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These keep popping out of the woodwork: unheard of single malts from obscure corners of Japan's alcohol business not normally associated with whisky making. This "Sapporo Single Cask Malt Whisky" does not come from Yoichi, the only established whisky distillery on the island of Hokkaido, but from a quite separate alcohol making business about 25 miles away in Sapporo city. The company is called Sapporo Shusei and they are much better known for making neutral spirits. To make things simple, they call their distillery Sapporo.
But be careful! The bottle displayed above says nothing about the actual origins of the whisky. My best understanding, based on the expertise of Atsushi Horigami at the Zoetrope bar, is that this whisky was actually distilled in Scotland rather than Japan. This is not to say that the company are dishonest. I believe they released information about the country of origin of the whisky (though not the particular distillery) when the bottling hit the market. The label, however, is not at all informative on this point.
I believe that this whisky was distilled somewhere in Scotland in 1990, that it was aged in a Sherry cask and that a substantial period of that aging was done in Sapporo. Only 400 or so bottles were sold by Sapporo Shusei when it was released at the end of 2006/beginning 2007. It is not in Sapporo's current range of whiskies, which are all blended.
This is a bit of a lesson in the pitfalls of the more obscure corners of the Japanese whisky industry. The main Japanese producers are completely up to speed with contemporary labeling practice but we must see this single cask bottling as being part of the old yoshu (Western spirits) tradition, which has seen numerous smaller companies dabbling in whisky selling for nearly a century without ever making it more than a sideline. As you can see, after all these years, these companies are not always sufficiently informative with their labeling.
Somewhat improbably, this obscure single cask bottling came to Nonjatta's notice via Australia. The bottle pictured above is owned by Graham Wright, who runs a whisky mail order business and web operation, the Odd Whisky Coy, and has been kind enough to give permission for Nonjatta to publish these photos. The original version of this post fell for the idea that this was a Japanese whisky, but I am strangely delighted to find it came in disguise. There is something about the world of whisky fakery and mummery that fascinates me. Sometimes this sort of thing is downright fraudulent, but when it is in this more artful form it can be at least as interesting as the established whisky industry. After all, the whole of the Japanese whisky industry has its roots in the play acting inherent in the old yoshu industry. This is why I find the vagiaries of the current Chinese, Taiwanese etc. industries intriguing. I have no doubt that fully fledged, legitimate whisky production will eventually flower in those places too.
So, let's take a look at this survival of the old ways. Sapporo Shusei are best known for their neutral spirits, specifically a brand called Sapporo Soft. It is a neutral spirit and has an alcohol content of 20 per cent (ABV). You can buy 20 litres of the stuff for 12,000 yen, the sort of money you might shell out for an exported 720ml bottle of Japanese single malt. They have had some interesting advertising campaigns over the years. This one, from 1973, made me laugh:
The woman in the photo is saying: "When my buddy comes around, 3 or 4 bottles should do it. We are young, so it should be OK!.... Gotta make him pass out!"
Not sure what the story is there! If it is a crude romantic tactic, I can't help feeling that the man in question might suffer from troubles anticipated in the brand name. Anyway, in these days of "drink responsibly" advertising, it is a breath of fresh air. Sapporo Shusei was founded in 1933, at about the same time that Masataka Taketsuru was setting up down the road at Yoichi. The official company history says that there was a shortage of supply in the local alcohol market. A man called Sakutarou Kaneko hit upon the idea of using surplus local potatoes to make shochu.
The iconic "Sapporo Soft" line dates from much later: 1960. The brand can be seen as a bastard child of the Japanese whisky industry. At the time, whisky was becoming the drink of choice for the younger generation. Whisky mizuwaris were the rage. They stood for a new, international Japan. Shochu, by contrast, had dark associations with poverty and the war years. The company decided to hitch its cart to the coming thing. They made a relatively low alcohol shochu and began to sell it in a bottle that consciously aped the shape and Western lettering that was associated with whisky. It was a hit and many a man has passed out drinking "Soft" since then.
The launching of the "Soft" brand in 1960 coincided with the concentration of Sapporo's Shusei's operations at their current Sapporo site (below), which of course, as we now know, is not where the whisky was distilled but where it resided while it was being aged.
