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It's hard to believe that actress Natasha Richardson could fall on a bunny slope while skiing and be brain dead just hours later. As her death shocked the world, it has also increased awareness and worry among parents about brain swelling and bleeding when their child falls or gets hit in the head, whether it be while involved in sports or from any other kind of accident.
Dr. Robert Gochman, attending pediatric emergency medicine physician at Schneider's Children Hospital-Long Island Jewish Medical Center, says that more parents are requesting CT scans, which provide an in-depth view of the brain to detect injury, skull fractures, and bleeding, when bringing their kids into the E.R. for head injuries. "We've looked at the numbers of CT scans in the couple of weeks after Natasha Richardson passed, and the numbers over the same period of time last year, and it's 51 versus a dozen," he says. "It's very unusual. We're calling it the 'Richardson Effect.'"
While head trauma accounts for approximately 600,000 emergency room visits a year, along with 95,000 hospitalizations and 3,000 annual deaths in the United States (according to a 2001 study), the good news is that well over 90 percent of children's head injuries turn out to be minor and do not require surgery. "It's somewhat predicable who will develop problems and who will not," says Dr. Gochman. "The kids who arrive at the emergency department with a large bump on their head and an abnormal exam (e.g. lethargic, irritable, acting abnormally or having problems seeing or walking) are at the greatest risk of having a significant bleed in their head."
RELATED: Find doctors, urgent care centers, and hospitals near you
If your child has any kind of head injury, an immediate medical visit is recommended. Doctors will look at these factors to help them determine the degree of risk:
"Patients who have no loss of consciousness and whose main symptom is a mild headache are at low risk for an intracranial injury and at very low risk for an injury for which a surgical intervention needs to occur," says Dr. Peter Dayan, associate director of the division of pediatric emergency medicine at Morgan Stanley Children's Hospital of NewYork-Presbyterian in Upper Manhattan. "The likelihood of any internal bleed in patients of minor accidents is less than five percent."
The most common diagnosis of a head injury is a concussion, which Dr. Erik Larsen, associate director of emergency medicine at White Plains Hospital in White Plains, explains is a loose medical term that means that the brain has been rattled a bit. While many times a child will lose consciousness with a concussion, "Once someone's lost consciousness for more than five minutes," he says, "we've upped our worry level. And that certainly ups our intervention."
At the emergency room, doctors will conduct a full evaluation and physical exam, and look for signs like amnesia or partial memory loss, testing the child to see if she is able to retain new information. They'll also look for a previous history of head trauma and any kind of bleeding disorder, as well as signs of seizure, numbing, or weakness. They'll conduct X-rays and CT scans when appropriate.
"There's nothing like the power of observation," says Dr. Larsen. "The vast majority of the time, symptoms are going to manifest themselves in the first four hours. In 24 hours, 99 percent of the time, you'll find you don't have a serious head injury. We like to hold onto patients for about four hours and make a decision as to whether they need to be admitted and see a neurosurgeon."
Dr. Dayan agrees that patients with more severe intracranial injuries usually have symptoms that present themselves immediately or within a few hours after the incident. "It's quite uncommon for there to be no symptoms, and then suddenly symptoms present themselves later," he says. While there can be a lucid period when the child is awake and interacts, Dr. Dayan says that the patient is not symptom-free during this period, and will have symptoms that a parent would worry about, such as a progressive headache.
These symptoms can signify pressure building, which can come from bleeding or bruising of the brain. However, Dr. Dayan says, "The likelihood of needing an operation is quite low. Many times the bleeding stops on its own."
RELATED: More local kids' health resources
Following are symptoms of possible intracranial injury:
"In Natasha Richardson's case, she had an epidural hematoma (bleeding in a free space in the head) and these are a common form of bleeding in kids," says Dr. Larsen. Dr. Gochman explains: "There is a large artery that runs along the side of the head. If you happen to crack your skull on that side, it's not uncommon to crack this artery. With an arterial bleed, the artery has a fair amount of pressure; it closes space between the brain and the skull. What will happen is that space will accumulate with blood, bigger and bigger, eventually to the point that it squeezes the brain… The brain is pushed down into your neck through a very small hole." This results in death.
In most cases, though, Dr. Dayan says that epidural hematomas are not fatal, and not as common as other types of bleeds, like a small cerebral hemorrhage. Very few of these hemorrhages in alert children (those who are not severely symptomatic), he says, need any type of surgery.
"If the injury causes only an epidural hematoma and the hematoma is evacuated promptly before the brain is "squeezed," there should be no significant residual deficits," says Dr. Gochman. "However, if the injury causes an epidural hematoma and a primary injury to the brain, there may be deficits even after the epidural hematoma has been evacuated."
If you're worried about your child, make sure to choose a hospital that has pediatric emergency specialists, Dr. Gochman advises. And if your child exhibits any warning signs of an intracranial injury, seek immediate attention. The first four to 12 hours are critical, he says.
"Generally, if a head trauma doesn't manifest itself in the first 24 hours, you're probably safe," agrees Dr. Larsen. "The good news is, wearing a helmet during at-risk activities like skiing, bicycling, (and skateboarding) is an excellent way to prevent the head injury."
Seek medical attention for any kind of bump on the head or head injury, with or without loss of consciousness, in babies and small children. (See symptoms above.)
Fevers are probably the most common complaint in the E.R., according to Dr. Larsen. Most often, a child's fever is caused by a viral infection that passes in two to three days. But, he warns, a high fever can signal meningitis or something more serious. For toddlers with a 102 fever, who are inconsolable, lethargic, not responding properly, not focusing, not giving a hint of a smile — "that's not a good sign," he says, adding that doctors are especially concerned when babies under 3 months old have a fever. That's because infants don't have the resilience to withstand a more serious infection, and can be easily dehydrated through fever and vomiting.
Seek help if:
A low-grade fever combined with a high stomach pain that moves to the lower right, vomiting, and not wanting to eat or move are signs of appendicitis. The doctor may ask the child to jump up and down; if he doesn't want to, it means the area is sensitive.
If you see your younger child (under age 2) holding her stomach, check to see if it's tender (she'll wince or cry).
Any kind of wound that doesn't stop bleeding after applying direct pressure for 10 minutes should be seen. Also seek medical attention if blood is coming out of the child's bottom, with or without poop. This will sometimes be accompanied by fever and abdominal pain or discomfort.
Call the New York City Poison Control Center at 212-Poisons or the general number at 800-222-1222. Kids can get sick very quickly.
Administer CPR and call 911.RELATED:
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4 Things to Know About Traumatic Brain Injuries
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Help Your Kids Set Their Own Boundaries
Preparing for the Worst: Teaching Toddlers About 911
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LITTLE EGG HARBOR TOWNSHIP — This year the Special Olympics New Jersey Summer Games had the help of 27 Pinelands Regional High School students who joined 3,000 other volunteers.
Pinelands Regional students have previously volunteered at the county level for the Special Olympics, but when the event was moved too far away several years ago, they were no longer able to volunteer.
But for this year's event, students in the Interact Club — whose motto is "Go Big or Go Home" — insisted on volunteering, and with the help of teacher and Interact Club adviser Erin McGuire, their push to help came to fruition.
With the help of the Great Bay Rotary Club partnered with Durham School Services, which provides transportation services for the Pinelands Regional School District, the student volunteers had a ride north.
"We like to try and support the students in our community who are doing good things. It's for a good cause and we're all part of the same community," said Patty Manzoni, general manager at Durham School Services.
Durham provided round-trip transportation to the games in Ewing Township earlier this month.
"We collaborate with each other. We're both philanthropic clubs who get together to give back. The students come in and volunteer their time to help us with our events, and in turn we'll pay for students to attend things like the Special Olympics," said Carol Turano, president of the Great Bay Rotary Club and director of the Schools Based Youth Services Program at Pinelands.
On June 8, the student volunteers departed Pinelands Regional at 5:30 a.m. for the games and returned 12 hours later after assisting 2,500 athletes in seven sporting events, from track and field to tennis. The majority of student volunteers worked one-on-one with athletes, assisting them to be sure they had everything needed to compete in the games. During the actual competition, the students cheered from the sidelines.
"It was amazing to watch the athletes compete. They were so proud of themselves, and we were so proud of them. By the end of the day we all felt so close we could cry. It was an amazing place to be," said Pinelands Regional junior Amanda Abbott.
"To watch all these kids come out and participate was a big deal. It was very moving," said junior Cody Bonicky.
The Summer Games, one of four major annual competitions in New Jersey, took place at The College of New Jersey from June 7 to 9.
Next year, the national Special Olympics will be held in New Jersey. Students from Pinelands Regional are already planning to volunteer again.
"I wish I could spend all my Saturdays volunteering. It was a fun experience to see the Special Olympics and the collaboration that everyone puts into it," said sophomore Sam Daddona.
Contact Donna Weaver:
Follow Donna Weaver on Twitter @DonnaKWeaver

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By Rita Rubin, USA TODAY
An emergency contraceptive pill that is effective for five days after unprotected sex earned the unanimous endorsement of a Food and Drug Administration advisory panel Thursday.
If the FDA follows its outside advisers' recommendation, which it typically does, ulipristal acetate would become the second "morning-after pill" on the U.S. market.
The other emergency contraceptive pill, Plan B One-step, which contains the hormone levonorgestrel, is approved for use up to three days after unprotected sex.
While only girls younger than 17 need a prescription to buy Plan B One-step, women of all ages would need a prescription for ulipristal. Scientists say both pills work by inhibiting ovulation.
A decision by the FDA is expected by late July or early August, said Charlie Mayr, a spokesman for Corona, Calif.-based Watson Pharmaceuticals. The company would sell the contraceptive in the USA under the brand name ella.
"It's our hope that we could launch the product in late 2010 or early 2011," Mayr said after the advisory panel voted 11-0 that the drug was safe and effective in reducing pregnancy risk if taken within 120 hours of unprotected sex.
The panel called the effectiveness data, which were based on research involving more than 4,000 women in the USA and Europe, "compelling."
Because ella hasn't yet been approved, Mayr said, he couldn't say how much it would cost.
The European Commission approved ulipristal in May 2009. HRA Pharma, a French firm that has entered into an exclusive licensing agreement with Watson in the USA, launched the drug in October 2009. It is marketed under the brand name ellaOne in 22 European countries.
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Rent The Science of Miracles 1st edition today, or search our site for other textbooks by Gregg Braden. Every textbook comes with a 21-day "Any Reason" guarantee. Published by Hay House, Incorporated.
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2013 was an exciting year for LiveCycle. I want to take a moment to update you on how we are continuing to invest and innovate in forms and documents, and provide an overview of our 2014 plans. In 2013, we introduced LiveCycle ES4, a major release that extends rich form and document experiences to mobile users. Shortly afterwards, we began integrating these capabilities into Adobe Experience Manager, enabling organizations to easily create, manage, and publish forms and documents in conjunction with a market leading web content management solution.
Arun Anantharaman, the Senior Vice President Adobe Digital Marketing Products, shares more about the 2014 plans, in this blog post.


