay McGovern wrong. The Lee's Summit coach is thrilled to have nine wrestlers hitting the mats at this week's Missouri Class 4 state wrestling tournament. He's excited about the Tigers' prospects, as are his wrestlers.
Still, McGovern and the Tigers head to Columbia on Feb. 18 thinking they could be in a better position then they are.
That the Tigers got nine through and placed second in the team standings in last weekend's District 4 meet at Blue Springs South is a notable accomplishment, the most in McGovern's three years leading the Tigers, and the most for the program since 1996.
But the Tigers also dropped three close matches in the semifinals and managed only one individual champion. And they only won three of their six consolation finals matches.
"There were some good things and bad things, but overall, most of it's good," McGovern said. "They may be a little disappointed, but that may fuel a little bit of hunger for them when they get to state."
Juan Casteneda won the Tigers lone district championship at 170 pounds. Trey Broker (120 pounds) and Cartland Allen (132) both placed second, Alan Olivas (126), Brady Daniels (160) and Ali'I Loyola (220) claimed thirds while Skyler Reid (106), Kevin Foley (113) and Austin Jones (138) all wound up fourth.
"I feel like we should have definitely been able to win this tournament," said Casteneda, who earned his first trip to state. "We just broke down in our finals matches and we should have won more of those."
Casteneda had to work hard to win his final, hanging on for a 3-2 decision over Alexander Carpenter of Park Hill South. Casteneda, 30-7, had faced Carpenter four previous times and won three of those matches.
"He's come a long way, and he just keeps going at guys, doesn't back down," McGovern said. "You see him getting confident in that he can get a takedown whenever he wants it. And that's fun to see."
It's also fun to watch Lee's Summit North junior Keegan McCormick, who was seeking his third trip to state. McCormick won the district 145 title, but he needed a takedown at the buzzer for a 4-3 decision over Canten Marriott of Park Hill to do it.
"The first couple of takedowns I got turned into a stalemate" said McCormick, who had lost to Marriott the week before. "I knew coming in I really needed this win going into the state tournament."
McCormick was one of three Broncos to advance. Austin Hanson took second at 113 pounds after suffering a heartbreaking 11-8 loss to Rockhurst's Colin Valdiviez in the final, and Evan Weidner placed fourth at 170.
While he was happy to see those three go on, North coach Cameron Clover will head to Columbia thinking about what could have been. The Broncos had two other wrestlers come within a match of qualifying for the top four.
"You always want more," Clover said. "Five could've gone but we got three. You don't want to be greedy, but we could've had more."
Lee's Summit West came back from its journey to the Class 3 district in Waynesville with two champions among its five qualifiers. Lawyer Beckum captured the 126-pound title while D.J. Brasfield-Thogerson won at 152. The Titans also got seconds from Austin Eveler (132) and Tyler Nelson (195) and a third from Steffon Fassett (145).
While it was a long trip, West coach Ethan Hauck said it was worth it to face the caliber of competition there.
"That district I just about guarantee you will have the majority of medals," Hauck said. "It has tremendous depth."
The Titans got an idea of that depth in the wrestlers that they failed to qualify, most notably Jake Woods. A 138-pounder with a 42-3 record going into districts, Woods fell in the semifinals and then dropped a 5-4 decision against Clayton Wegener of Eureka in the consolation semifinals.
"His A-game wasn't there. That's all there was to it," Hauck said. "He's just a sophomore with a very bright future. I guarantee he will learn from this."
The state wrestling tournament runs through Saturday, Feb. 22 at Mizzou Arena. Finals matches for all four classes are scheduled to start Saturday at 4:30 p.m.


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Senate Grills Goldman over Mortgage Deals
As Congress considers tough new regulations on the financial industry, a Senate panel put executives from Goldman Sachs on the hot seat on Tuesday.
Senators grilled executives about mortgage investments the firm sold while the housing market collapsed.
The Securities and Exchange Commission has filed a fraud suit against Goldman on one set of transactions, saying they were built to fail while Goldman profited by betting against them.
But in his testimony today, CEO Lloyd Blankfein defended the firm's practices. He also thanked the government for the $10 billion bailout Goldman received, pointing out that the company paid back an amount that he says equaled a 23 percent annual return.
During an exchange with Michigan Senator Carl Levin, Blankfein insisted that Goldman's market-making business often requires the firm to end up on the other side of their clients' bets.
"We are the other side of what our clients want to do," Blankfein said. "The thing we are selling for them is supposed to give them the risk they want."