Other Sapporo Shusei whiskies
The following whiskies are also sold by Sapporo Shusei. My current understanding, based on a snatched conversation during an impromptu visit to the distillery last year, is that no whisky is currently being distilled by them. I also believe that the whisky in the drinks below is the same as that mentioned above, ie. made in Scotland not Japan (incidentally, this site agrees on the Scottish origin of the most expensive whisky in this range). From left to right, "Sapporo Whisky SS" (43 percent, 720 ml); Sapporo Whisky (40 per cent alcohol, 720 ml); Sapporo Whisky (37 per cent alcohol, 640 ml); Sapporo Whisky (37 per cent alcohol, 1800 ml). They are all blends.
Sapporo Distillery
10 Jou 1-1-1, Hassamu, Nishi-ku, Sapporo Shi, Hokkaido, Japan 063-0830.
Telephone: 011-661-1211
Fax: 011-663-6383
Address in Japanese characters
〒063-0830 札幌市西区発寒10条1丁目1番1号
Website: www.sapporo-shusei.jp
Location on Nonjatta's map of "Other Japanese Distilleries":
View Other Japanese distilleries in a larger map


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Family and friends are mourning the death of a Pike County teen.
Family and friends are mourning the death of a Pike County teen.
Colin Liddy, 15, of Tafton, was a ninth-grader at Wallenpaupack Area School District.
He died at 4:54 p.m. Friday at Lehigh Valley Hospital, Lehigh County Chief Deputy Coroner Paul Hoffman said.
"He was well-liked by students and he will be missed," Principal Jay Starnes said.
The school arranged to have crisis and grief counselors on hand Friday and all this week to help students. Over the weekend, the district arranged for counseling for any student or family needing emotional support from Wayne County Human Services and Pike County Mental Health/Mental Retardation Service.
Grief counselors will be available on an ongoing basis at the school as long as it is needed, Starnes said.
"A number of students have taken advantage of that," Starnes said, and he is sure many students, faculty and staff will attend Liddy's funeral.
Funeral arrangements are being handled by Stroyan Funeral Home in Milford.
A Facebook memorial page, "Rest In Peace Colin Liddy," has been created where people are leaving condolence messages.
Beth Brelje


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From time to time, I am asked where my stories come from.
The stories I write, and often the blog posts themselves, appear almost like daydreams and I write them down. I usually do not plan them. I will be doing something and the story or post will start to play in my mind (all the parts at the same time, sometimes in words, but usually not). If I find them interesting, I will write them down (sculpt the thoughts with words).
I don't think this is very unusual. The creative process is often a spontaneous thing, with sometimes complex and extensive ideas perceived in an instant.
Of course, I practice and teach, and conduct a fair amount of research. Since I spend so much time on Karate, it is natural that my thoughts and daydreams will sometimes focus on the subject.
But it is not like I say: let's come up with a story or post. They just seem to sprout, like weeds in my garden. I don't have to plant them either!
Charles C. Goodin
Where My Stories Come From
From time to time, I am asked where my stories come from.
My Christmas Wish
I told my kids that my Christmas wish was for world peace. One of them said that such as wish was a cliche. It sounds like something a contestant would say at a beauty pageant.
But this is really my wish -- world peace.
Since I cannot control the world, I should seek peace in my own daily life, in my family, in my dojo, with my friends, and with my business contacts. If I do this, it will have at least a small impact. An if everyone did so, the result would be World Peace.
I practice and teach Karate as a way to avoid physical violence. A peaceful person is unlikely to provoke a fight and a vigilant person is more likely to recognize and avoid a violent situation. If, as a last resort, the use of Karate's destructive techniques is necessary, then that cannot be avoided and anything goes. But if it is possible, I would run away. I am a pacifist who has practiced martial arts for over 40 years!
My goal for 2012 is to win the Nobel Peace Prize for teaching Karate. That would be something! But prize or not, I will work to promote peace through Karate.
Charles C. Goodin
My Best Student
I have written about this before, but it deserves repeating.
My best student is the student I am teaching. The only caveat to this is that the student must be trying. I have very little time for a student who does not try, but almost unlimited time and effort for a student who sincerely tries.
I try to teach a beginner how to punch, block and kick with the same attention to detail and enthusiasm as when I teach an advanced student or instructor. And I learn a lot in both cases. In fact, I often learn more when I am teaching beginners. When I am teaching the fundamentals, any new realizations or discoveries will have a major impact on everything I do.