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Except to indicate John's physical absence from the house, Charlotte Perkins Gilman's "The Yellow Wallpaper" occupies an otherwise internal narrative space that interrogates its very interiority. Think of Gilman's story as a house--structurally, it is nearly all interior, rarely departing from the scene of the bedroom but nevertheless emphasizing the interior/exterior dichotomy. Because this division gets reproduced in the organization of the bedroom, we would do well to consider how the bedroom in "The Yellow Wallpaper" is created as interior, and by this I mean that the bedroom is not a space innocuously located within the house's interior, but that the bedroom is internalized--that is to say--actively inner, not merely "inside" the home, but consciously constructed as interior and localized as the absolute antinomy of all that is external to it, which is everything. In "The Split Wall: Domestic Voyeurism," Beatriz Colomina asks, "[C]an there be a detective story of the interior itself, of the hidden mechanisms by which space is constructed as interior?" (74). If so, what of the hidden mechanisms? Would they resemble, in theory, the "faceless gaze" in Foucault's discussion of panopticism? (Discipline and Punish 214). John S. Bak succinctly argues that the room in "The Yellow Wallpaper" is not unlike a Panoptican; in keeping with Foucault, Bak explains that a power relation is established in the bedroom when "the subject [is made] visible and the observer's presence unverifiable" (41). The narrator is incarcerated within a bedroom that stares at her; she is surrounded by a hideous wallpaper that has a "recurrent spot where the pattern lolls like a broken neck and two bulbous eyes stare at you upside down" (Gilman 16). Gilman's narrator writes, moreover, "This paper looks to me as if it knew what a vicious influence it had!" and "[T]hose absurd, unblinking eyes are everywhere" (Gilman 16). The room may indeed resemble a Panoptican, as Bak argues, and the very idea that the bedroom is a contrived viewing apparatus with "hidden mechanisms" indicates a gaze that covertly seizes the body at any one point in time.
Here I depart from Bak and panopticism to propose that this gaze is instrumental in creating the bedroom as interior--peering inward and "interiorizing" the bedroom despite its already interior status. It is as if the space of the bedroom turns in on itself, folding in on the body as the walls take hold of it, epitomizing the narrator's growing intimacy with control.
Because the narrator experiences the bedroom in terms of John's draconian organization, she relies on her prior experiences of home in an attempt to allay the alienation and isolation the bedroom creates. Recalling her childhood bedroom, she writes, "I remember what a kindly wink the knobs of our big, old bureau used to have, and there was one chair that always seemed like a strong friend . . . I could always hop into that chair and feel safe" (Gilman 17). Ironically, Gilman's narrator cannot retire to the otherwise "personal haven" of the bedroom because she is always already there, enclosed within the attic room of John's desires, bereft of her own voice and personal history. The narrator's imagination is altogether problematic for John, who would prohibit his wife from further fancifulness: "[John] says that with my imaginative power and habit of story-making, a nervous weakness like mine is sure to lead to all manner of excited fancies, and that I ought to use my will and good sense to check the tendency. So I try" (Gilman 15-16). For Gaston Bachelard, who devotes himself to a phenomenological exploration of the home in The Poetics of Space, "imaginative power" is the nucleus of the home, if not the home itself. Memories of prior dwellings are for Bachelard a fundamental aspect of creating new homes based on a continuity with the past and past spaces. "[B]y approaching the house images with care not to break up the solidarity of memory and imagination," writes Bachelard, "we may hope to make others feel all the psychological elasticity of an image that moves us at an unimaginable depth" (6). Bachelard's "elasticity" infers that spatial depth and expansion are contingent upon a psychological flexibility of imagination. Gilman's narrator is notably denied this elasticity when her physician/husband attempts to prevent her from writing. "I did write for a while in spite of them," the narrator explains, "but it does exhaust me a good deal--having to be so sly about it, or else meet with heavy opposition" (Gilman 10). Bachelard maintains that it is through literature, "through poems, perhaps even more than through recollections" that we "touch the ultimate poetic depth of the space of the house" (6). By forbidding her to write ("[H]e hates to have me write a word," writes the narrator, before putting away her journal) John endeavors to deny the narrator her voice, as well as her psychological experience of physical space(Gilman 13).
John's condemnation of both the narrator's imaginative vagaries and her writing impels his wife to write in secret and to seek a kind of obscurity in the bedroom, because no one must "find" her writing (Gilman 17). Writing, then, becomes its own means for establishing interiority. But because so much of the story relies on looking and being looked at, both obscurity and secrecy are problematized for Gilman's narrator. Hidden, she cannot hide, and is always illuminated for her spectator-husband "when the sun shoots in through the east window" or when "the moon shines in all night when there is a moon" (Gilman 25-26).
The gaze does not effect subjectivity for the narrator alone, however, for both the narrator and John are produced by the look and the narrator's "looked-at-ness." Locked into position as spectacle, the narrator's consciousness is transformed with the knowledge that she is seen and that the seer knows her to be seen. Lacan writes,
The reciprocal nature of the controlling look seemingly maintains the narrator in her paralyzed state, even when John's wife turns to note her husband's presence and visage. Gilman's narrator discerns that "John is so queer now, that I don't want to irritate him" (Gilman 31). As she begins to consider changing her environment by peeling off the wallpaper, she comments that "John is beginning to notice. I don't like the look in his eyes" (Gilman 32). Looking from the seat of her captivity, the narrator observes her husband for any changes in his demeanor that would, presumably, indicate his awareness of her clandestine journal entries.
Gilman's narrator is very much an active and often surreptitious looker, and there are moments in the journal when the narrator seems to successfully subvert the dominant gaze. The narrator catches sight of John's surrogate gaze, his sister Jennie. "There comes John's sister," writes the narrator, "Such a dear girl as she is, and so careful of me" (Gilman 17). The narrator describes John's sister as an "enthusiastic" housekeeper who attends to the narrator's activities and whereabouts--so much so that the narrator writes, "I must not let her find me writing" (Gilman 17). There are times, however, when the narrator disrupts her near-constant status as spectacle and evades Jennie. Looked at, she is also looker. Gilman's narrator watches Jennie from her window and writes, curiously, when Jennie is outside the house. "I can write when [Jennie] is out," she says, "and see her a long way off from these windows" (Gilman 17-18). When Jennie is in plain view, the narrator proceeds to write. It is as if writing allows the narrator to look. The narrator watches Jennie as she writes, and the narrator writes because she can see Jennie, the one who looks.
The narrator is always looking from within the context of her husband's gaze, however, and her gaze is seldom a privileged look of power or control--too often her look is subject to interruption. When the narrator locates Jennie outside the house, for example, and then returns to her journal to ponder "a strange, provoking, formless sort of figure, that seems to skulk about behind that silly and conspicuous front," she soon stops to exclaim, "There's sister on the stairs!" (Gilman 18). When the sister arrives, the narrator must discontinue her writing and avert her gaze from the paper, as if ceasing to write necessarily means ceasing to look. The narrator once again closes her journal and presumably joins the sister elsewhere.
The narrator does transform what she refers to as "dead paper" into a powerful narrative that engages the symbolic significance of the wallpaper (Gilman 10). The wallpaper circles the bedroom with curves that "plunge off at outrageous angles" and "destroy themselves in unheard of contradictions," eventually shaking with the movements of a woman crawling behind it, "all the time trying to climb through" (Gilman 30). The woman behind the wallpaper becomes more prominent as the narrator continues to write, and John's wife eventually realizes that it is she who is captive and confined within the patterns of the paper. She declares that she too will "have to get back behind the pattern when it comes night" (Gilman 35). John and Jennie are "secretly affected" by the wallpaper and grow more concerned and suspicious, perhaps even threatened, by the (wall)paper--the narrator even catches Jennie "looking at the paper!" (Gilman 32, 27). The journal's power is intimately connected to the paper on the wall, and reveals the narrator's oppression and John's deceitfulness throughout the examination of the wallpaper. The journal's caveat is, moreover, written twice: the narrator's captivity and subsequent demise is inscribed in the journal and in the wallpaper (I am reminded of the phrase "read the writing on the wall").
It is essential for the narrator to believe that she is writing on dead paper, but she writes for an audience regardless of the paper's "lifelessness," and brings another consciousness into the bedroom (the introduction of an audience would seem to defy the deadness of the paper). But even before Gilman's narrator introduces a real or imagined audience, John's presence and access to the bedroom is enough to complicate matters and force us to question whether the narrator is indeed writing in secret. What is it, then, to write in a privatized space that is subject to a constant watch? Let us also ask what John's presence represents, for I would argue that John's surveillance compromises the integrity of the journal as female writing. Can the journal, for example, exist outside of a phallocentric order of language? Is the journal a male text? If this is indeed the case, John is not only a reader of his own script, but very much its audience--present both in and directly outside of the bedroom.
"The Yellow Wallpaper" is, in some ways, a male text punctuated with female silences, a powerful discourse that allows itself to be interrupted with margins, so that its dominance can be reaffirmed in a silencing of the other. The journal entries are divided so that each are set apart from one another,
Each time the narrator closes her journal (at times against her will), she marks the page with the absence that keeps her present in the bedroom, and a silence that is her utmost interior self. An example from the story will help me to illustrate my point. When the narrator confides in John that the house retains a certain "ghostliness," John blames a draft and shuts the window (Gilman 11). The quixotic suggestion that the house contains otherworldliness--other worlds or perhaps just 'others'--incites John to shut the window, thereby shutting the narrator within the strange history of the "hereditary estate" (Gilman 9). This idea of getting "shut inside" is repeated within the narrative's very structure. The simple act of closing the journal somehow indicates that the narrator gets shut within a legacy that is not her own. However outside the body of the text, the spaces that separate the narrative are never outside the body of the journal and the walls of the bedroom. The narrator's silence is her interiority, marked by the story's internal architecture.
But the absence on the page and the narrator's silence are not synonymous, and although the narrator's margins seem to suggest, as Catherine Golden notes, her "fragmented sense of self," they are not entirely passive (193). If we accept "The Yellow Wallpaper" as a kind of conflict between John and the narrator, we can follow what is, in one sense, the record of an argument. John continually dismisses the narrator, saying, "[Y]ou really are better, dear, whether you can see it or not. I am a doctor, dear, and I know" (Gilman 23). John trivializes her and reduces the narrator to "his darling and his comfort" who must take care of herself "for [John's] sake" (Gilman 22-23). It would seem as if the narrator never answers John on her own terms. But there are those moments when the narrator answers John by not speaking at all, when, in the same way she chooses to write--"I don't know why I should write this. . . . But I must say what I feel and think in some way"--she chooses to close her journal and fall silent (Gilman 25). In doing so, she does not fall outside of John's language. But the narrator's blank spaces in-between journal entries are a presence that discompose what precedes and follows them. In a sense, the story is re-written with the silences that separate each entry. The empty spaces between entries are distinct pauses that, in their silence, call for a reconsideration of language, and while they do not defy John, they gesture towards him--at once implicating John in his failure to quit the operations of language, but also inviting him to join her in the margins of her text. We do not know what the narrator does when she is not writing, but the journal does not give way to a passive silence when the writer is engaged elsewhere. Rather, the journal's margins break up the continuity of the narrative.
From this perspective, John's sense of coherence--his male experience of unity and security--is splintered when the linear discourse of the narrative is interrupted by an argument. In this way, John is open to a kind of ambivalence in which he exercises the power to define, but in a sense also enjoys the prospects of evading and disrupting this power if he allows for the occasion to experience himself as fragmented, feminine. But this is a mock deferment of power; if John experiences himself as something other--and he does at the story's conclusion, and faints because of what he sees, recognizes--it is because he exercises the power to do so, he chooses it, he asserts a control that permeates every act, every pleasure. In the "allowing," John is only ever referencing himself. There is no real transgression when and if permission is involved, for permission refers to a system of convention that never transcends its subordinate position to authority.
If John is his wife's "readership," albeit an imposed one, then the narrator can in no real way write covertly. At the same time, it is because John defines his wife as someone to be hidden that Gilman's narrator can write as if she writes in secret, which ultimately invites an audience to create the journal as the secret that it would be. This in itself presents an ironic and important shift, for the journal must become available to a public greater than John's single audience in order for it and its author to exist as secrets.
If we compare the composition of "The Yellow Wallpaper" to a document written by a male householder in his personal study, such as the memoir of the paterfamilias Mark Wigley discusses in "Untitled: The Housing of Gender," we will see how Gilman's narrator also reformulates herself because she writes from within the bedroom. The paterfamilias, who consolidates his control by producing the family documents in the private "study," locks them there:
Although it was the householder who traditionally wrote the memoir to preserve his family's history, Gilman's narrator deviates from this at one time predominantly male convention by re-presenting her family in her journal. Wigley is quick to point out that women were historically kept from their husband's private studies, far from the "hidden center" that Gilman's narrator ironically occupies (348). John's methodology in no way compares to the paterfamilias' fifteenth century spatial rationale in this respect, for John does not offer his wife even a semblance of household authority, not even so much as the care of her child. Instead of relegating his wife to housework, like the paterfamilias, John locks the narrator in a perverse permutation of the "study," where John's scientific practice is a close study of his wife. For centuries women have carried out the domestic duties that sustained their husbands' houses, and never gained access to the secrets their husbands kept. But because the narrator is her husband's secret, she can manipulate the image of the house and "house images" from the hidden center of the bedroom.
John refuses narrator and narration with an architectural charade that would persist so that each room extends from and covers over its hidden interior. The house conceals the bedroom from the household, and the bedroom, in turn, veils John's associations with the feminine--artifice, instability, foolishness, excess, childishness--but inaugurates them as well. John's repression of language and, inevitably, sexuality, is reiterated in the organization of the bedroom. While there are bars on the windows, and "rings and things in the walls" for children, the narrator is in no way accommodated so that she may write comfortably--on a writing desk, for example, an otherwise common component of the nineteenth century bedroom (Gilman 12). Both language and the body become private, privatized, so that the narrator rarely (if ever) has a voice of her own.
Perhaps because secrecy implies a preoccupation with sexuality, John relegates the narrator to the helplessness and apparent sexlessness of a child, exhausting her of any identity not associated with the bedroom and John's desire for complete mastery and possession of his wife. Secreted away and silenced, the narrator is situated in the juvenile state of the bedroom where John "takes away her ability to communicate" (Kasmer 6). Speaking only in systematic terms of place, Gilman's narrator writes: "It is a big, airy room, nearly the whole floor, with windows that look all ways," and, "It was nursery first and then playroom and gymnasium, I should judge; for the windows are barred for little children" (Gilman 12).
Nowhere is John's regulation and culpability more explicit than in the passage describing the bedroom as a one time nursery and later a room in a boys' school. The disciplinarian walls of the bedroom are their own narrative that bespeak control and the elision of sexuality. In a discussion of eighteenth century boarding schools, Foucault interrogates the arrangement of boys' bedrooms as a mode of language not unlike the systemic spatial discourse in "The Yellow Wallpaper." Situated in wide open spaces that regulated personal privacy and sexuality, the bedrooms were a part of a "regime of discourses" in which silence was a major factor:
John refers to the narrator as his "little girl" and repeatedly coos such phrases as "blessed little goose" or "bless her little heart" when speaking to her, as if these alleged terms of endearment could return his wife to a pre-Oedipal, perhaps even pre-linguistic stage of early childhood development (Gilman 23). Lisa Kasmer suggests that it is in this way that "[John] mimics the original insertion of the child into a system of language" (5). In Lacanian terms, this system of language determines meaning according to the law of the father, in which case meaning is articulated within a hierarchical system of difference and opposition. Here the experience of the feminine is excluded. Kasmer argues that, by placing his wife in the bedroom and reading stories to her before bed, John constructs a perverse re-enactment of the narrator's entry into the symbolic order, where the narrator's identity is (and will be) fragmented and limited by discourse. John's logocentrism is affirmed, moreover, when Gilman's narrator explains that "John is practical in the extreme. He has no patience with faith, an intense horror of superstition and he scoffs openly at any talk of things not to be felt and seen and put down in figures" (Gilman 9). I would like to turn the tables, however, and suggest that, while John is symbolically returning the narrator to a pre-linguistic site, he does not necessarily do so in order to re-enact her initiation into the language of male privilege.
Let us instead ask whether John's reification of his wife in the bedroom-nursery is his attempt in part to escape mastery and definition. No doubt these terms seem contradictory. But what if, by "fixing" the narrator in the bedroom and objectifying every aspect of her femininity and sexuality, John forms a relationship with his feminine self? This is not to say that John has achieved, or aspires to achieve, an experience of the female other as she herself experiences difference between masculine and feminine. What I am interested in is the possibility of John becoming his own other the moment his masculine experience of unity is disrupted, and whether John can accept that he, in some way, resembles the narrator. Theoretically, John could look to his wife and see that, apart from the difference that traditionally separates female from male, John is somehow like her.
John would make himself available to this experience of self-difference by (re)producing a pre-linguistic existence in the bedroom where "the rules of men" cease to exist. He would create the occasion for husband and wife to share in a mutual pleasure that makes no reference to convention. The bedroom would be a place where John surrenders himself to the feminine, rather than imprisoning it there. Pleasure would transcend difference. A conversation could then ensue that seeks to evade a "master" dialogue and function within the private space of subtlety shared between husband and wife. But it is Gilman's narrator who "gloomily" asks John, "'And you won't go away?'" (Gilman 24). The ambiguity of the question (does she or does she not want him to go away?) is reserved for John; it is his task to search his wife for her meaning (a meaning that is perhaps not so conclusive).
We know, however, that he does not. Consider again how John confines the narrator within the structure of which he has, in one way or another, conceived. John's mastery of architecture is a metaphor for the mastery of his wife--his meaning is reflected in the bedroom, the region of his power where the narrator resides. John, notably, takes every precaution to prevent himself from forming any relationship with the feminine that does not assert his dominance and authority.
But this familiar position needs to be reconsidered--it is not enough to merely identify John as the source of the male gaze and the figure of male desire. Another look at "The Yellow Wallpaper," and we see that we need to re-evaluate John in conjunction with the bedroom. The space of the bedroom is never purely repressive, and we must therefore ask what gets produced by and within the confines of the attic walls.
A review of the house itself suggests that an architectural hierarchy of privacy increases level by level. At first, the house seems to foster romantic sensibilities; intrigued by its architectural connotations, the narrator embarks upon its description immediately--it is the house that she wants to "talk about" (Gilman 11). Together with its landscape, the house is a "most beautiful place" that stands "quite alone . . . well back from the road, quite three miles from the village" (Gilman 11). The estate's grounds, moreover, consist of "hedges and walls and gates that lock" (Gilman 11). As such, the house and its grounds are markedly depicted as mechanisms of confinement--ancestral places situated within a legacy of control and supervision.
These are the exterior apparatuses that create and enforce the bedroom as a monitoring device, structuring interior space by exceeding its very boundaries, expanding beyond the egresses of the household in an effort to maintain the interior/exterior polarity. The result is a privacy within the privacy of the home. The bedroom becomes the locus of what Wigley calls a "secret privacy;" it is its own interior wrought with overtones of mystery and intrigue (345).
Because the bedroom in "The Yellow Wallpaper" veils both sexuality and the female body, and is involved in the production of secrets, the bedroom and the body are linked: both are secret, and both contain secrets. Associated with connotations of private, intimate, enclosed space, the bedroom ultimately suggests other such spaces. The bedroom becomes a metaphor for the female body and makes the body manageable, controllable. Writing about the body and secrecy, Ludmilla Jordanova notes:
The bedroom can be substituted for the female body, and thereby represents "the enigma and threat generated by the concept of female sexuality in patriarchal culture" ("Pandora" 63). Concealing sexuality but also reifying the female body as and in the forbidden space of the bedroom, John invokes spatial and bodily associations of enclosure and mystery.
While the bedroom is a hermetic enclosure that never invites the social element into it, it reserves a strange voyeuristic entrance for John by way of an erotic system of locks. Recall the barred windows in the bedroom and the gate at the head of the stairs. The narrator writes,
It is as if the bedroom is a bulwark that works to maintain the observer and the observed in their subsequent positions, upholding the hierarchy of the house. "The spatial structure of the house," writes Wigley, "is maintained by both the system of locks, bars, bolts, and shutters that seal the openings and a controlling eye" (338). Such a system of control anticipates a subject who necessitates surveillance, and while access is restricted except to the privileged--the one who possesses the key--this same administration of control maintains the structure of the house and the roles of those within it. And yet, although locks presuppose a danger or threat, and although they operate to fortify the house in order to prevent potential "leaks" or "openings," locks at one and the same time create openings even as they are meant to guard against them.
A lock is ambivalent. It divides space by sealing it off, forming an inside and outside, creating what Bachelard calls a "dialectics of division" (211). But the lock also provides access in the sense that it is manipulated in part by its own composition--the keyhole, for example. Its opening, or aperture if you will, is the peephole, a contrived viewing device that allows the viewer a surreptitious look and consequently the power to produce the private subject as one who knows herself to be seen and recognized as hidden. As one of the smaller and more indiscernible gaps in the home, the peephole is limited to a small range of vision and, as a result, only allows for the viewer to experience the object fragmentarily. Only select parts of the body can be seen and optically possessed at a single time, heightening the eroticism of the look and diminishing the integrity of the body's entirety, for now parts of the body can be fetishized in their isolation.
This "new" privacy formulated within the bedroom is the occasion for illicit sexualities and, importantly, their regulation. The bedroom is involved in a certain economy, for just as the house can domesticate and subdue the woman, the bedroom in "The Yellow Wallpaper" is instrumental in eliminating the "excess" associated with the feminine. Excess even within the bedroom is an impropriety. Sensual pleasure is consequently transferred to the intellectual pleasure of enforcing a regime of control over the body and the bedroom. By reducing the narrator to the object of a voyeuristic gaze, John removes himself from any immediate sexual pleasure that may be derived from within the near-anarchic space of the bedroom. This "loss" of sexual experience is recuperated as John demonstrates his authority, which not only distances him from pleasure, but separates him from his wife. "It is so hard to talk with John about my case," writes the narrator, "because he is so wise, and he loves me so" (Gilman 23).
The motifs of space and secrecy in "The Yellow Wallpaper," in concert with the narrator's domestication and sequestration, repeatedly suggest that the narrator is a posed threat to her husband, a dangerous woman whose secrecy and caprice may tax the walls of the home. Because the house itself implies a hidden interior but also warns against it, it would seem that the narrator is this forbidden interior evoking both terror and mystery.
The narrator's nervous condition and mental health serve as a constant reminder of the impulsive nature of women--an emblem of danger, but also one of intrigue. When the narrator indicates that she has improved not in mind but in body only, for example, John insists that she is well indeed, and then adds, "There is nothing so dangerous, so fascinating, to a temperament like yours. It is a false and foolish fancy" (Gilman 24). Such, then, is woman for John-- foolish, false, and deceptive--the alluring trick of femininity that necessitates walls and boundaries, gates and bars, and a controlling gaze.
John's fascination with observing his wife can be attributed to a physician's distorted interest in the body. We can certainly speculate that, as physicians at the turn of the century were beginning to explore the female body assisted by "developments" in gynecology, John may have been equally interested in these new techniques of viewing the female body. More so than ever, the patient and her body became subject to the physician's privilege to intimately observe and diagnose her.
Ostensibly, the narrator's illness is not physiological, but mental. John concludes that his wife is well except for a "temporary nervous depression--a slight hysterical tendency," a diagnosis that is confirmed by the narrator's own physician-brother (Gilman 10). John's profession, and moreover his diagnosis, is a license to closely observe, scrutinize, watch, gaze upon, seek out, and investigate his wife and her ailments, which consequently permits him to deploy seemingly inexhaustible (medical, scientific) means for (re)formulating and (re)presenting the hysteric female--not only for the purpose of giving her discursive representation, but in order to "de-mystify" her mystery and reassure himself that she is, finally, calculable, harmless, and non-threatening. To speak of John in psychoanalytic terms, his preoccupation with his wife, her body, and her confinement, reveals unspoken anxieties: the fear of castration and the "lack" the female body represents.
There are, as Mulvey explains, two ways a man can potentially escape castration anxiety. One is a voyeuristic route in which the man is concerned with re-enacting the "original trauma." Here the man is concerned with ascertaining guilt and asserts his authority as the punisher or rescuer of the guilty female. The second route denies castration with the substitution of a fetish object so that, in Mulvey's words, it "becomes reassuring rather than dangerous" ("Visual Pleasure" 14). John's compensation for his fear of castration is best accounted for as this first voyeuristic tendency, but there is a complex conflation of both mechanisms.
The bedroom is organized to allow for John's voyeurism and preoccupation with implicating the narrator in some transgression. "The Yellow Wallpaper" satisfies this somewhat sadistic desire for narrative--that is, the desire to witness some kind of transformation within the temporal framework of a story. Voyeurism, it seems, relies on the moment in which the subject is "caught" in the midst of some act. Caught--and I pun here intentionally--within her husband's diagnosis, the narrator must refrain from writing and remain within the bedroom, a prescription which is, ultimately, the cause of her decline. And this, apparently, is the "story" tailored to meet the expectations of the-one-who-looks, which is to say that "The Yellow Wallpaper" precedes itself. That is, the product of the gaze, "The Yellow Wallpaper" produces itself as that which the gaze demands. The story has already been written.
Let us consider this further. Unable to escape John's codes of propriety, the narrator turns to her journal, which is perhaps a natural gesture--can we conceive of another alternative? "The Yellow Wallpaper" is, in this case, an imposed confession, and we therefore anticipate some discovery associated with guilt (in keeping with a voyeuristic sensibility, we prepare ourselves for the character who is unraveled or who unravels because of her guilt). We expect John to find his wife in the midst of writing and "punish" her, just as he threatens to punish her for not improving rapidly by sending her to Weir Mitchell; we imagine that John will realize that his wife deceives him when, for example, she lies awake at night instead of sleeping. "I don't sleep," she writes, ". . . . And that cultivates deceit, for I don't tell them I'm awake--O no!" (Gilman 26). In this way the narrator appears to constitute herself as a secret, with the bedroom as her mask. But it is John who forces the narrator to write covertly--without this secret, John would lack the necessary incitement to discourse. John therefore not only makes discovery eminent, but ensures what material will be penned into the journal by giving the narrator no alternative but to write, however secret her writing may (or may not) be.
The conditions of the bedroom, in turn, depend upon being written, so that the very private act of writing inscribes privacy and guilt in the spatial structure of the bedroom. While it first appears that John intends to manage the threat of female sexuality by localizing it in a hermetic, quarantined space, his effort to elide sexuality is destined to fail by virtue of his excessive measures. John's extraordinary effort to refigure the bedroom as a private space suggests that he instead aspires to ensure that the "unspeakable" will flourish and persevere within a propagation of discourse, and that the guilty will be punished and/or saved in this process, satisfying his drive to implicate the narrator.
In this way, supervision gets intricately connected to writing and the tedious process of keeping--and hiding--the journal. Because multiple, perhaps even perverse, sexualities can potentially form in the bedroom behind closed doors, privacy requires an even more private means of monitoring the activities that occur within its realm. Writing becomes a way of looking, a way of knowing, and a way of establishing guilt. If the journal depends upon its own discovery, then the narrator has conveniently documented her secret self for reasons far beyond the therapeutic act of writing. Even though writing is forbidden, and specifically because it is forbidden, the journal is a part of John's intent not to efface language and sexuality, but to produce a proliferation of both, culminating as John's erotic interest and causing a kind of imbrication of sexuality and power.
The bedroom, in the midst of this equation, becomes the overvalued fetish object that nevertheless threatens to reveal what it covers over. John's time is spent formulating the bedroom in a way that conceals his associations of anxiety and desire with the female body, but also re-introduces them. The bedroom's exterior, its surface, and its outer system of locks, mask a hidden interior that presumably contains a mystery--and a dangerous one. The bedroom in "The Yellow Wallpaper" generates this tension between the desire to know and the fear of knowing: on one hand, the enigma of the bedroom invites curiosity and beckons us towards discovery; on the other hand, its over- determined organization is seated within a firm resolution to build up the bedroom, so that what it hides remains unrealized. Mulvey writes, "Out of this series of turning away, of covering over, not the eyes but understanding, of looking fixidly at any object that holds the gaze, female sexuality is bound to remain a mystery" ("Pandora" 70).
This mystery-bound-to-remain-a-mystery is exposed when the (voyeuristic) subject and the (fetishistic) object exchange places. At the story's close, the narrator is determined to "astonish" John. "I don't want to go out," she writes, "and I don't want to have anybody come in, till John comes. I want to astonish him" (Gilman 34). John comes home to find that she has "locked the door and thrown the key down into the front path" (Gilman 34).
What, finally, is the narrator's transgression, but madness? Instead of discovering his wife secretly writing, as we might have imagined, John finds the narrator in a mad state, reduplicating herself ad infinitum in the yellow papered walls, and "out at last," despite him. It is as if the narrator alters her position as object of the voyeuristic gaze and emerges as her own confinement. She is the physical manifestation of her imprisonment-- she has become the bedroom's effect. Creeping about stealthily, the narrator acts out her very interiority. She reveals, in turn, "all" that the bedroom hides, parading the bedroom's architectural charade as she circles its perimeter. Her insanity makes her a spectacle, but John is unable to see, unable to understand, and cannot, finally, accept the threat of exposure.
John's disavowal is marked by his silence. When the narrator explains to John that the key is outside the house, it is enough to "silence" him. Here the story takes on a new dimension. The narrator invites John inside, but in a manner that seeks to efface the antinomy between inside and outside, interior and exterior. Throwing down the key to John is, afterall, an intrusive gesture. If John were to accept this invitation, he would come into the bedroom differently; he would enter from an outside that has evidence of the narrator's presence there. He would enter into a labor of polyvalent meanings that never get resolved. Instead, meaning is somehow delayed in this moment when no one speaks. The narrator pauses, and allows the bewildered John time to respond. It is, perhaps, a moment of mutual understanding: it will take the collective effort of both husband and wife to establish a narrative between them that does not defer to a patriarchal mastery of language. "The Yellow Wallpaper" is to remain the testimony of a monologic "exchange" in which neither husband nor wife are able to understand one another. Both fail to recognize the intentions and meanings of the other because they speak from within the same prescribed limitations, and because denial, finally, incarnates desire.
John does enter the bedroom, but is unable to abandon the conventions that separate him from his wife. He finds in the attic a woman who has slipped from his certain reality and refigured herself somewhere between the real and the not real, between place and placelessness, where space is so elastic that John cannot comprehend it. The bedroom becomes, ironically, a space too intimate for John, for the reason that there is nothing--and nowhere--to hide.
Bachelard, Gaston. The Poetics of Space. New York: Orion, 1964.
Bak, John S. "Escaping the Jaundiced Eye: Foucauldian Panopticism in Charlotte Perkins Gilman's 'The Yellow Wallpaper.'" Studies in Short Fiction. 31, (1994): 39-46.
Colomina, Beatriz. "The Split Wall: Domestic Voyeurism." Sexuality and Space. Ed. Beatriz Colomina. Princeton: Princeton Papers on Architecture, 1992. 73-128.
Cromley, Elizabeth. "A History of American Beds and Bedrooms." Perspectives in Vernacular Architecture. 4 (1992): 170-178.
Foucault, Michel. Discipline and Punish: The Birth of the Prison. Trans. Alan Sheridan. New York: Pantheon Books, 1977.
------. The History of Sexuality, Volume 1: An Introduction. Trans. Robert Hurley. New York: Pantheon Books, 1978.
Gilman, Charlotte Perkins. The Yellow Wallpaper. New York: Feminist Press, 1973.
------. The Living of Charlotte Perkins Gilman: An Autobiography. New York: D. Appleton-Century, 1935.
Golden, Catherine, ed. The Captive Imagination: A Casebook on "The Yellow Wallpaper." New York: Feminist Press, 1992.
------. "The Writing of 'The Yellow Wallpaper': A Double Palimpsest." Studies in American Fiction. 17 (1989): 193-201.
Haney-Peritz, Janice. "Monumental Feminism and Literature's Ancestral House: Another Look at 'The Yellow Wallpaper'" Women's Studies. 12 (1986): 113-128.
Kasmer, Lisa. "Charlotte Perkins Gilman's 'The Yellow Wallpaper': A Symptomatic Reading." Literature and Psychology. 36, (1990): 1-15.
Jordanova, Ludmilla. Sexual Visions: Images of Gender in Science and Medicine between the 18th and 20th Centuries. London: Harrester Wheatsheaf, 1989.
Mulvey, Laura. "Pandora: Topographies of the Mask and Curiosity." Sexuality and Space. Ed. Beatriz Colomina. Princeton: Princeton Papers on Architecture, 1992. 53-71.
------. "Visual Pleasure and Narrative Cinema." Screen. 16 (1975): 6-18.
Wigley, Mark. "Untitled: The Housing of Pleasure." Sexuality and Space. Ed. Beatriz Colomina. Princeton Papers on Architecture, 1992. 327-389.