subset: commoncrawl


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Listening (Loudly) to Spanish-language Radio
This is the third post in Sounding Out!'s 4th annual July forum on listening in observation of World Listening Day on July 18th, 2015. World Listening Day is a time to think about the impacts we have on our auditory environments and, in turn, their effects on us. For Sounding Out! World Listening Day necessitates discussions of the politics of listening and listening, and, as Inés Casillas prescribes, a wider understanding of the power and meaning of volume as material sensation as well as listening practice, particularly in communities marginalized by U.S. racial and ethnic hierarchies. "Listening loudly in the face of anti-immigrant public sentiment," Casillas tells us, "becomes a form of radical self-love, a sonic eff-you, and a means of taking up uninvited (white) space." –Editor-in-Chief JS
Chicana and Chicano friends across the southwest share different renditions of a similar childhood memory. The one where Mexican parents or grandparents crank up the rancheras -mournful, classic Mexican melodies – on an early Saturday morning or what seems to be an inappropriate, way-too-late weeknight. They reminisce about listening as children in wonderment to the familial, communal sing-along that seemed to instinctively take place among extended kin. That, or they tell of listening, cringing in silence, in fear that the non-Mexican neighbors will overhear the radio and spontaneous serenade; a telltale sign that their family is, indeed, Mexican. "As if," shared Deborah Paredez in her account, "those few white neighbors somehow didn't already know you were Mexican."
For unfamiliar ears, the sounds of Spanish, the mariachi ensemble, and/or accented karaoke all work together to signal brownness, working-class, and even, according to Jennifer Stoever, illegality. To me, the most provocative detail in these recurring childhood stories rests more on the volume, often stationed on one of two settings – "loud" or "real loud." Excessive, "loud accouterments," according to Deborah R. Vargas, are heard and identified as unforgiving, racialized and queer forms of surplus; what she calls "lo sucio" (a vernacular for dirty or grimy). The high volume allows Mexicans and Chicanas/os to publically flaunt their brown identities under the increasingly watchful gaze of a post-9/11 state, during a record-deportation Obama era, and when Latinos have officially outnumbered whites in the Golden (now brown) state of California. Listening loudly in the face of anti-immigrant public sentiment becomes a form of radical self-love, a sonic eff-you, and a means of taking up uninvited (white) space.
These stories, strikingly similar, often point to the ranchera song-style, specifically, the talents of Vicente Fernández and his regal voice as the beloved malefactor. The timbre in Fernández's famed voice rouses (drunken) merriments of Mexico, with lyrical utterings about acrimonious, heteronormative loves and losses. The gritos or sentimental cries that accompany such songs are gendered, nostalgic stand-ins for an affect of displacement shared by both Mexican immigrants and Chicana/os. Simon O'Sullivan insists that, "you cannot read affects, you can only experience them." I would add, "through sound" to stress the ways in which sound travels and emotionally anchor a listener's body. The fact that so many Chicanas and Chicanos have these recollections and several (read: me) reproduce these loud practices with our own children says more about the continued racialized, brown experiences of Mexicans and Chicana/os in the U.S. than perhaps the prowess of rancheras themselves.
In many ways, the workings of race, language and labor resonate through radio. I argue that the very public nature of Spanish-language radio listening represents a communal, classed, and brown form of listening that differs markedly from "white collar" modes of listening, which offers more solitary practices, promoted by commuting in private cars and listening to personal satellite radios, iPods, or Internet broadcasts.
For instance, one can routinely overhear loud Spanish-language broadcasts from the back kitchens of restaurants (regardless of the ethnic cuisine); outside bustling construction sites and Home Depot storefronts as day laborers await work; or from small radio sets balanced heroically on hotel housekeeping carts. On-air salutations heard throughout the day on Spanish-language radio are vocal nods to worksites as radio hosts greet washeros (car wash personnel), mecánicos (mechanics), fruteros and tamaleras (fruit and tamale street vendors), and those, presumably farmworkers, toiling under the sun. Despite the passivity in terms such as informal, invisible, and "under the table" to characterize a significant component of both U.S. and transnational economies, these recurrent and strong vocalizations of work and worksites makes audible the statistics of economist Lisa Catanzarite. She cites that recently immigrant Latino men constitute 40 to 71% of low-level service work such as "construction, agriculture, and manufacturing jobs, including waiters' assistants, gardeners and groundskeepers, cooks, farm workers, and painters." Not only do patrons and those passing by overhear radio at/near such worksites but radio also makes routine reference to labor and laborers. These "brown-collared" occupations coupled with the swift growth in Spanish and bilingual (Spanish-English) stations, have crafted a not-so-discrete, brown form of listening.
Arguably, it's difficult to not hear the growth of Spanish-language radio as heavy metal, oldies, and jazz radio dials have surprised English-dominant listeners by switching to banda, norteños, and morning chatter in Spanish. In 1980 the Federal Communications Commission identified sixty-seven Spanish-oriented radio stations on the air. The 2010 figures list over 1300 radio stations broadcasting exclusively in Spanish. Proving all too well that those media pundits and scholars championing the digital era do not tune into broadcast Spanish-language radio.
Spanish-language radio stations openly cater to a working-class and immigrant-minded listenership by advertising their call numbers and radio personalities at public transit stops. Latinos, loyal listeners of Spanish-language radio, are more likely to ride a bus or subway than to drive in a carpool lane to get to work. As an acoustic ally, these broadcasts not only assume listeners are a mix of undocumented persons, legal residents, and from mixed-status families, but radio hosts and radio programs openly rally in solidarity of their listeners' civil rights, a provocative feat, given the recurrent changes in immigration politics. In fact, promotional billboards for radio stations often double as political statements. This one, for instance, featured Univisión's then top rated morning host. The slogan symbolically pokes fun at unfriendly English-only attitudes and keenly reminds drivers that the United States is the second largest Spanish-speaking country in the world.
The portable and inexpensive cost of radio sets makes it possible for Latinos to tug their sets to work with them. Indeed, a recent listening report verified that the average Hispanic radio listener makes less than $35,000 a year and tunes in as early as 4am; indicative of graveyard, swing shifts and/or early treks to work. Closely aligned with my own assumptions about listening, Jose Anguiano's doctoral study includes an insightful chapter on the listening preferences of custodial workers during late night shifts; in particular, how workers decided on where to place radio sets to optimize the acoustic sound of empty building spaces.
Yet, a troubling National Public Radio (NPR) segment devoted to the difficulty of finding a simple radio set bared the distinct classed uses of radio and radio listening. Producers visited high-end specialty stores in search of an AM/FM radio. The program broadcasted their collective laments at finding one radio set at their fifth store. Of course, their pursuit would have ended much earlier if they had visited a local swap meet, a K-Mart, or asked any of said laborers above where they had purchased their radio set. During my own research for Sounds of Belonging, twenty-seven of the thirty-three immigrant focus group participants interviewed indicated that a radio set was their first media purchase in the U.S.
Of course, such lucrative opportunities to woo radio listeners are not lost on corporate media. Latino listeners (whether they identify as Spanish-dominant or not) tune in to radio an average of three hours a week more than the "general" (white) U.S. radio listener, with an impressive 13.5 percent of all U.S. radio now broadcasting in Spanish. Univisión, a name long associated with Spanish-language television, now reigns as the empire of radio, owning the most Spanish-language radio stations in the United States.
Although tabulated figures showcase the popularity of left-leaning political broadcasts on Spanish-language commercial radio, Mari Castañeda and Monica de la Torre remind us of the significance and efficacy of community-based, Low Power FM radio for rural, Spanish-dominant Latino communities. Without the privilege of corporate sponsors such as McDonalds, or Kohls, small and fiercely independent, community-based bilingual and Spanish-language radio still thrives in farmlands across the U.S.
Sound, especially at high volume, daringly seeps and trespasses across public, racial boundaries. The policing of sound, according to Derek Vaillant, beginning in the nineteenth century were orchestrated civic attempts to eliminate unsightly and "noisy" cries from poor, ethnic immigrant street vendors peddling their goods. Another instance, during World War II, foreign language broadcasts were outlawed out of monolingual American fears that enemies were communicating via radio. City transits often post rules asking that passengers use audio/video equipment only with headphones. Public etiquette about appropriate levels of volume enforced through noise ordinances and ways of listening (privately) speak to larger issues about race, labor, and class. Not only do these public campaigns and transit rules privilege the dominant, western ear but it also, according to Jennifer Stoever, focuses on white sensory orientations of noise which inherently positions those most marginalized as the "noise makers."
For generations, Chicana/o and Mexican listeners have gravitated to radio for far more than the musical sounds of homelands imagined or left behind. Raising the volume on Spanish-language radio sends neighbors a racialized sign of "Mexican-ness" often heard as unruly, "noisy," and perhaps worse, unassimilated. High volume from the private spaces of homes and cars disrupts the quiet, public acceptance of ear buds while also providing sheer, public glee. An audible, unabashed reminder of other forms of "lo sucio" – high credit card debt, more than 2.2 children, vegetable gardens in front yards, too-much-cologne or Virgin de Guadalupe adornments – and the brown refusal to tone, much less, to turn it down.
*Inspired by my six year old's attempts to grito along with "Volver, Volver."
Featured Image: Inside Espacio 1839 in Boyle Heights, California, retail and performance space and home of RADIO SOMBRA, a 24/7 community-based Internet radio station, Espacio is located at 1839 E. 1st Street and is open Wed-Sun, 12-8 pm. Image by Oliver Wang for KCET Artbound
Dolores Inés Casillas is an associate professor in the Department of Chicana and Chicano Studies and a faculty affiliate of Film & Media Studies at the University of California, Santa Barbara. She writes and teaches courses on Latina/o sound practices, popular culture, and the politics of language. Her book, Sounds of Belonging: U.S. Spanish-language Radio and Public Advocacy, was published in Fall 2014 by New York University Press as part of their Critical Cultural Communication series.