I believe that all students are special. Honestly, I think that a teacher is very lucky to have a good student. A student is lucky to have a good teacher, but I think that the teacher is actually luckier. For a teacher, passing on the art is almost a biological imperative.
My best student is the student I am teaching. And because I learn by teaching, if my student is the best I am also learning from the best.
Charles C. Goodin
Another Martial Art
If could study another martial art, which one would it be?
- Ju Jitsu
- Sojutsu (spear art)
- Naginata jutsu
- Escrima
- Kenjutsu
The answer is D, Escrima. I think that Escrima would compliment my Karate training very well. I am a fan of the Filipino martial arts. I would like to study the other martial arts as well, but Escrima is on the top of my list.
Charles C. Goodin
Posted by Charles C. Goodin on Sunday, December 25, 2011
Merry Christmas and a Happy New Year!
From our family to yours, best wishes for a very Merry Christmas and a Happy New Year! You can click the image to enlarge it.
Charles C. Goodin
Posted by Charles C. Goodin on Saturday, December 24, 2011
At What Cost?
So let's say that you are a Shodan. It will take some work to earn your Nidan. It is not just a question of staying in Karate. It will take effort.
Rising from Nidan to Sandan will be even more difficult.
In fact, the higher the rank, the steeper the mountain becomes! The climb becomes more and more difficult.
Well, actually, I think that most of us enjoy training, so it is not really that difficult.
But I want to ask a question. If you have already reached the 99% level among Karate students, how much is it worth to you to strive for that remaining 1%? Let's say you are already proficient at self-defense. If so, it is worth expending considerable time and effort to become a little bit more proficient?
When I was in high school, I took a driver's education class. Then I got my driver's license. Since then, I have driven pretty well. I haven't had to take any additional classes. I am not a race car driver. For my personal driving, I seem to have learned what was necessary.
How much is necessary when it comes to Karate? I started practicing Shorin-Ryu about 37 years ago. That is quite a long time. I'm glad that I haven't had to go to 37 years of driver's education classes!
Don't get me wrong -- I really enjoy practicing and teaching Karate. Actually, my emphasis is on teaching. But I continue to try to improve my Karate skills too.
It is not like I am looking for a higher rank or titles so that I can draw more students. The opposite seems to be true -- the more skilled I become (over a long time), the fewer students I want to teach. My idea of an ideal class is one in which I teach a single student in depth! I don't need a higher rank or titles to do that.
And the point I am getting at is this: if you enjoy Karate training, than that is reward enough. If you do not enjoy Karate training, then external rewards such as rank and titles will probably not be enough. An unhappy 7th dan will probably become an unhappy 8th dan -- and make his students unhappy too.
But there is another point. How much time and effort are you willing to put in to improve just a little?
One of my sons was lifting weights and broke his previous record by 10 pounds. I mentioned this to a serious lifter who replied that a his level, lifting even a pound or two more would be very difficult. The more advanced you become, the harder it is to progress even a little.
If you are not interested in rank and titles, and are only interested in skill, how much time and effort would you be willing to expend to improve 1% or 2%? And is that margin of improvement really relevant when it comes to self defense?
I do not know the answer, but I thought it was an interesting question.
For me, training and teaching is worth it. I enjoy training and I enjoy teaching and helping students. It is sort of like gardening. I grow vegetables in my home garden. Nothing makes me happier than giving eggplants, okra, cucumbers, and avocados to my relatives and friends. Often, there is more than my immediate family can eat. My avocado tree had about 400 fruits this year. It seemed like the more I gave away, the more fruits there were.
I feel exactly the same about teaching. It makes me happy and it seems that the more I teach, the more there is to teach.
I think that improvement is a byproduct of the process, not necessarily the goal.
Charles C. Goodin
Posted by Charles C. Goodin on Friday, December 23, 2011
90th Percentile
My two year old granddaughter is at the 90th percentile in height for her age. She is a tall girl.
I started to think. What would the 90th percentile be for Karate? Please go along with the question. I realize that numbers and Karate don't quite mix.
Let's set up the question a little. We will only count adults, not children. And we will only include Karate students who have trained for at least a year. That will eliminate students who start and quit right away, or in just a few months.