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Local students given opportunity to preach during recent unique festival
Written by Janna Ross
Tuesday, 22 February 2011 00:00
In early January as everyone was trying to get back into their regular routine, one local student was preparing for an opportunity to do what he loves to do and what he has a clear passion for.
Colt Barker, a junior at Charlestown High School, was preparing his sermon to preach during the 2011 National Festival of Young Preachers. The unique festival brings young students from across the country with a passion about ministry together for three days to learn from each other, inspire each other and grow their faith together
Last Updated on Tuesday, 22 February 2011 12:58
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Speeding Gets Three Arrested in Clark County
Written by Janna Ross
Tuesday, 22 February 2011 00:00
On today's date (2-22-11) shortly after noon, a trooper from the Indiana State Police Post at Sellersburg stopped a silver BMW for speeding on Interstate 65 in Clark County. As the trooper was talking to the occupants she could smell an odor of Marijuana coming from the vehicle. After speaking with the four occupants of the vehicle and furthering her investigation Marijuana was located inside of the car.
Last Updated on Tuesday, 22 February 2011 13:07
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Man and Women Arrested after Being Found in Women's Bathroom
Written by Janna Ross
Tuesday, 22 February 2011 00:00
This past Saturday morning shortly before 1:30 AM, troopers from the Indiana State Police Post at Sellersburg were dispatched to the Loves Truck Stop in Memphis to investigate a complaint of a male subject passed out in the women's restroom.
Last Updated on Tuesday, 22 February 2011 13:11
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PPSB and CTOWNtv to broadcast Friday's Pirate basketball MSC title contest live as Pirates host Salem
Written by Janna Ross
Tuesday, 15 February 2011 00:00
Charlestown Pirate Pride Sports Broadcasting, in cooperation with CTOWNtv, will broadcast this Friday's Charlestown Pirate Basketball contest versus Salem, live from the CHS Sports Arena. The broadcast will be streamed live over the internet, including video; beginning at approximately 7:15 p.m. with the Grayson Funeral Homes Pre?Game Show.
Last Updated on Tuesday, 15 February 2011 11:11
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Charlestown to celebrate success of City Square Makeover Project, honor 2010 Volunteer of the Year
Written by Janna Ross
Tuesday, 15 February 2011 00:00
National Volunteer Week is not until April 10-16 but the City of Charlestown has a lot to celebrate so they will start celebrating early.
The celebration will begin on Friday, March 11 with an invitation only program and reception. The night will celebrate the success of Phase I of the Revitalization Project and the 2010 Volunteer of the Year, Dixie Busby.
Last Updated on Tuesday, 15 February 2011 11:12
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More Articles...
Pirates keep rolling on the hardwood, knock off Braves and move to #11 in AP Poll
Two injured in recent accident on State Road 60
Indianapolis Man Arrested with Cocaine
Pirates come from behind to take lead in MSC race
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Understanding culinary arts and what they can teach you
Going through culinary school is more than just learning how to make various meals, it's about learning how to behave in the kitchen. You can enter a culinary course without any previous knowledge about cooking, and you will learn at the same pace as everyone else. The most important aspect of the culinary arts school is that it will teach you some basic cooking techniques. Those techniques are the basis...
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Watches are vital in our livelihoods. They help us keep time in everything we do. They say time is money, and for sure it is but to get the best watch you also need to get the best time piece money can buy. Watches are time pieces used for time keeping that is worn on the wrist, it functions continuously no matter the speed at which one is moving. Watches have evolved and transformed through the ages thanks to technological advancements.
When we compare the present with the past, spring powered watches to analog- numbers are mounted to the body of a wristwatch where the hour hand and the longer minute hand rotate to show time-, electronic, they have advanced through time to digital- where time is showed by numbers-, and to now as smart watches.
The common uses of watches are, but first the functions; all show the time, date, day of the week, the hour, what minute of the hour it is, what second of the minute it is. Most watches are used as fashion accessories and most for sports.
In sports most athletes use watches for swimming, running, working out, fitness and thanks to technology, tracking your movement, your heart rate, the distance, speed and time of the athlete. The number of watches that are used by athletes is determined mostly by their affordability, effectiveness and quality.
There are however a number of models that top the list as the best smart watches for athletes,
Takes the number one spot, it has style where it has a 1.3 inch P-OLED screen under a gorilla glass. A P-OLED glass a new line of displays that enable beauty, clear, lighting and efficient display. It's powered by a 410 battery that can last 2-3 days, has a snapdragon (functions like a normal android processor) 400 processor, 512MB RAM and a 4GB storage. You can use it for navigation, keep your heart rate. Goes for about $263.95.
Though it only works with apple devices such as the IPhone 5,5s and the new series has sleek and metallic curve common of most apple devices. Features a slick and comfortable wrist band, comes with a 42mm and a 38mm screen, a digital crow on the side used for scrolling and zooming with little interference with the display. A dedicated button for accessing your contacts where you can be able to send and receive text messages, speaker for taking calls. It has a built in sensor that tracks your movement, heart rate and activity which is transmitted to ones iPhone or iPad for future analysis, has a Nike+ Running app that helps an athlete during training. Listening to music transferred from your phone or pairing with a Bluetooth headset/phones. Goes for $349
The latest of Sony's smart watch line is built with a powerful running and sports features giving the LG watch R a run of its money. Comes with 4GB of internal memory running on android system updated to enable use of Bluetooth headphones.
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Understanding culinary arts and what they can teach you
Going through culinary school is more than just learning how to make various meals, it's about learning how to behave in the kitchen. You can enter a culinary course without any previous knowledge about cooking, and you will learn at the same pace as everyone else.
The most important aspect of the culinary arts school is that it will teach you some basic cooking techniques. Those techniques are the basis of a successful kitchen, and they lie at the foundation of every successful dish.
Basic techniques you will learn in a culinary school
The first thing you will hear about cooking is mise en place. This is more than just a technique; a real chef has to make it a way of thinking. This is a term that means the measurement of all ingredients for a meal as well as preparations of all those ingredients. This makes cooking a lot easier, as you have all ingredients ready to use. Every person who starts working in a kitchen will have to go through a learning period in which they will prepare ingredients for various meals. You will need excellent knife skills if you want to work in the kitchen as they will make mise en place faster and easier.
Several different knife techniques exist, and you will have to learn them all to work on various ingredients. The chef's knife is the most valuable tool to a cook, but you can't forget about other specialized knives. Cutting vegetables is just one way to use a knife, and even within that you have various cutting techniques. Different dishes require different shapes and sizes of ingredients, and it all comes down to knowing those techniques.
Cutting and preparation of meat is also something you will have to learn. There are several styles of preparing meat, and that subject is rather complex, and thus we will leave it for another time. Cutting meat is a skill you will acquire through culinary school. You will learn how to truss and quarter a chicken and divide it into various portions.
Other things you will learn in a culinary course
Making a sauce that will go perfectly with a meal is something many of us don't know. And even when we make the sauce, we can't reach the perfect thickness. A culinary arts school will teach you those things as well as the meaning of "nappe" This term explains the way to test the thickness of the sauce with a spoon (research it more for detailed info).
Ever chef has an ingredient or two that they use in a lot of their dishes. An ingredient like that isn't supposed to be the star of the plate; they are there to enhance the overall flavor. Many people use salt to enhance the natural flavor of many ingredients and butter because it adds a delicious note to already delicious meals. And there is the lemon, a fruit that adds freshness to every meal with its high acidic properties. The proper use of those taste enhancers is another thing you will master in the culinary arts school.
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Rangers v Dunfermline Live
Available on 4 channels inside the members area!!!
Rangers clash against Dunfermline in the third round of the Co-operative Insurance Cup on Tuesday, hoping to continue their unbeaten run in the season. Catch all the live streaming soccer from that game by signing up with us here on Live Sport Network.
Rangers are the current holders after defeating St Mirren at Hampden Park last season by a 1-0 margin. Manager Walter Smith, who is in his last season at the Ibrox Stadium, will want to ensure his side defends their title this season as well. The Gers have started in an excellent manner despite the departure of leading players like Kris Boyd.
Smith has insisted that he will not rest any players unless absolutely needed. Nikica Jelavic, who missed the 0-0 mid-week draw against Manchester United as he was ineligible, is expected to start in this game.
Meanwhile Dunfermline beat Clyde 3-2 in a thriller to progress to the third round. Adam Strachan gave Clyde the lead after 2 minutes, but Andy Kirk equalized just before the break. Mark McCusker put Clyde ahead just after the break, but goals from Steven McDougall and Kirk gave Dunfermline a great win.
You can watch Rangers vs Dunfermline Live online on Live Sport Network, the leading source to watch live CIS Insurance cup action on the web.
Tags: Rangers, Dunfermline, Co-operative Insurance Cup, Ibrox Stadium, CIS Insurance cup