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"Speaking 'Mexican' and the use of 'Mock Spanish' in Children's Books (or Do Not Read Skippyjon Jones)"–Dolores Inés Casillas
"Óyeme Voz: U.S. Latin@ & Immigrant Communities Re-Sound Citizenship and Belonging" –Nancy Morales
"Sonic Brownface: Representations of Mexicanness in an Era of Discontent"–reina alejandra prado saldivar
"Chicana Radio Activists and the Sounds of Chicana Feminisms"–Monica De La Torre
World Listening Day 2015: Mendi + Keith Obadike's "Blues Speaker [for James Baldwin]" (2015) #WLD2015
For World Listening Day 2015, Sounding Out! is honored to debut Mendi + Keith Obadike's new documentary video about their recent large-scale urban installation at The New School's University Center in New York City, "Blues Speaker [for James Baldwin]" (April 2015), dedicated to writer and public intellectual James Baldwin (1924-1987). –JS
As Mendi + Keith describe, "For Baldwin sound, music, and the blues in particular were sources of inspiration. The multichannel sound art work meditates on a politics of listening found at the intersection of Baldwin's language and the sound worlds invoked in his work. It uses the glass façade of The New School's University Center as delivery system for the sound, turning the building itself into a speaker. The 12-hour piece is created using slow moving harmonies, melodicized language from Baldwin's writings, ambient recordings from the streets of Harlem, and an inventory of sounds contained in Baldwin's story 'Sonny's Blues.'"
"'Blues Speaker' celebrates James Baldwin's keen understanding of the social role of the blues. In his important 1957 short story 'Sonny's Blues,' the writer argued that attending to the blues required the listener to confront and accept both literal noise (sounds beyond the listener's understanding) and ideological noise (elements of the lives of those whose journeys have taken radically different paths), and seek beauty and understanding. If this relationship to listening is specific to the blues — a form that takes its shape in response to the survival of black people in general and to the decisions of its craftspeople — then musicians who seriously engage the blues must hold a knowledge deeply important for humanity that lives in the music and extends beyond that medium."–Artists' Statement, Vera List Center for Art and Politics, The Year of James Baldwin Exhibition.
Mendi + Keith Obadike make music, art and literature. Their works include The Sour Thunder, an Internet opera (Bridge Records), Crosstalk: American Speech Music (Bridge Records), Black.Net.Art Actions, a suite of new media artworks (published in re:skin on M.I.T Press), Big House / Disclosure, a 200 hour public sound installation (Northwestern University), Phonotype, a book & CD of media artworks, and a poetry collection, Armor and Flesh (Lotus Press). They have contributed sounds/music to projects by wide range of artists including loops for soul singer D'Angelo's first album and a score for playwright Anna Deavere Smith at the Lincoln Center Institute. You can find out more about them at http://obadike.com.
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SO! Amplifies: Mendi+Keith Obadike and Sounding Race in America
SO! Amplifies: Shizu Saldamando's OUROBOROS
Misophonia: Towards a Taxonomy of Annoyance
This is the second post in Sounding Out!'s 4th annual July forum on listening in observation of World Listening Day on July 18th, 2015. World Listening Day is a time to think about the impacts we have on our auditory environments and, in turn, their effects on us. For Sounding Out! World Listening Day necessitates discussions of the politics of listening and listening, and, as Carlo Patrão shares today, an examination of sounds that disturb, annoy, and threaten our mental health and well being. –Editor-in-Chief JS
An important factor in coming to dislike certain sounds is the extent to which they are considered meaningful. The noise of the roaring sea, for example, is not far from white radio noise (…) We still seek meaning in nature and therefore the roaring of the sea is a blissful sound. Torben Sangild, The Aesthetics of Noise
When hearing bodily sounds, we often react with discomfort, irritation, or even shame. The sounds of the body remind us of its fallible and vulnerable nature, calling to mind French surgeon René Leriche's statement that "health is life lived in the silence of the organs" (1936). The mind rests when the inner works of the body are forgotten. Socially, sounds coming from the organic functions of the body such as chewing, lip smacking, breathing, sniffling, coughing, sneezing or slurping are considered annoying and perceived as intrusions. A recent study by Trevor Cox suggests that our reactions of disgust towards sounds of bodily excretions and secretions may be socially-learned and vary according to whether it is considered acceptable or unacceptable to make such sounds in public.
However, for people suffering from a condition called Misophonia, these bodily sounds aren't simply annoying, rather they become sudden triggers of aggressive impulses and involuntary fight or flight responses. Misophonia, meaning hatred of sound, is a chronic condition characterized by highly negative emotional responses to auditory triggers, which include repetitive and social sounds produced by another person, like hearing someone eating an apple, crunching chips, slurping on a soup spoon or even breathing.
The consequences of Misophonia can be very troublesome, leading to social isolation or the continuous avoidance of certain places and situations such as family dinners, the workplace and recreational activities like going to the cinema. While rate of occurrence of new cases of Misophonia in the population is still under investigation, the fast growing number of online communities gathered around the dislike of certain sounds may indicate that this condition is more common than previously thought.
But why do people with Misophonia feel such strong reactions to trigger sounds? This fundamental question remains up for debate. Some audiologists suggest these heightened emotional responses can be explained by hyperconnectivity between the auditory, limbic and autonomic nervous systems. However, we continue to lack a comprehensive theoretical model to understand Misophonia, as well as an effective treatment to help sufferers of Misophonia cope with intrusive sound triggers.
The Art of Annoyance: is it possible to reframe misophonic trigger sounds as misophonic music?
Between 1966 and 1967, John Cage and Morton Feldman recorded four open-ended radio conversations, called Radio Happenings (WBAI, NYC). Among many topics, Feldman and Cage address the problem of being constantly intruded upon by unpleasant sounds. Feldman narrates his annoyance with the sounds blasted from several radios on a trip to the beach. Cage's commentary on the growing annoyance of his friend reveals a shift of perception in dealing with unwanted sounds:
Well, you know how I adjusted to that problem of the radio in the environment (…) I simply made a piece using radios. Now, whenever I hear radios – even a single one, not just twelve at a time, as you must have heard on the beach, at least – I think, "Well, they're just playing my piece.-– John Cage, Radio Happenings.
Cage proposes a remedy via appropriation of environmental intrusions. The negative emotional charge associated with them is neutralized. Sound intrusions no longer exist as absolute external entities trying to intrude their way in. They become part of the self. Ultimately, there are no sonic intrusions, as the entire field of sound is desirable for composition.
Cage's immersive compositional anticipated an important strategy to build resilience towards aversive sound: exposure-based cognitive-behavioral therapy, which proposes a gradual immersion in trigger sounds. And I suggest we can mine the history of avant-garde practice to productively further the idea of immersion; in the realms of sound poetry, utterance based music, Fluxus events and many other sound art practices, bodily sounds have consistently been exalted as source of composition and performance. Much like Cage did with what he perceived as intrusive radio sounds, by performing chewing, coughs, slurps and hiccups, assembling snores and nose whistles, and singing the poetics of throat clearing, we may be able to elevate our body awareness and challenge the way we perceive unwanted sounds. In what follows, I sample these works with an ear toward misophonia, discussing their interventions in the often jarring world of everyday irritation.
Oral Oddities
As pointed out by Nancy Perloff, while the avant-garde progressively expanded to incorporate the entire scope of sound into composition, sound poetry followed a similar course by playing with the non-semantic proprieties of language and exploring new vocal techniques. The Russian avant-garde (zaum), the Italian futurists (parole in libertà) and the German Dada (Hugo Ball's verse ohne Worte) built the foundations of a new oral hyper-expression of the body through moans, clicks, hisses, hums, whooshes, whizzes, spits, and breaths.
Henri Chopin, Les Pirouettes Vocales Pour Les Pirouettements Vocaux
Sound poets like Henri Chopin created uncanny sonic textures by only using 'vocal micro-particles', revealing a sounding body that can be violent and intrusive. François Dufrêne and Gil J Wolman brought forward more raw and glottal performances.
Bridging the gap between the Schwitter's Dada-constructivism and a contemporary approach to sound poetry, Jaap Blonk's inventive vocal performances cover a wide range of mouth sounds. In the same vein, Paul Dutton explores the limits of his voice, glottis, tongue, lips and nose as the medium for compositions — as can be heard on the record Mouth Pieces: Solo Soundsinging.
Paul Dutton, Lips Is, Mouth Pieces: Solo Soundsinging
Fluxus: Eat, Chew, Burp, Cough, Perform!
The Event is a metarealistic trigger: it makes the viewer's or user's experience special. (…) Rather than convey their own emotional world abstractly, Fluxus artists directed their audiences' attention to concrete everyday stuff addressing aesthetic metareality in the broadest sense. Hannah Higgins, Fluxus Experience
The emergence of Fluxus is strongly linked to Cage's 1957-59 class at New School for Social Research in NYC. George Bretch's Event Score was one of the best known innovations to emerge from these classes. The Event Score was a performance technique drawn from short instructions that framed everyday life actions as minimal performances. Daily acts like chewing, coughing, licking, eating or preparing food were considered by themselves ready-made works of art. Many Fluxus artists such as Shigeko Kubota, Yoko Ono, Mieko Shiomi, and Alison Knowles saw these activities as forms of social music.
For instance, Alison Knowles produced several famous Fluxus food events such as Make a Salad (1962), Make a Soup (1962), and The Identical Lunch (1967-73).
Also, Mieko Shiomi's Shadow Piece No. 3 calls attention to the sound of amplified mastication, while Philip Corner's piece Carrot Chew Performance is solely centered in the activity of chewing a carrot.
Philip Corner, Carrot Chew Performance, Tellus #24
In Nivea Cream Piece (1962), Alison Knowles invites the performers to rub their hands with cream in front of a microphone, producing a deluge of squeezing sounds:
Alison Knowles – Nivea Cream Piece (1962) – for Oscar (Emmett) Williams
Coughing is a form of love.