So if you take all of the living adult Karate students who have trained for at least one year, what would represent the 90th percentile? Let's ask this in terms of rank -- and I fully realize that rank is a subjective and imperfect thing, but we need something to use as a basis.
What rank would a 90th percentile adult Karate student who has trained for at least one year be? Please keep in mind that this would cover students who have trained from 1 year to nearly a lifetime. What is your answer?
Here is my answer/guess: Shodan (1st degree black belt).
90% only means that you are in the top 10%. If you look at all Karate students, I would say that about 1 in 10 become Shodan -- maybe more, maybe less. But if you have 10 students who train for at least 1 year, it would be pretty good if at least one of them eventually became a Shodan (certainly not in a year, but at some later time).
What would 95% be? Maybe Nidan (2nd degree black belt).
How about 99%? I would guess 4th or 5th dan.
So when you see a 9th or 10th dan, that person probably represents the top 99.99 percent -- like one in a million!
So being at the 90th percentile in Karate is not such an unusual thing. If there are 100 people, you would be among the 10 who have reached this level.
I will come back to this point in a later post. But for now, I think that it is good to appreciate the accomplishment of students who rise to the heights of Karate training as evidenced by their character, skill, conditioning, contributions to the arts, etc., all of which might be represented by their rank (maybe so or maybe not, but hopefully so).
My granddaughter may be at the 90th percentile for height, but she is one in a billion to me!
Charles C. Goodin
Posted by Charles C. Goodin on Friday, December 23, 2011
The Secret of Karate Is...
The secret of Karate is... to train. You learn by training, and by training you learn.
Thinking, talking, and writing about Karate is OK if you are training and can physically do it. Otherwise, it is just a mental exercise. If you can do it, there is really no need to say much about it (except to try to help others).
How much of the time you spend on Karate is actual "training"?
Let's all try to train more in the coming year!
And, of course, there are no secrets in Karate -- only things you can learn by training.
Charles C. Goodin
Posted by Charles C. Goodin on Thursday, December 22, 2011
Mission Impossible - Ghost Protocol
I saw Mission Impossible - Ghost Protocol tonight with my wife and mother.
We all gave it a 10!
Charles C. Goodin
Posted by Charles C. Goodin on Sunday, December 18, 2011
Mada, Mada, Mada
The other day, after a Hawaii Karate Kenkyukai training, I complimented my friend's student on his progress. The student responded, "Mada, mada, mada."
That was very well said!
See: Guest Post: Mada, Mada, Mada, by Sensei Pat Nakata, who happens to be the student's Sensei.
Charles C. Goodin
Posted by Charles C. Goodin on Friday, December 16, 2011
Dojo Guests
From time to time, we have visitors to our dojo from within the Kishaba Juku family. I always enjoy meeting other students. Usually, I try to teach them, to the best of my ability.
Initially, I try to get a feel for where they are in their training, what their strengths are, and what their weaknesses might be. Of course, we are all learning. I have weaknesses too. Perhaps that is a poor word. We all have areas where we need more work.
Usually, I will watch a student perform the Naihanchi Shodan kata. That is enough to get a good feel. You cannot fake Naihanchi. You can either do it, or you cannot it. It will reveal quite a lot about the student's strengths and weaknesses (areas that need work).
After that, I will usually work with the student using the Naihanchi Shodan kata. All students in Kishaba Juku know this kata, so it is a good choice.
The subject I will concentrate on will almost always be koshi. There is always work to be done on koshi. I also seem to have a simplified koshi pattern among Kishaba Juku instructors.
But... the point of this post is not about what I try to teach visitors. The point is what I do not get to teach.
In the rush to teach during a short visit, I have to concentrate on technical things. But if I had more time, I would spend just as much time and effort emphasizing two things:
- That our effort in Karate has to be just as intense to avoid fighting and having to defend ourselves. We have to be careful, be aware, and defend only as a last resort. We have to do everything reasonably possible to avoid defending (not fighting). We do not initiate. And we try to avoid having to respond -- because the defensive techniques of Karate can be extremely destructive.
- That our effort in Karate training is shallow if it is limited just to Karate. If the self discipline of Karate translates into our daily life, then Karate training is truly meaningful and useful. Being able to defend ourselves is good, but being a good person is even better.