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Just yesterday, I posted this blog about China's efforts to ramp up the number of big data centers there. My blog was based on this article by IDG News service reporters Michael Kan and James Niccola. The story, and China's data center efforts, are both quite interesting.
That said, the story reminded me of an email I got earlier in the month from a spokeswoman for The Green Grid, a global consortium of companies, government agencies and educational institutions focused on advancing resource efficiency in data centers and business computing ecosystems. You see, in early December, The Green Grid announced that it had signed a memorandum of understanding (MOU) with the China Communications Standards Association (CCSA), a non-profit established by enterprises and institutes in China working to develop and establish national communications standards.
I saw the release, and thought it interesting. I guess I was heartened by China's efforts to team with The Green Grid in an effort to improve resource efficiency in business computing throughout China. And now with news that China is aggressively building out data centers, I'm particularly glad that China is working with The Green Grid.
After all, China has the world's largest population of any country, with more than 1.3 billion. And while the country's Internet usage, in terms of the percentage of people with Internet access is only about 31 percent – that's still about 420 million, according to www.internetworldstats.com. (In comparison, there are more than 239 million users in the United States representing about 77 percent of the population). The point: China is a country with plenty of potential for energy efficiency – or energy inefficiency – increases.
By the way, a little poking around and I learned that China's work with the Green Grid isn't the country's first data center energy efficiency endeavor. This time last year (in December 2010) the U.S. Department of Energy's Lawrence Berkeley National Laboratory began working with China to help improve the energy performance of the country's data centers. You can read more about that here.
Basically, Berkeley Lab scientists began working with the China Institute of Electronics and the China Electronics Standardization Institute to share best practices, case studies and other material to help China develop standards and training programs for its industry.
As for China's work with The Green Grid, the two will collaborate on performing and promoting regional and international standardization while contributing to the establishment of a global information infrastructure. Specifically, the CCSA will collaborate with The Green Grid in its efforts regarding Chinese national and industry standards, and where appropriate, reference work created by The Green Grid, including Power Usage Effectiveness (PUE), Water Usage Effectiveness (WUE), Carbon Usage Effectiveness (CUE) and the Data Center Maturity Model (DCMM).