In 1961, the Fluxus artist Yoko Ono composed a 32 minute, 31 second audio recording called Cough Piece, a precursor to her instruction Keep coughing a year (Grapefruit). In this recording, the sound of Ono's cough emerges periodically from the indistinct background noise. The Cough Piece plays with the concept of time, prolonging the duration of an activity beyond what is considered socially acceptable. While listening to this piece, Yoko Ono brings us close to her body's automatic reflexes, pulling back the veil of an indistinct inner turmoil. Coughing can be a bodily response to an irritating tickling feeling, troubled breathing, a sore throat or a reaction to foreign particles or microbes. In response, coughing is a way of clearing, a freeing re-flux of air, a way out. Coughing is a form of love.
Yoko Ono – Cough Piece
Sonic Skin
In the work The Ego and the Id (1923), Sigmund Freud stated that the ego is ultimately derived from bodily sensations. The psychoanalyst Didier Anzieu expanded this idea by suggesting that early experiences of sound are crucial to consolidate the infant's ego. The bath of sounds surrounding the child created by the parent's voices and their soothing sounds provides a sonorous envelope or an audio-phonic skin that protects the child against ego-assailing noises and helps the creation of the first boundaries between the inside and the external world. The lack of a satisfactory sound envelope may compromise the development of a proper sense of self, leaving it vulnerable to invasions from outside.
It's no surprise that conditions like Misophonia exist and are very common among us, considering how important our early exposure to sound is in building our sense of self and our sensory limits. For Misophonics, the everyday sounds we make without even thinking about them can be the source of a fractured and disruptive experience that we should not dismiss as the overreactions of a sensitive person. During the month we observe World Listening Day, our discourse usually praises the pleasures of listening and tends to focus on the sounds that soothe rather than annoy. However, conditions like Misophonia show us that there is much more that needs to be said on the subject of unpleasant sound experience. I can't help but notice a disconnect between the vast exploration of annoying and irritating sounds in the avant-garde and the critical discourse in our sound communities that is dominated by the pleasures of listening. Cage's call to embrace intrusive sounds urges us to consider all sounds regardless of where they fall on the spectrum of our emotions. For all of us who would consider ourselves philophonics, let's create a critical discourse that addresses the struggles of listening as much as its pleasures.
Thanks to Jennifer Stoever for the thoughtful suggestions.
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Learning to Listen Beyond Our Ears: Reflecting Upon World Listening Day
World Listening Day took place last week, and as I understand it, it is all about not taking sound for granted – an admirable goal indeed! But it is worth taking a moment to consider what sorts of things we might be taking for granted about sound as a concept when we decide that listening should have its own holiday.
One gets the idea that soundscapes are like giant pandas on Endangered Species Day – precious and beautiful and in need of protection. Or perhaps they are more like office workers on Administrative Professionals' Day – crucial and commonplace, but underappreciated. Does an annual day of listening imply an interruption of the regularly scheduled three hundred and sixty four days of "looking"? I don't want to undermine the valuable work of the folks at the World Listening Project, but I'd argue it's equally important to consider the hazards of taking sound and listening for granted as premises of sensory experience in the first place. As WLD has passed, let us reflect upon ways we can listen beyond our ears.
At least since R. Murray Schafer coined the term, people have been living in a world of soundscapes. Emily Thompson provides a good definition of the central concept of the soundscape as "an aural landscape… simultaneously a physical environment and a way of perceiving that environment; it is both a world and a culture constructed to make sense of that world."(117) As an historian, Thompson was interested in using the concept of soundscape as a way of describing a particular epoch: the modern "machine age" of the turn of the 20th century.
Anthropologist Tim Ingold has argued that, though the concept that listening is primarily something that we do within, towards, or to "soundscapes" usefully counterbalanced the conceptual hegemony of sight, it problematically reified sound, focusing on "fixities of surface conformation rather than the flows of the medium" and simplifying our perceptual faculties as "playback devices" that are neatly divided between our eyes, ears, nose, skin, tongue, etc.
Stephan Helmreich took Ingold's critique a step further, suggesting that soundscape-listening presumes a a particular kind of listener: "emplaced in space, [and] possessed of interior subjectivities that process outside objectivities." Or, in less concise but hopefully clearer words: When you look at the huge range of ways we experience the world, perhaps we're limiting ourselves if we confine the way we account for listening experiences with assumptions (however self-evident they might seem to some of us) that we are 'things in space' with 'thinking insides' that interact with 'un-thinking outsides.' Jonathan Sterne and Mitchell Akiyama, in their chapter for the Oxford Handbook of Sound Studies, put it the most bluntly, arguing that
Recent decades of sensory history, anthropology, and cultural studies have rendered banal the argument that the senses are constructed. However, as yet, sound scholars have only begun to reckon with the implications for the dissolution of our object of study as a given prior to our work of analysis.(546)
Here they are referring to the problem of the technological plasticity of the senses suggested by "audification" technologies that make visible things audible and vice-versa. SO!'s Jennifer Stoever-Ackerman has also weighed in on the social contingency of the "listening ear," invoking Judith Butler to describe it as "a socially-constructed filter that produces but also regulates specific cultural ideas about sound." In various ways, here, we get the sense that not only is listening a good way to gain new perspectives, but that there are many perspectives one can have concerning the question of what listening itself entails.
But interrogating the act of listening and the sounds towards which it is directed is not just about good scholarship and thinking about sound in a properly relational and antiessentialist way. It's even less about tsk-tsking those who find "sound topics" intrinsically interesting (and thus spend inordinate amounts of time thinking about things like, say, Auto-Tune.) Rather, it's about taking advantage of listening's potential as a prying bar for opening up some of those black boxes to which we've grown accustomed to consigning our senses. Rather than just celebrating listening practices and acoustic ecologies year after year, we should take the opportunity to consider listening beyond our current conceptions of "listening" and its Western paradigms.
For example, when anthropologist Kathryn Lynn Guerts first tried to understand the sensory language of the West African Anlo-Ewe people, she found a rough but ready-enough translation for "hear" in the verb se or sese. The more she spoke with people about it, however, the more she felt the limitations of her own assumptions about hearing being, simply, the way we sense sounds through our ears. As one of her informants put it, "Sese is hearing – not hearing by the ear but a feeling type of hearing"(185). As it turns out, according to many Anlo-ewe speakers, our ability to hear the sounds of the world around us is by no means an obviously discrete element of some five-part sensorium, but rather a sub-category of a feeling-in-the-body, or seselelame. Geurts traces the ways in which the prefix se combines with other sensory modes, opening up the act of hearing as it goes along: sesetonume, for example, is a category that brings together sensations of "eating, drinking, breathing, regulation of saliva, sexual exchanges, and also speech." Whereas English speakers are more inclined to contrast speech with listening as an act of expression rather than perception, for the Anlo-Ewe they can be joined together into a single sensory experience.
The ways of experiencing the world intimated by Geurts' Anlo-Ewe interlocutors play havoc with conventionally "transitive," western understandings of what it means to "sense" something (that is, to be a subject sensing an object) let alone what it means to listen. When you listen to something you like, Geurts might suggest to us that liking is part of the listening. Similarly, when you listen to yourself speak, who's to say the feeling of your tongue against the inside of your mouth isn't part of that listening? When a scream raises the hairs on the back of your neck, are you listening with your follicles? Are you listening to a song when it is stuck in your head? The force within us that makes us automatically answer "no" to questions of this sort is not a force of our bodies (they felt these things together after all), but a force of social convention. What if we tried to protest our centuries-old sensory sequestration? Give me synaesthesia or give me death!
Indeed, synaesthesia, or the bleeding-together of sensory modes in our everyday phenomenological experience, shows that we should loosen the ear's hold on the listening act (both in a conceptual and a literal sense – see some of the great work at the intersections of disability studies and sound studies). In The Phenomenology of Perception, Maurice Merleau-Ponty put forth a bold thesis about the basic promiscuity of sensory experience:
Synaesthetic perception is the rule, and we are unaware of it only because scientific knowledge shifts the centre of gravity of experience, so that we have unlearned how to see, hear, and generally speaking, feel, in order to deduce, from our bodily organization and the world as the physicist conceives it, what we are to see, hear and feel. (266)
Merleau-Ponty, it should be said, is not anti-science so much as he's interested in understanding the separation of the senses as an historical accomplishment. This allows us to think about and carry out the listening act in even more radical ways.
Of course all of this synaesthetic exuberance requires a note to slow down and check our privilege. As Stoever-Ackerman pointed out:
For women and people of color who are just beginning to decolonize the act of listening that casts their alternatives as wrong/aberrant/incorrect—and working on understanding their listening, owning their sensory orientations and communicating them to others, suddenly casting away sound/listening seems a little like moving the ball, no?
To this I would reply: yes, absolutely. It is good to remember that gleefully dismantling categories is by no means always the best way to achieve wider conceptual and social openness in sound studies. There is no reason to think that a synaesthetic agenda couldn't, in principle, turn fascistic. The point, I think, is to question the tools we use just as rigorously as the work we do with them.
Owen Marshall is a PhD candidate in Science and Technology Studies at Cornell University. His dissertation research focuses on the articulation of embodied perceptual skills, technological systems, and economies of affect in the recording studio. He is particularly interested in the history and politics of pitch-time correction, cybernetics, and ideas and practices about sensory-technological attunement in general.
Featured image: "" by Flickr user woodleywonderworks, CC-BY-2.0
REWIND!…If you liked this post, you may also dig:
Snap, Crackle, Pop: The Sonic Pleasures of Food–Steph Ceraso
"HOW YOU SOUND??": The Poet's Voice, Aura, and the Challenge of Listening to Poetry–James Hyland
SO! Amplifies: Eric Leonardson and World Listening Day 18 July 2014–Eric Leonardson