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Its actually a cool and useful piece of information. I am satisfied that you simply shared this helpful information with us. Please stay us informed like this. Thank you for sharing..
A brand name placement technique is a map or prepare for how a product, support or organization offers to attain differentiation and following very competitive advantages available on the market. brand asset valuator model
Placing is usually a perplexing concept as a result of how popular use adjustments the meaning of the saying. Location in fact refers to a space inside the imagination of the buyer market which a firm occupies. To carry out your company location approach and achieve your organization desired goals, you should line up 3 distinctive aspects to the central placement strategy. They may be:
Company assure Company telecommunications Company encounter Should your enterprise happens a discordant be aware in some of these factors, the entire advertising program will likely be compromised. Let's consider a closer look their way. buying decision making process of customer
1. Brand name assurance The company assure encapsulates the prominent benefit a product or service, services or business desires to show to the market. If at all possible, the guarantee should be believable, rooted from the intrinsic durability of your business, and meaningfully distinct from those of competitors.
Small businesses typically have trouble with obtaining this right. A lot of smaller businesses rely on their strategic marketing efforts to compensate for insufficient a totally differentiated manufacturer assurance. Within the greatest manage firms, it will make up part of the exclusive offering proposition (USP) - the key offering and distinguishing reasoning that makes a firm the option of the market. positioning of brand
2. Company communication Manufacturer telecommunications are common these methods where a business delivers its brand and USP to the industry. It entails company personal identity factors like images, and colour motifs, to advertising and marketing telecommunications like advertising, brochures, and sales characters. bav model to measure brand equity
3. Company encounter Company guarantee, manufacturer telecommunications and brand practical experience has to be in-line and carried out appropriately for any business to find out positive aspects. Brand name practical experience represents how clients, prospects, companions and in many cases the multimedia practical experience a company's delivery service on its brand assure. For companies, this is the most essential a part of constructing a manufacturer after crafting your assure.
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Smoked Shrimp
One bite of these shrimp and a swig of vodka will instantly transport you to Scandinavia.
- Servings: 4-6 hors d'oeuvre servings
- 2 teaspoons sugar
- 2 teaspoons caraway seeds
- 1 teaspoon salt
- 3/4 pound large shrimp, shelled and deveined
- 5 fresh red chile peppers (optional)
- Light Tea-Smoking Mixture
- Spicy Remoulad Sauce or sweet-and-hot mustard
How to make this recipe
In a large bowl, combine the sugar, caraway seeds and salt with 1 cup of water. Stir to dissolve the sugar. Add the shrimp, cover and refrigerate fro 30 minutes; drain.
Add the chiles, if using them, to the Light Tea-Smoking Mixture. Smoke the shrimp according to the Basic Wok-Smoking Method until they are just cooked through and have a burnished look, 7 to 8 minutes. Serve with the remoulade sauce.


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Headquartered in Plano, TX, Cinemark Holdings, Inc. is a leader in the motion picture exhibition industry with 525 theatres and 5,894 screens in the U.S. and Latin America as of March 31, 2017.
For corporate office contact information, please see below. If you wish to contact a specific theatre, contact information for individual theatres can be found under "Theatre Info" near the top of each theatre's showtimes page.
Cinemark USA, Inc.
3900 Dallas Parkway, Suite 500
Plano, TX 75093-7865
Telephone: 1-800-246-3627
Looking for Current and Former Employee Forms? Find the form you need for address changes, tax documents, payments and more.


text: Object: Dell Computers HowtoEdit Howto configure the Linux kernel for a Dell Optiplex computer Howto get the Linux kernel to properly power down the Dell Optiplex GX240 using ACPI Retrieved from "http://how-to.wikia.com/wiki/Dell_Computers?oldid=16989" Ad blocker interference detected! Wikia is a free-to-use site that makes money from advertising. We have a modified experience for viewers using ad blockers Wikia is not accessible if you've made further modifications. Remove the custom ad blocker rule(s) and the page will load as expected. Categories: Add category Cancel Save


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Pedestrian, 82, hit by car driven by driver, 80
A woman, 82, was critically injured when she was hit by a car while crossing Borg Olivier Street, St Julian's, on the traffic lights this morning.
The incident happened at 10.15 a.m.
The woman is in intensive care at Mater Dei Hospital.
The woman was hit by a Toyota Ractis driven by an 80 year old man from Sta Venera.
See our Comments Policy Comments are submitted under the express understanding and condition that the editor may, and is authorised to, disclose any/all of the above personal information to any person or entity requesting the information for the purposes of legal action on grounds that such person or entity is aggrieved by any comment so submitted. Please allow some time for your comment to be moderated.