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[WORLD CUP 2010 QUALIFYING] Rene Simoes won't be leading Jamaica's Reggae Boyz to the World Cup finals for a second time. Only three games into the semifinal round of qualifying for South Africa 2010, the Brazilian has been fired.
Simoes' firing came a day after Jamaica dropped a 2-0 decision at
Honduras. The Reggae Boyz have only one point in three games but play their final three games at home. (Their second game against Mexico was moved from Kingston to Mexico City as a result of damage
caused by Hurricane Gustav.)
Simoes, who led led Jamaica to its first World Cup appearance in 1998 and served as technical director for six years, was only nine months into a three-year
contract. He returned in January to succeed Bora Milutinovic, who was fired for breach of contract.


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There was not much news around the College Baseball World on Wednesday. I thought I would ask for some suggestions on the future of the site. We are currently thinking about doing a season preview podcast sometime in February where we will give a Top 25 and our thoughts on the best teams around the country. We would also discuss some other issues around college baseball including the uniform start date and other issues. Would you guys listen to it? If you have anything to add about the site negative or positive feel free to leave a comment.
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Listen to Audio (17:01)
Opening comments:
"Well, there's no question at this time in college basketball as coach you hurt. And you hurt for your team, you hurt for these kids that for about 34, 35 minutes were a part of a fantastic basketball game. You also have to congratulate Kansas and wish them good luck, because it was a great basketball game, like I say, for about 34, 35 minutes. And the last four or five minutes, they played much, much better than we did, and their coach coached much better than I did.
"It was a game of runs, and we didn't answer the last one. They would go ahead six or eight and we would catch up. And they would go ahead six or eight and we would catch up. And it was that kind of game. They hurt us early in the second half on the offensive boards, just getting so many rebounds and putting it back in. We even had one time where we blocked the shot and it came down and their kid caught it and laid it up.
"But I can't fault my team for trying. My gosh, the little rascal sitting beside of me, Stilman, just competed his rear end off. It wasn't smooth for him because it's hard all of a sudden to be thrust into this role, three practices before this regional. But, boy, he did some really good things and I just admire him and admire what he did and admire how he competed. And you look down there and he played 28 minutes today and 32 yesterday, that's 60 minutes. And the little rascal had zero turnovers and hadn't been in this position all year.
"And that's what you love about college athletics. It is about the kids. It was a one-point game, and we got the ball and were coming down and we turned it over in the middle of the court on the break. And then played really good defense for about 27 seconds and then Elijah jumped up and made the three with seven seconds on the shot clock and that was their only three of the second half and we made none. And all of a sudden, now it's a four-point game and then we messed it up on the offensive end again. And they got a run out and it seemed like it snowballed there. We couldn't make a shot the last five minutes of the game or something like that.
"But I enjoyed coaching these kids and you hate it for them and that's what it's all about. This is college basketball and that's what it's all about. It's about the players. It's not about the coaches. It's about the players and it's about the name on the front of the jersey. And I had a marvelous group. I said that about Stilman, and on the other side of it, you can't be a more perfect student-athlete than Tyler Zeller. So right now, it's just that there's no way to put into words the way we feel. There's no way to put into words the way I feel.
"But I tell you what, I feel awfully lucky to have coached Tyler Zeller. But again it's the NCAA tournament and one team wins and one team loses and that's what we have to understand. And we learned some lessons every day. I know I love my team. Man, they were fun to be around and they were facing a lot of adversity."
Was Kendall even remotely close to being able to go?
"I thought he was yesterday. We let him run up and down the court and catch and pass a little bit. And I really got a little excited at that point. But I think that it got even sorer last night after just that little activity. We weren't even on the court probably 25 minutes doing anything. At that point during practice I thought he had a chance to go. But last night, I got less confident, and then this morning it just didn't feel right for him. "
You hate that for that kid. You hate it for our program, hate it for our team. But Kendall Marshall is all about winning and is all about team. And if you've ever watched him play, you realize that he's one of those point guards that cares about his team maybe more than anybody I've ever seen. So you hate it for him."
How good was that first half in terms of the basketball that was played and what did you think might be the decisive factor in the second half?
"It was. If you're a fan, watching that game, you had to love that. Coaches, we always talk about guys taking charges and diving on the floor. But that was good basketball the first half. Both coaches probably wanted their guys to defend better, I know I did, and I'm sure Bill did as well. You really thought it would continue that way and we would make a run, they would make a run, they would make a run, we would make a run. And then unfortunately for us, we stopped answering.
"In the second half, I thought both clubs were better defensively or maybe a combination of the stress of the situation might have affected some shots as well. But it was pretty there for awhile. It just wasn't very pretty the last five minutes."
How quick do you want to sort through the process with the underclassmen and their families?
"Oh, hadn't thought a heck of a lot about it, to be honest with you. But we'll try to do it pretty quickly. It's what it is. It's our culture. It's not as much fun as getting a guy and coaching him for four years, but it's what it is. We have to handle that. But I would think that before the end of the week, I would have at least the initial conversations with all of our guys, yeah."
Listen to Audio (2:05)
Could you comment on the physical play that was going on inside. It looked like the big guys from both teams were sort of a point of pride happening in there, answering each other back and forth all night long.
"Yeah, you got to give a lot of credit to both Thomas Robinson and Withey. Withey was in foul trouble the first half. But Thomas Robinson is a fantastic player. Somebody that he can drive the ball, shoot the ball, he can score the ball inside. There's a reason he's up for the Player of the Year. He's a tremendous player, so you got to give him a lot of credit."
It seemed like every time Kansas go on a run, you guys would respond with a run of your own. At what point there in KU's ultimately last run did you guys realize that time was really running out?
"I think it was a four-point game and it quickly became nine and we had a timeout. I think we still thought we had a chance then, but we came down and they made a great stop and we didn't make our shot. So they came down and hit their free throws and once it hit double digits, it was tough. I mean under a minute, it's tough to be able to come back from that deficit."
Listen to Audio (2:25)
Would you talk about your feelings, what your experience was like, the chance you had here.
"It hurts. This was a great team and we had great goals and doesn't feel like we quite achieved them. But we played as hard as we could and just came up a little bit short."
In the first half, you guys were able to play transition pretty easily. But the second half, what changed?
"I don't know. I was just pushing it and if I didn't see anything, I tried to pull up and run, find whatever coach was calling. We tried to run a little freelance earlier and we weren't quite moving around like coach liked us to. So I think we focused a little more on running sets in the second half."
Listen to Audio (3:07)
On the decision not to play:
"If I did play, I wouldn't have been effective. If I'm just standing off to the side catching and passing... It was a struggle. So maybe with three or four more days, maybe I could have been able to help the team, but I can't really catch and pass right now."
Was it obvious early in shootaround that you wouldn't be able to go?
"Yes. I was going to just try to tough it out, but it wasn't a toughness factor. It was the fact that I couldn't catch and pass."
Listen to Audio (3:05)
There's a lot to be said for the heart this team showed out there:
"Yeah, we definitely kept fighting back. We just couldn't get that one stop to put us over the edge. Every time we would get there, they'd just come back and answer, so it was just defensive and mental breakdowns that we had."
Listen to Audio (3:37)
Was the triangle-and-two in the scouting report?
"They haven't done it in the past, but they tried it out against us and it was successful."
Is there a possibility that this is the last game you play at UNC?
"I haven't thought that far."
Is there a feeling that this team may have missed an opportunity if everyone decides to leave?
"Well, first of all, I think everyone in this locker room feels like they played the best that they can play today. We all laid it out there. I don't think anyone is looking beyond that, because we all had anticipation of going to New Orleans."
Listen to Audio (2:38)
How did you hurt your ankle?
"I think I stepped on one of the guy's toes and tweaked it a little bit, but I had to play through it. This was our last game, so there's no time to just sit on the sideline and rest it."
On his left wrist:
"It got bumped a lot, but I had to play through it. I got a shot before the game. I got numbing cream. We tried everything, taped it up. It felt better toward the end of the game, but I just had to play through it."
Listen to Audio (27:07)
Opening comments:
"It was anyone's game for the first 32 minutes or whatever, and then we got some consecutive defensive stops which we hadn't been able to get the first 30 minutes and made a ton of plays, individual plays, great team plays down the stretch. But we know as a group we also caught a break today, too, with Kendall not playing. I'm not saying that would have changed any the outcome, but we caught a break. But these guys, they wanted him to play. We talked about that.
"But these guys did an unbelievable job, kind of just staying the course and not playing tight. I kind of had a calm about myself today. I felt good about it. And these guys obviously played at a very, very high level."
When Withey picked up his fourth foul, you didn't take him out. Was that sort of a moment of truth in the ball game or talk about that.
"I think there was only four minutes left when he picked it up. At that time, if I'm not mistaken, we were up either one or four. I can't remember if Elijah had made the shot yet. So you got to win the game and some coaches will take him out. If we had a four-point lead, I may have taken him out for a possession or two. But in a tight game like that, I was going to let it ride."


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Go two-toned. One of the easiest, most sophisticated looks that busy mums can relish this season is the monochrome trend. It only consists of wearing separates from the same colour family, making it a win-win for everyone. No longer do you have to spend time finding the perfect print or fretting over matching from head to toe. Just find two shades that you really enjoy and couple them up for a breezy spring style essential.
Less subtle florals. We're all accustomed to the flower prints on blouses and bottoms that remind us of our grandmother's sofa. But florals in fashion have taken a sophisticated turn this spring. Look for prints that are less homey and more modern. A smart silhouette also makes this trend more wearable than your standard Easter dress. This gorgeous skirt from Temperley London is a great example of how to pull it off.
Crazy prints. Those animal prints and kaleidoscope patterns aren't just meant for your little ones anymore. Prints have always been a way to make a bold style statement, but now they are getting even riskier. Try on a whimsical animal print--not just imitation leopard or cheetah but an actual print of an animal, or big florals--on your blouse. Match it with solid trousers and a bright lip colour, and you'll be instantly chic.
Masculine shapes. If you feel most comfortable in clothing that isn't fitted, this season's androgynous looks are perfect for you. Pants suits are roomier and boyfriend jeans are back, meaning that you can look flirtatiously feminine, even though you may choose to wear clothing inspired by men's fashion. Try on a pair of trousers that hug your wait but fit loosely throughout the leg. The key to not looking too manly is to femme it up with a dainty top, perhaps with lace or sheer cutouts.
Shiny objects. This isn't just a reference to your silver, gold or platinum jewelry. Get disco chic this spring with iridescent and metallic materials for your clothing, as well. And you don't even have to wait for the sun to set for this style to be appropriate. This Silver Pegasus Jacquard Dress is the perfect example of how to shine up your ensemble without being mistaken for a party girl.
Featured post