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On the list of biological parents who gave up children who went on to become famous is Abdulfattah John Jandali, the biological father of Apple genius Steve Jobs.
Like his son, Jandali is a workaholic.
He is vice-president of a Reno casino and has no interest in retirement, according to New York Post writer Georgina Dickinson.
He is 80. And he would love to see Jobs before one of them dies.
"This might sound strange, though, but I am not prepared, even if either of us was on our deathbeds, to pick up the phone to call him," Jandali told Dickenson. "Steve will have to do that, as the Syrian pride in me does not want him ever to think I am after his fortune."


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The euro hit an 11-month low on Wednesday, and shares on Wall Street and in Europe traded within a narrow range after Portugal's debt was downgraded by Fitch Ratings. The downgrade turned up pressure on government leaders to come up with a comprehensive solution to the euro area's financial woes.
Euro Falls After Downgrade for Portugal
Current Status: Blessed (1)
Seeded on Wed Mar 24, 2010 10:34 AM
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Units of Study
ANTH2627 - Medical Anthropology
Semester 2, 2011 | Credit Points: 6
Coordinator: Cynthia Louise Hunter
Medical anthropology is a comparative and ethnographic response to the global influence of biomedicine within diverse cultural worlds. This unit will examine major theoretical approaches, their respective critiques, and the methods that underpin them. Concepts such as 'health/illness', 'disease', 'well-being', 'life-death', and 'body/mind' will be located in a variety of cultural contexts and their implications for different approaches to diagnosis and treatment considered. The unit will include culturally located case studies of major contemporary health concerns such as AIDS.
1x1000wd essay (30%), 1x3000wd take-home exam (60%) and tutorial participation (10%)
readings will be available at the University Copy Centre
1x2-hr lecture/week, 1x1-hr tutorial/week commencing week 2
12 Junior credit points from Anthropology
A timetable is not available for this session.
Please refer to the list of Units of Study on the left-hand menu to view the units on offer for the relevant academic year.
The information displayed above is indicative only as online information is subject to change without notice. The Faculty Handbook and the University of Sydney Calendar are the official legal source of information relating to study at the University of Sydney


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Sold - Martin CSN Gerry Tolman Tribute Edition (w pics)
Sold - Martin CSN Gerry Tolman Tribute Edition (w pics)
For sale a Gerry Tolman Tribute Edition dreadnought, number 343. I bought it new from Elderly Instruments and it was one of the last ones available. This guitar was created in collaboration with Steven Stills, David Crosby and Graham Nash to honor their former manager Gerry Tolman. When Neil Young heard of their efforts he allowed Martin to use his iconic "broken arrow" symbol in the project which Neil almost never does. The CSN guitar has David Crosby's "schooner" at the 5th fret, Steven Stills "Southern Cross" at the 7th fret, Graham Nash's "winged heart" at the 12th fret and Neil Young's "broken arrow" at the 15th fret.
- Solid East Indian rosewood back and sides
- Solid Engelmann spruce top with a flawless polished gloss lacquer body finish with vintage toner
- Genuine 1 3/4" low profile genuine mahogany neck with satin finish. 25.4" scale length
- 14 frets clear and 20 frets total
- 2-1/4" fingerboard width at 12th fret
- Forward-shifted 5/16" "X" scalloped, forward shifted top bracing for rich, powerful tone.
- Bold herringbone purfling around the top
- Style 45 rosette with a center ring of select abalone
- African black ebony belly bridge with a single point at the bottom and pyramid wings. This rarely offered bridge, its matching black ebony bridge pins topped with abalone dots
- Vintage-style beveled and polished tortoisecolor pickguard complement the "old Martin" amber of the top.
- Fine black/white purfling around the sides, back and end piece
- Style 45 multicolored mosaic back strip
- Grained ivoroid binding
- Black/White Boltaron endpiece inlay
- Black/White Boltaron side inlay
- Black/White Boltaron back inlay
- Bone nut and compensated 16" radius bone saddle
- Diamond volute, solid, square tapered headstock
- Nickel Gotoh tuners with butterbean knobs.
- Polished African black ebony headplate and African black ebony fingerboard, both framed with ivoroid binding inset with fine black/white inlay.
- The headstock displays the familiar arched C. F. Martin & Co. logo in luminous mother of pearl and the CSN logo beneath in vibrant abalone pearl, bordered with mother of pearl.
Each Martin CSN Gerry Tolman Special Edition Tribute features a special "CSN" commemorative laseretched neck block, an interior label plus a second tribute photo label of Gerry Tolman. Guitars in this Special Edition are delivered in a Geib style 545E hardshell case.
The full specs from Martin are listed at http://www.martinguitar.c...te-edition.html?Itemid=6
The guitar is flawless with the exception of one small finish crack near the pyramid bridge shown in the last picture. I noticed it last fall and it has been stable. Unless you look for it you cannot see it. It was recently set up and is in new condition as is the hard case. Other than being taken to music lessons the guitar has never left the house, has been well humidified and is in a smoke free environment.
This is the sweetest sounding guitar I have ever owned and it is excellent for strumming, fingerpicking and anything else you can throw at it. Look at the comments on the UMGF for this rare gem from Martin.
The selling price for this guitar with the case is $3,000. I include the shipping and insurance costs for that price. The sale is open to the lower 48 US states. I accept check or money order. Paypal is also accepted but the buyer agrees to pay the Paypal fees in addition to the price. If the guitar is returned during the standard 72 hour approval period the buyer agrees to have the original shipping fees subtracted from the refund and they agree to pay to ship the guitar back with insurance. Paypal fees are not refundable if it is used.
If you are interested or have questions please contact me by email at [email protected] . Please see below for pictures.
Thanks for looking,
Last Edited By: SlotHeadSlim 09/17/12 5:09 AM. Edited 2 times.
Founded by Steve Stallings. The Unofficial Martin Guitar Forum is an independent Internet forum which is not in any manner related to or affiliated with C. F. Martin & Co., (The Martin Guitar Company) Nazareth, PA. The statements and opinions expressed in the Unofficial Martin Guitar Forum are solely those of the individuals posting the same and are not those of C.F. Martin & Co., The Martin Guitar Company, the Unofficial Martin Guitar Forum, its administrators, moderators, agents and other voluntary staff, its supporters, financial or otherwise, or its members, guests or other contributors. The Unofficial Martin Guitar Forum does not sponsor or endorse any product or service referred to, submitted or suggested by any member, guest or contributor to the Forum. The Unofficial Martin Guitar Forum and its voluntary staff shall have no responsibility or liability whatsoever to any person or organization with respect to any matter posted by any individual on the Unofficial Martin Guitar Forum, for the deletion of any such matter, for the content thereof, or for the banning, suspension or other sanctioning of any user from this Forum, or for the denial of an application to become a member of this Forum. The content and accuracy of any post are solely the responsibility of the member making the post. The Unofficial Martin Guitar Forum shall further not be responsible for references or links to other Internet sites or links contained on other Internet sites to the Unofficial Martin Guitar Forum or to the UMGF, or for the contents thereof. This specifically includes the CafePress Store for UMGF Memorabilia, which is not owned, operated or controlled by the UMGF but by Cafepress.com, an independent organization which markets, sells and ships the items contained in the CafePress Store and retains the proceeds therefrom. The sole function of the UMGF with respect thereto is to provide a link for the convenience of its members. By using, browsing or consulting this Forum, you consent to the foregoing terms as well as to the guidelines set forth in the Forum Guidelines and Feedback section and the general terms of use of Yuku. The exclusive venue for proceedings against the Unofficial Martin Guitar Forum, its members, trustees, officers or Administrators is the Superior Court, Hunterdon County, New Jersey, and any such proceeding shall be governed by New Jersey law. No damages or monetary awards of any nature, including attorneys fees or punitive damages may be assessed against the UMGF, its members, trustees, officers or Administrators under any circumstances whatsoever.