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Under sink supply plumbing
We are redoing our kitchen and adding a dishwasher and garbage disposal that we never had before. Our supply lines under the kitchen sink are 1/2" PEX. We also have a water filter on the cold supply and an ice cube maker line. And now need a hot water supply for the dishwasher.
Looking for advice on what fittings or valves or Tees to use to put this puzzle together. Right now there is a shut off valve on each line with a 1/2" threaded connector on it, not the usually 3/8" compression threaded connector that the braided lines attach to. I'm not opposed to redoing all the valves/fittings to make it right or look better.
Thanks for any help with what to use for this puzzle!
Best if you can post a picute of what you have now.
May need a valve like this.
1 Attachment(s)
Here is a picture of what I have now. The white Tee before the shut off is for the ice maker. The two shut offs have 1/2" threads I believe. The hot line is on the left and currently goes right to faucet hot water. The cold is on the right and the blue tube is what goes to the water filter and then to the faucet. I need to add in the dishwasher supply to the hot water from what I have read. Just looking for a way to tidy everything up and make it look neat and be right.
Attachment 72684
I saw those valves you linked to at menards today. I also found some Tees that screw onto a valve with 3/8" compression threads. I bought two of them but then realized my valves have 1/2" threads so those won't work. Pretty sure I'll have to redo pretty much everything, which I'm fine with but just want to do it the best/easiest/right way.
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Kerestian 'Tina' Estedabadi recently graduated from California State University, Northridge with her Masters in Social Work. Tina may be new to this position, but she has been a member of the Home For Good team for a while, previously interning with us and coordinating the Companionship Program.
What are you currently working on with Home For Good?
I am a Program Assistant, and I will provide both programmatic and administrative support to the Housing Stability team.
Why are you interested in working to end chronic and Veteran homelessness in LA County?
Los Angeles County is my home…it also houses more than 58,000 people who sleep on its streets on any given night. This is a huge problem given the fact that sleeping on the streets causes emotional, physical and mental scars on the people who do not have any other option. I take pride in my city and I want to be part of a solution that will put an end to this issue. Together we can end chronic and veteran homelessness!!!
What do you do for fun?
I really enjoy watching movies at the ArcLight Cinemas. I also enjoy cooking and trying out new recipes. I recently made cinnamon swirl pancakes….it was amazing!
What is your favorite food?
Food is my favorite food! I love Persian food, Italian food, and Sushi. I also enjoy finding new restaurants. Right now, I am being more health conscious, so I have been trying out healthy restaurants…LYFE Kitchen and Real Food Daily are my two new favorite spots.
What is your favorite movie or t.v. show?
I have a variety of favorite movies and TV shows. I enjoy watching comedy, action, mystery, and thriller movies…just this past year alone my favorites have been Argo, Zero Dark Thirty, Lone Survivor and the Wolf of Wall Street…right now I am very excited about the upcoming 300-Rise of an Empire and The Amazing Spider Man 2!!!


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"Despite an extensive investigation by FSIS and CDC to date, there is little epidemiological information available at this time that conclusively links these illnesses to any specific product or establishment," FSIS spokesman Neil Gaffney said Tuesday. "Without specific enough data, it would not be appropriate to issue a recall notice." Gaffney said the agency was committed to finding the source of the outbreak and then taking action to protect public health.
There just is not enough data to identify a source for a samenella outbreak that's spread US-wide since March. While there is a map of people impacted tying it to a specific plant or batch of turkey has proved impossible.
Drawing upon recent research, NRDC [Natural Resource Defences Council] has now just launched a new site with state-level public health impacts currently being felt as a result of climate change--and what to expect in the future.
In the most recent volunteer mission, medical professionals from National Taiwan University Hospital and Changhua Christian Hospital studied the causes behind patients' diabetes and where they lived and then compiled the information in a simple map for the reference of health authorities.
8.5% of the island nation's popluation has the disease, meaning getting its limited health care resources to them is key.


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You can learn how the LHWCA works, what benefits you are provided under the LHWCA and if necessary, how you can find an LHWCA lawyer. You can even submit a specific question regarding your claim to an attorney!
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Remember, your claim is very important. Your employer knows its rights; shouldn't you know your rights under the LHWCA.


text: I am planning on getting a used WRX this spring and I would like to learn more about them. I know quite a bit about engines, turbos and the corresponding upgrades, but I know little about transmissions and suspensions. Are there any good websites that discuss all of the upgrades?


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Home > National News > Article
A new internet virus is spreading quickly throughout Australia, Asia and Europe but computer security experts were divided on the seriousness of the threat from the "Bagle" worm, and reckoned home users were most at risk.
Technology experts warned people to be vigilant of the virus, which has already hit universities and companies, including Telstra.
Experts expected some impact in the United States when people returned to work today after a holiday weekend.
The "Bagle" or "Beagle" worm arrives in an email with the subject "hi" and the word "test" in the message body. If the accompanying attachment is executed, the worm is unleashed and tries to send itself to all emails listed in the user's address book.
Sometimes the attachment is designed to look like a Microsoft calculator, said David Perry, spokesman for antivirus software firm Trend Micro Inc.
The virus only affects machines running Microsoft Windows operating systems. "It's clumsy," Perry said from Lake Forest, California.
Most people knew better than to click on an attached calculator, he said.
"I don't get e-mails with calculators in it, do you?"
The worm started spreading yesterday and most corporations have already protected themselves against it, Perry said.
Carey Nachenberg, chief architect of Symantec Research Labs in Cupertino, California, said home users, not corporations, were most at risk because companies had protected themselves quickly.
"We could see this fizzle out in several days," Nachenberg said. "Or we could also see a lot of people infected" if they don't update their antivirus software.
The severity of the Windows worm, named W32.Beagle.A@mm by anti-virus firm Symantec, has increased overnight, with reports of inboxes being flooded.
Symantec upgraded its overall risk assessment to 3, midway on its 1 to 5 scale. The worm will die out on January 28, the company says.
Distribution of the worm is high and the email looks like this:
Subject: Hi
Test =)
Test, yep.
Filesize: 15,872 bytes
- AP and Online Staff
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In Reply to: RE: Built something really big posted by cids on February 17, 2012 at 02:49:20
I am of the same opinion, but at least I have an example to study and understand. Then I can play with whatever "upgraded" driver I'd prefer.
"When Khruschev said "we will bury you" I don't think he meant with surplus parts." zacster
Follow Ups:
These might be what you want.
The advantage of these drivers is the midbass up to the horn. If a lower vrossocer or PPSL is the goal a cheaper drvier is just as good. Save these for a conventional two way to a 1.4" horn at 1Khz.
That was kind of my thought as well, but suggestions were wanted for a better driver.
I am fond of Eminence, and know how the sound dramatically improves in a PPSL configuration, so I tend to recommend inexpensive drivers.
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" Brand: Playboy / Type: Lipstick / Suitable for: Lip / What it does: Hydrates, "
* Prices may differ from that shown
Never normally would I purchase a lipstick for £6.80 (in Superdrug last week). Don't get me wrong I own some top notch make-up products but it's rare I pay what I consider to be a lot for them and £6.80 is above what I'd normally pay to be totally honest with you cos I just don't like lip products lol. You know what it's like though eh ladies? Your mooching about in a store killing time as it's pouring of rain outside and you don't really want to get your straightened hair damp or wet cos it will go afro and that's when you inevitably bump into everyone you know so you lie low and test stuff out and look interested at stuff that you normally wouldn't give a second glance to! Well that's what happened to me. I was in Superdrug and the storm outside threatened to carry me off down the street so I decided to browse in store and take sanctuary from the elements outside. Good for the store cos I fell in love with the Playboy products on display and parted with a whole wad of cash and perfectly cotoured hair still lol.
The Packaging.....
The lipstick comes in a dark purple oblong box with metallic pink writing and drawings etc on it. On the front of the box there are 5 small bunny heads displayed on it and I'm told what it is and the size is stated (.06oz/1.85g). On one side of the box I'm given a list of ingredients, and on the other I'm told it's a 'Sheer, Hydrating Lipstick, Contains Aloe, Jojoba And Avocado' and there is a bar-code on there and on that my colour is stated (I chose Temptress of course lol). On the back of the box I'm given contact details for the company and told that the product isn't tested on animals and the recycle symbol is clearly shown. The tube itself is again dark purple and square plastic with 4 pink bunny heads on it and you pull the lipstick into two and there is a thin tube of colour you twist up and down which is set in gold plastic casing. It's ok packaging but a reason I have never really looked at this range so closely before is because I think it's a range really appealing to children and I don't really agree with that, after-all this range is based on naked women etc and therefore should be classed as strictly an adult range in my opinion! The range has been adopted by the kids though cos of the bunny logo I bet and I feel that although the packaging is very high quality to the touch it could be a bit more sophisticated for the price of it!
I fell in love with these lipsticks when I tested them in the store. I've own an awful lot of lipsticks over the years and I have to admit I'm not a fan of the product on the whole but of course I do wear them. I also have owned a few lip glosses too and I love the idea of big, bulging pouty trouty lips but sadly my lips squidge out of control and I end up gunked up.
This however is truly brilliant in every respect. It's easy to twist up and down and all the colours I tested (I did test a few) were shimmery and slightly glossy and dewy looking in texture. The colour in the tube is the colour that goes on the lips as well. It glides on smoothly and with no fragrance to it at all. It gently moisturises and clings onto the lips sort of acting with your own natural lip colour and you can see your own natural little lines through the formula giving a really nice natural, smooth and elegant look. The shimmer is subtle, the gloss gives a fuller look to the lips, mistakes are correctable but it's hard to go wrong with this....really. It's moist enough to apply but it isn't full of grease!
It gives a real sheer and satin sheen soft look and not only that you can feel your lips are slightly hydrated by some magical ingredients and even after it has faded away or you have removed it off the lips feel wonderful and hydrated still. It isn't greasy at all (as I have said already but it really isn't lol) and your in control of your own lips all the time and it's none drying out and none sticky and me... I can apply it and forget it's there and I can't convey how that is so unusual for me!
Once on the lips if you just apply and go expect a little transference (onto cups and fags etc) and eventually it just vanishes in about an hour. If you use this, blot, and re-apply etc you'll get a couple of hours max but trust me you won't begrudge re-applying this due to the soothing feeling of re-application anyway and it's simple to do.
I really hold this is high regard and for me the product inside the casing is far superior to what it looks like on first glance. It's a long laster in the tube although to be fair I can't stop wearing mine and people have commented and asked whats on my lips. It makes me feel very sexy, sassy, grown up and together. It's polished and high class and I'm in love with mine and will definitely without any hesitation ever again buy more of these. Pure genius for lippy haters like moi!
I have only seen the full range in Superdrug stores.
The sheer coverage of a gloss with the lasting ability of a lipstick /


text: Wesley Trent Snipes was born in Orlando, Florida, to Maryann (Long), a teacher's assistant, and Wesley Rudolph Snipes, an aircraft engineer. He grew up on the streets of the South Bronx in New York City, where he very early decided that the theater was to be his career. He attended the High School for the Performing Arts (popularized in Fame (1980)... See full bio »


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One of the best ways to get feedback from your customers is to ask them to participate in a survey. Unless you are living in the dark ages, you probably know that surveys have gone digital. Unfortunately, many services make you pay by the survey or, gulp, the question.
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LimeSurvey is a free download, but you will need to install the software on a server with PHP 4.2 and a MYSQL database to store all your LimeSurvey information. While it may sound confusing, it is a straight-forward installation for a web developer.
Bottom line, a survey tool like LimeSurvey is an easy source for perspective (and intelligence) on your business relationships. There's no need to stay in the dark.


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Another nail question
I have a roof overhang along about 1/2 of one side of my house that I am planning on replacing the overhead. My plan is to replace it with the Home Depot flavor of beadboard, 1/4" or so thickness. What's up there now is 1x2 beadboard that has been there the better part of 50 years and is warped and twisted some. This wont be changing the looks much, just cleaning it up.
Question is, which should I use to attach the new beadboard? I have a full round head framing nailer, a 16 guage finish nailer and an 18 guage narrow crown stapler. I was thinking the finish nailer but there isn't much of a head on those nails. I think the framer is something of overkill. Stapler leaves kind of a PIA hole to fill. :huh:
Before we get into it, yes, I will be priming and painting all six faces of each piece prior to installing.
Do you have a link to this beadboard? I know they carry interior board......
I always use staples for bead board. 1 3/8" or 1 1/2" for the best grab.
staple so that the staple is crossing the grain for the best hold.
sometimes there will be a little pucker out from the grain being penetrated by the staple and just use a razor knife and slice the pucker!
set your air pressure or staple gun nosing so that the staple just barely sets through the face of the bead board and use painters putty to fill the holes before paint.
Good luck
you might have to use fir strips to fir down the framing when you pull off the 1x's and add the new beadboard. It will be going from 3/4 thick to 1/4 or 3/8 thick. This depends only if something rests up against the 1x beadboard now like window trim, bed moulding, crown or siding.
NP, my pleasure. best to think things out and work out the kinks before digging into something. 90% prep, 10% work :thumbup:
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Hello, I had Botox for the first time and had 14 units between the eyebrows and 6 units in the forehead. I was told less was needed for the forehead because I had more between the brows.
It is day two and I see nothing. I know this is normal but I am beginning to wonder if I received the correct amount. I am 37 and do not have wrinkles but did not like the way my forehead wrinkled when I squinted in the sun. My PS said my forehead should be smooth like glass and that he did not want to overdo it for the first time. He also said that he prefers a more natural look with more movement than a frozen look. Thanks so much!


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Liverpool manager Brendan Rodgers believes that his side's performance in their goalless draw with Swansea illustrated the progress being made at the club.
The Reds suffered defeat during their last visit to the Liberty Stadium in May, but came close to taking all three points this time out.
Jose Enrique had an effort ruled out for offside before Raheem Sterling crashed a half-volley against the crossbar.
Rodgers was happy with his team's display despite failing to come out on top:
"I was really pleased with the quality of our game today, I thought our build-up play was good and we got through the thirds well." He told SkySports.
"I just thought we needed a fraction more belief in the final third. There were opportunities around the box where we could have got a shot off a bit quicker.
"That comes from certain types of player and personnel you have in.
"I thought the method in our game was good, and people who would have seen the game at the end of last season would have seen a difference today, hopefully.
The Northern Irishman believes they may have claimed the win if luck were on their side:
"We were unfortunate with the offside goal that was ruled out. I thought that was a goal having seen the replays of it.
"I'll never say coming here is two points dropped because it's a difficult place to come. Our performance level is continually improving. We're just chipping away at climbing up the league, and we'll do that."


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FLAGSTAFF, Ariz. - The Northern Arizona men's and women's cross country teams will travel to Tucson, Ariz. this Friday to compete in the Dave Murray Invitational. The meet, held at the Dell Urich Golf Course, will be the Lumberjacks' first road test of the season.
"This is an early season meet that will give a lot of our runners a chance to make a play for the top seven," said Director of Track & Field and Cross Country Eric Heins. "Our coaching staff is excited to see who will step up and complete our team going into the bigger meets later this season."
The Lumberjacks will face in-state competitors Arizona and Arizona State for the second meet in a row. Two weeks ago, at the George Kyte Classic in Flagstaff, NAU's teams measured up well with its two rival schools, with each posting top-three finishes.
The NAU women will be led once again by senior Haley Lawrence and junior Rochelle Kanuho. The pair anchored the third-place women's team at George Kyte, and Kanuho, a Flagstaff native, earned Big Sky Cross Country Female Athlete of the Week honors for her sixth-place overall finish.
Also running for the first time in uniform for the Lumberjack women will be international newcomers Agnes Laurent, a junior from Belgium, and freshman Caroline Hogardh of Sweden.
"Having Agnes and Caroline running for us this year should be a huge shot in the arm," said Heins. "I'm really looking forward to seeing our new recruits perform in the next few meets."
The men's lineup for this weekend's meet features senior John Yatsko and sophomore Daniel Filipcik, both of whom were part of the second-place men's team from the home meet. Also running in his first competition for the Lumberjacks will be Chris Ganem, a freshman from Castle Rock, Colo.