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40 Teen Devotionals (Devotionals For Teens) book download
Trailer Park Publishing
This is the summary of 40 Teen Devotionals (Devotionals For Teens) by Trailer Park Publishing. Acquire the Fire: 40 Teen Devotionals (Acquire the Fire Devo-Zines) [Paperback]. A Teen Devotional CBD Price: $8.99: 40 Days: Prayer and Devotions to Revive Your Experience with God. Condition: New . Christian Book Review: 40 Teen Devotionals (Devotionals For Teens. In this 31-day devotional--complete with stories about teens. 40 Days: Prayer and Devotions to Revive Your Experience with God Book 2 by Dennis Smith.. Conversations With Jesus: Devotions for Teens: Teen Devotionals for Girls and Boys (Devotions for Teens, Girls and Young Women) by Lisa Cheater Kindle Edition Devotional Ideas for Teenagers | eHow.com Devotional Ideas for Teenagers. Our Faith in 40 Devotions." 30 Day Teen Devotionals - Christianbook.com . While it is sometimes difficult to get a teen to pick up a book and read devotionals,. (Editor), Mark Oestreicher (Editor) - Find this book online from $13.47.. Pluses include fun stuff that teens crave - music reviews,. NIV Teen Devotional Bible: Devotions for Teens,. Josh McDowell's One-Year Book of Youth Devotions, Volume 2 CBD Price:. $40.95. 30 Day Teen Devotionals:. Ages 15--18 Teen; Devotionals; Bibles. Top Rated Devotionals for Teens & Tweens - Christianbook.com Top Rated Devotionals for Teens & Tweens.. Acquire the Fire: 40 Teen Devotionals (Acquire the Fire Devo-Zines. NIV Teen Devotional Bible: Devotions for Teens, Written by Teens. Teens can be. Bible/Hymnal Sets; Bibles; Teen Devotionals...for Girls! (True Beauty Books): Shelley Hitz. This book contains 31 brief devotional readings of
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In the News
Original journalism from the Center's OpenSecrets Blog
Politiquizz: Winners, Losers & Quitters
August 12, 2014 | With fewer than three months until the general election, campaigns are in full swing as candidates push their supporters to show up at the polls. There's lots of buzz about what Congress will look like after November 4th, and who will be moving to Washington, but the list of those who won't be heading back…
Which Democrat Will Next Head the House Financial Services Committee?
November 29, 2011 | With upcoming retirement of Rep. Barney Frank (D-Mass.), House Democrats will be vying for the role of top dog on the House Financial Services Committee, where Frank has been the highest ranking Democrat since 2003. Like Frank, many of the other high-ranking Democrats on the committee exhibit intimate ties with the industries with interests before them. Here's a primer on who could be next in line for the reigns of Democratic power after Frank's departure next year.
Apple a Popular Asset in Congressional Portfolios, Powerful Lobbying Force
August 25, 2011 | Three dozen members of Congress held stock in Apple in 2009, the most recent year for which data is available. That makes it one of the most popular assets among all congressional investors.
Many House Incumbents Heavily Relying on PAC Cash for 2010 Re-election Bids
September 29, 2010 | Many candidates are hitting the campaign trail with a promise to end cozy relationships with special interests. Yet eager as they are to show some understanding of voters' concerns, the words of many incumbents are falling far short of the reality when it comes to their campaign accounts.
Congressional Ethics Watchdog Investigating Finance Sector Contributions to Lawmakers
June 15, 2010 | Between Nov. 1 and Dec. 31, political action committees within the finance, insurance and real estate sector contributed $276,750 to eight House members at the center of a recently launched ethics probe investigating whether lawmakers received money in exchange for votes, the Center for Responsive Politics has found.
Campaigns of Few House Incumbents Fueled by the 'Small Donors'
May 18, 2010 | Reps. Dennis Kucinich (D-Ohio) and Joe Wilson (R-S.C.) don't agree on health care reform. They don't agree on energy legislation, nor do they agree on immigration. Politically, they may not agree on much at all. However, they do share one distinction. Both have received nearly two-thirds of their campaign contributions from donors who contribute $200 or less, the Federal Election Commission's threshold for itemized disclosure. By comparison, the average House member only received 7 percent of their contributions from such "small donors."
Congressional Opponents of Consumer Financial Protection Bill Got Big Money from Wall Street Interests
October 26, 2009 | On Thursday, the House Financial Services Committee approved H.R. 3126, which would create a new executive branch agency to oversee consumer financial protections, on a 39-29 vote. CRP has found that $527,500 is the average amount a committee member who voted "no" received from financial groups' PACs and employees between January 2007 and June. The average amount a member who voted "yes" received was $438,900.
Obama, Ney and DeLay Also Among Stanford's Investments
February 18, 2009 | As the story behind the embattled investment company Stanford Financial Group develops, we thought we'd take an even closer look at the seeds the company may have tried to plant in Washington via campaign contributions. When looking at ALL lawmakers to collect money from the company's PAC and employees (not just members of the current Congress), some additional, important names appear at the top of the recipient list.
Investment Manager Stanford Was Big-Time Campaign Contributor
February 17, 2009 | Money manager Robert Allen Stanford now has two things in common with embattled investment manager Bernard Madoff: both have come under scrutiny for allegedly defrauding their investors, and both have given significant funds to politicians. Between its PAC and its employees, Stanford Financial Group has given $2.4 million to federal candidates, parties and committees since 2000.
Congressmen Hear from TARP Recipients Who Funded Their Campaigns
February 10, 2009 | The eight CEOs testifying Wednesday before the House Financial Services Committee about how their companies are using billions of dollars in bailout funds may find that the hot seat is merely lukewarm. Nearly every member of the committee received contributions associated with these financial institutions during the 2008 election cycle, for a total of $1.8 million.
Feel free to distribute or cite this material, but please credit the Center for Responsive Politics. For permission to reprint for commercial uses, such as textbooks, contact the Center.


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Micron Technology (MU), the memory-chip maker on Thursday afternoon reported its fourth-quarter results. While the company's sales topped analyst estimates, coming in 43% higher year-over-year, earnings per share disappointed — $0.20 vs. analyst estimates of $0.24. Add in better-than-expected revenue and you get a mixed initial reaction in the stock. At one point after-hours MU stock dipped as much as 4.5% to $17.60, but it quickly rebounded to make for a choppy and directionless initial reaction.
I have discussed MU stock and its seemingly endless rise several times this year. The stock year-to-date is the best performer in the Philadelphia Semiconductor Index, up a stunning 190%.
To get an idea of where the stock currently trades, however, we must zoom out and take a peek at the price action since September 2006. MU, once a highflying monster of a stock in the late '90s and the internet bubble, was beaten into submission as reality hit and the bubble popped. After a massive drop from glory, the stock marked an important reference point in September 2006, where it developed a lower high; after a seven-year lull the stock finally retested this level over the past two weeks.
Through this longer-term lens, the arrival back at this level is healthy, although the slope of the 2013 rally is steep by just about any measures.
A strongly trending stock (such as MU stock presently is) offers plenty of parallel trend lines and moving averages that traders and investors alike can use as reference for support and resistance points. Until now the stock has offered nothing but frustration this year to those attempting to fight the steep trend in which MU stock has trucked higher. Each time the stock looked to correct, it merely shuffled sideways … only to gain more steam for another push higher. The July-to-early-September consolidation phase is a good example, as MU stock merely mean-reverted, allowing it to consolidate over time, bumping into its November 2012 uptrend before shooting higher still.
In other words, the stock remains in a solid uptrend — fighting this move is not a good idea. It remains to be seen what the first true reaction to the stock's earnings report looks like, but MU stock's first support is at $17.50, followed by bigger support at $15 to $15.50. As long as those support levels hold, MU stock is better traded from the long side.
Serge Berger is the head trader and investment strategist for The Steady Trader. Sign up for his free Weekly Market Outlook Video here. As of this writing, he did not hold a position in any of the aforementioned securities.


text: The 3 star Sokos Pasila is a peaceful and warm hotel in the vicinity of the congress and exhibition centre the Ice Stadium the Linnanmaki amusement Park and the beautiful central Park of Helsinki. The hotel offers two restaurants: the Pasila a very cosy and friendly venue or the Seville with its Mediterranean specialities a perfect place for either a meeting with friends or business partners. guests can also relax in the sauna and then finish the evening at the hotels nightclub or at the Sevilla bar for a night cap.guests should note that triple rooms are a double room with an extra bed and not three seperate beds.


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When a girl gets sunburnt and then you ejaculate all over her back causing her to burn.
ejaculate California Sunbathe
by cokane1207 June 08, 2011
The Urban Dictionary Mug
One side has the word, one side has the definition. Microwave and dishwasher safe. Lotsa space for your liquids.Buy the mug


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Katie Huntress
Katie Huntress (march 6,1990)
» Click to list general statistics » OR, select a date :
Cry Your Eyes
cry your eyes on that shoulder of mine,
cry your eyes till you can't cry no more,
you don't have to speak if you don't want to,
i am here for you when you need me.
read more >>
- Hits: Number of visitors who read the poem on the given date.
- Posts: Number of visitors who posted the poem to a friend (via e-mail) on the given date.
- Dates that have "0" hits may not be shown on the list.
- Dates, poems and poets that have "0" hits may not be shown on the list. Statistics are generated daily.


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Have Ford Questions? Ask a Mechanic for Answers ASAP
Ok at the top of the brake pedal it rides on a bushing with a shaft that goes through it and i bet yours is binding or locking up on it. Look at the top around #1 and this is the area i am talking about. you could try to lube but it would be safer to install new bushings or replace brake pedal assembly. Please remember to hit the green accept button.
Does the F350 have a vacuum booster or hydro boost running off the power steering pump?
Sorry about that. I looked over the symptom chart in the shop manual. Make sure that the check valve was replaced when you replaced the brake booster and make sure you have good vacuum to the booster.
Here is the symptom chart I was looking at.


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Auto Meter 5710 Phantom Digital Stepper Motor Fuel Level Gauge
Click image to enlarge
Please note the following about this product:
- Ground Shipping Only - Can't Ship Air.
Reviews (0)
What's in the Box
For a limited time, get up to $250 on select on AutoMeter products. For more information click here.
From May 1, 2017 to Jul 31, 2017
InfoTraditionally, paring the proper fuel level level gauge to the application could be a more difficult task than it needed to be. The Auto Meter Digital Stepper Motor Fuel Level Gauge drastically simplifies the process with it's easily configurable resistance range. With 7 common configurations stored in memory from the factory, the vast majority of all applications are covered. In the instance your fuel level sender is not included in these preconfigured ranges, an innovative custom calibration mode allows any sending unit that operates between 0 and 280 ohms, empty or full, to be easily paired. Our "snapshot" programming method will allow you to capture the empty and full readings and the gauge does the rest. No matter your application, there simply isn't an easier solution for fuel level monitoring available on the market. A direct plug in wiring harness is included for ease of installation.
- Includes bulb and socket assembly with red and green bulb covers
- Includes 20ft. Wiring Harness.
- Adjustable Scale w/ 7 preset ranges for common vehicle types
- Programmable anywhere between 0-280 ohms
- Includes gauge mounting hardware and installation instructions
- Full sweep precision digital stepper motor meter movement