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Why Hall opted out of deal with Yankees
Super-utility man Bill Hall, who excelled with the Red Sox in 2010 before struggling with the Astros and Giants last season, would like to correct a misconception.
Hall, a 10-year veteran, says teams assume that he will not play at Triple A because he elected free agency after failing to make the Yankees' Opening Day roster.
But, as Hall puts it, "That's not the case."
Hall, 32, says he was reluctant to go to Triple A only with the Yankees, whose Scranton/Wilkes-Barre affiliate will lead a nomadic existence their season while their ballpark in Moosic, Pa., is under renovation.
Scranton/Wilkes-Barre will play home games in six different cities — Syracuse, Rochester, Buffalo and Batavia, N.Y., plus Allentown, Pa., and Pawtucket, R.I.
"They are basically playing the whole season on the road," Hall says. "My wife and I decided that I couldn't live in a hotel all year. My daughter just turned 1 and I couldn't do that to her.
"I don't have any problem playing in Triple A. I just want to play. I'm not looking for any guarantees of a possibility of going to the big leagues. I was just looking for a better situation for my family.
"I'm ready to play now. I'm still working out hard and hitting and in shape. I can leave at the drop of a hat anytime, to anywhere."
— Ken Rosenthal


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Veggie Quiche Bundles RecipeRead Reviews Be the first to add a review
These special appetizers are as eye-catching as they are tasty. With a rich cheese-and-veggie filling, the crispy phyllo bundles could even be served as part of a brunch buffet.
Recommended: 17 Green Foods to Celebrate St. Patrick's Day
- 1 cup chopped fresh mushrooms
- 1/2 cup diced zucchini
- 1/4 cup chopped red onion
- 1 tablespoon plus 1/3 cup butter, divided
- 1 plum tomato, seeded and diced
- 3 eggs
- 1/2 cup milk
- 1 tablespoon prepared pesto
- 1/4 teaspoon coarsely ground pepper
- 1/2 cup crumbled feta cheese
- 1/2 cup shredded part-skim mozzarella cheese
- 12 sheets phyllo dough (14 inches x 9 inches)
- In a small skillet, saute the mushrooms, zucchini and onion in 1 tablespoon butter until mushrooms are tender; stir in tomato. In a small bowl, whisk the eggs, milk, pesto and pepper. In another bowl, combine feta and mozzarella cheeses.
- Melt the remaining butter. Place one sheet of phyllo dough on a work surface; brush with butter. Repeat with three more sheets of phyllo, brushing each layer. Cut phyllo in half widthwise, then cut in half lengthwise. (Keep remaining phyllo covered with plastic wrap and a damp towel to prevent it from drying out.)
- Repeat with remaining phyllo dough and butter. Carefully place each stack in a greased muffin cup. Fill each with 4 teaspoons vegetable mixture, 1 tablespoon cheese mixture and 4 teaspoons egg mixture. Pinch corners of phyllo together and twist to seal.
- Bake at 325° for 20-25 minutes or until golden brown. Serve warm. Refrigerate leftovers. Yield: 1 dozen.
Originally published as Veggie Quiche Bundles in Country Woman Christmas Annual 2009, p26
Medium-Bodied White Wine
Enjoy this recipe with a medium-bodied white wine such as Riesling or Gewürtztraminer
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It is time for another episode of the 'Dates With Kate' podcast! This time around, we are going to discuss that which scares the hell out of most online daters – the first date! We will discuss the '9 Signs Your Date Is Going Downhill Before It Starts' and, once you are there, the '15 Things You Should Never Say or Do On A First Date'. Pour yourself a drink to relieve those first date nerves and come take a listen!
Podcast: Play in new window
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Posted by mrspatterson | Posted in Student posts | Posted on April 27, 2010
"Have me" said the toad. "I don't want a toad. I want a puppy." the boy screamed to his family. "I don't like this. It's not fun to look at a toad all day. I can't walk a toad" said the boy. I wish my family had not got a toad. I want a puppy. They just didn't get me a puppy. I want a puppy not this insult little toad. Anyways "I don't like little things like you" said the boy. "Dinner time" said mommy. The boy didn't want to bring the toad down to dinner. The boy's mommy and daddy wanted the boy to bring down the toad so he did it anyway. Mommy asked the boy "what is fun with the toad?" "I hate the toad" said the boy. "But I think the frog, I mean the toad, is cool" said mommy. "But I hate the toad" said the boy. That morning the boy started to like the toad. They went running at the park. The boy liked the toad but when they got home the boy's mommy and daddy had a surprise for the boy. It was a puppy! "Here is your puppy" said mother and father. "But I want to keep the toad, mother". "I thought you did not like the toad?" said mother. "But I like him. Can I keep both?" said the boy. "hmm alright" said mommy. "Hurray" said the boy.


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Lacrosse news straight to your inbox.
Tuesday August 6th, 2013 12:55am
The Free Position is similar in theory and importance to the foul shot in basketball. It's awarded after a foul, it's relatively easy to convert (relative to regular game action) and you better score.
Why a free position is called
There are three main fouls that can be called in the eight-meter: Three Seconds, Shooting Space and Illegal Stick/Cross Checking. Here are some brief Cliffs Notes for each:
Three Seconds — Occurs when a defender is in the eight-meter arc for more than three seconds without being a stick's length from her player. (It's like a lane violation in basketball.) This is one rule that makes it very difficult to play a zone defense in women's lacrosse. Typically, it is called when a defender gets caught ball-watching and her attacker slips away and leaves the defender essentially guarding no one.
Shooting Space — This is a safety measure. Basically, it is the responsibility of a defender to get out of the shooting path of an attacker. For this to be called, the attacker has to be going to the goal (or look like she is going to the goal). A smart attacker knows how to "draw" shooting space. If the attacker with the ball stands around the arc and is not a threat, Shooting Space cannot be called. That is why it's so important to always be a threat. If the attacker did choose to shoot, she would likely hit the player being called for Shooting Space. This can be a very subjective call.
Illegal Stick/Cross-Checking — This is pretty self-explanatory. Any check toward the face should be called and yellow carded. Recently, there has been a push to issue yellow cards for cross-checking as well.
Now, what do these three infractions have in common? They all result in a Free Position Shot. When a Free Position Shot is awarded, all players must clear the entire eight-meter arc by the quickest exit route possible, and be at least four meters away from the shooter.
In my opinion the Free Position Shot is one of the most underrated skills in the game of women's lacrosse. Not nearly enough attention is given to the art of converting these free opportunities. 1 would say that typically 6-10 of these shots are awarded per team, per game. You should score on one out of three attempts, so a team should be able to score at least three goals on Free Position Shots per game, making the mastery of these skills crucial to your team's success—and to you racking up more goals.
Setting Up
When lining up for a Free Position, I like to crouch down into a "sprinter's position", with my stick lying across my feet and my weight on my toes. I feel this gives me a faster start and my stick is protected close to my face. (see picture)
Wait for the Whistle
You must wait to start until the referee blows the whistle. It's not worth it to try to jump the gun because a false start results in a turnover. Some people like to look at the referee as a guide for when to start, but I prefer to look at the goal and locate an open space to shoot. This is more important as far as scouting your path to the goal and your options once the whistle blows.
While you wait for the whistle, there are three things you must consider when deciding how you should run to the goal. Notice where you are positioned and which hash mark you are placed on. There is a big difference in shooting angle from being on the center hash mark and lining up on the far right one. Obviously, being in the middle gives you the best chance of scoring. Since possession is the name of the game in lacrosse, sometimes it's better to hold onto the ball and not shoot a bad-angle shot. It might also be to your team's advantage to take some time off the clock and not shoot.
The second thing to consider is where your defenders are located. Is there no one to your left side, or do you have people to either side of you? This will allow you to determine how far you can run toward the goal and which hand you should have your stick in.
The last thing you have to be aware of is where your teammates are placed. Is your team's best attacker positioned in a place where you can pass her the ball? Or do you want to fake like you will pass in order to get the goalie to move and open up the cage for your shot?
It's important to make sure you know where everyone is and think ahead to envision all your options once the whistle blows.
Path to the goal
There are various ways that you can run to the goal. Look where you are positioned and make sure you run in a way that gives yourself the best angle. For example, if I have defenders on either side of me, I run a step closer to the defender that is not on my stick side. This gives me a little extra room and puts more distance between my stick and the defender on my stick side who wants to check the ball away. (see picture)
I think a good rule of thumb is to take two or three steps and then shoot. I am not a big fan of trying to run through a sea of defenders. I also don't like shooting from a stationary position from the eight-meter; I feel like I'm not able to gain momentum. When I played, I had the most success by taking two to three steps and getting the shot off quickly. The quicker you get your shot off, the less likely a defender will block it. (see picture)
The placement of your shot is up to you. This is easier said than done, but you want to make sure you shoot where there is space. If given the option, I prefer to shoot low rather than high, especially on a Free Position Shot.
Whatever style you choose, the most important thing you can do is practice. Don't think just by imagining your technique that you will actually be able to do it.


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We demonstrate the generation of broad-bandwidth optical frequency combs from a CMOS-compatible integrated microresonator. We characterize the comb quality using a novel self-referencing method and verify that the comb line frequencies are equidistant over a bandwidth of 115 nm (14.5 THz), which is nearly an order of magnitude larger than previous measurements.
© 2011 OSAFull Article | PDF Article
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Remember The American Bible Challenge, the Bible trivia game show? Now the producers have created promotional stickers! With all the positive buzz surrounding the show, we're excited to introduce to you our new campaign that will allow people from all across America to show their support — it's called "Bible Stickers USA." With Bible [Read More…]
Atheist Bible Sticker Challenge!
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Could an Atheist Team Win 'The American Bible Challenge'?
May 27, 2012 by 80 Comments
Anyone want to be on a game show? Because they're casting for "The American Bible Challenge" with Jeff Foxworthy right now. Imagine a team of well-versed atheists taking first place! And all winnings go to charities. We just missed the Atlanta casting call but those of you in the Los Angeles, Chicago, and Dallas areas [Read More…]


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