Visitors might get the impression that I am a body dynamics freak -- which is only partially true.
But I am comforted by the fact that our visitors will have certainly heard the above lessons or admonitions back in their home dojo. Kishaba Juku is not a commercial or political style. We emphasize traditional values -- and tend to be body dynamics freaks (in a good way).
Charles C. Goodin
Posted by Charles C. Goodin on Friday, December 16, 2011
Guest Post: My Experience with Sensei Goodin and the Hikari Dojo
This Guest Post is by Eli Jones, a student of Sensei Bill Lucas at the Tallahassee Karate Club. Lucas Sensei also teaches the Kishaba Juku form of Shorin-Ryu.
Eli visited our dojo here in Hawaii recently. This is his summary about his training and is published with his permission. We really enjoyed having him visit us! I think that he is also a good writer.
My Experience with Sensei Goodin and the Hikari Dojo
It was about 9:30 PM on Wednesday when our plane touched down in Honolulu. I checked the time as we were collecting our carry-ons and moving toward the aircraft's exit, and was immediately thinking to myself … "Ah man, guess I won't be able to make it to Sensei Goodin's class tonight."
I, of course, realized this would be the case as Sensei Goodin holds class from 5:00 – 6:00, and our flight wasn't scheduled to arrive in Hawaii before 9:00. Even so, the privilege of training with another Kishaba sensei was something I kept thinking about since two months earlier when Sensei Lucas informed me of the arrangements. So needless to say, contacting Sensei Goodin was the first order of business for the following day.
Even before meeting him in person, this sensei captured my fascination with his extensive knowledge and philosophies of martial arts just through our initial phone conversation. One of the first things to be addressed was my vitae as far as Kishaba Juku and any previous training went. He asked me what kata we practice in our dojo, so I, with my ever-failing memory, fumbled through the list as best as I could. "Let's see … we do two Naihanchi, sometimes three, and five Pinan. Oh yeah, we also do the two Fukyugata. There's also Passai, Rohai, Wankan, Gojushiho, and um … Yara no Kusanku and Matsumura Kusanku, and there's probably a few more in there that's not immediately coming to mind." – There were. Sensei Goodin then replied, "You do two Kusanku in your dojo?" I simply answered, "Yes," to which he responded, "Interesting …"
On a side note: when an intelligent person bears witness to a situation, or hears someone utter a certain combination of words, to which their only response is "interesting," I, myself, find that to be very … interesting.
Nevertheless, I definitely appreciated the fact that Sensei Goodin wanted to learn a little more about me, and do believe that it's important to know what kind of outside student a sensei is exposing his/her core students to. In terms of being someone from another dojo, I've always considered myself open-minded and not particularly resistant to new information. I do, however, have a lot of old habits that seem to play an unwelcomed, yet recurring role in my training which was noted in our discussion about koshi, tachi, and general body mechanics.
As we continued talking he touched on various principles, gave me the training schedule, explained how class is conducted at the Hikari Dojo, and went on to tell me a few accounts of his personal experience with Shinzato Sensei. All of this only went to further my excitement as I realized this opportunity was going to be more than just the chance to attend class in a different state; it was going to be an all-around learning experience.
The first night I attended class was on a Monday. Being as my father-in-law works only a couple blocks up from the Hikari Dojo, he decided to stop by and watch after work. I really appreciated his encouragement and support for my karate passion, but also felt the situation warranted an explanation. "Uh Mr. Gildea (I still formally address my in-laws) … my sensei in Florida spoke to Sensei Goodin and requested that he not only give me a few pointers, but uh … 'pick apart' my techniques, so uh … I'm not really sure what you're expecting, but uh … yeah." – Eloquence at its finest, ne?
In spite of the carefully-worded forewarning, Mr. Gildea was eager to watch a class and seemed genuinely interested in learning a little bit about karate – which was great! He came to the right place, and Sensei Goodin certainly has a vast wealth of knowledge on the subject. Unfortunately, I knew that with these two men, whose opinions I greatly respect, watching my every move … the potential mistake factor would be significantly increased.
Well to begin with, I wasn't sure where fellow male karateka went to change into their gi as I walked into the women's bathroom and began donning my attire. An observant Sensei Goodin noted this error as he rounded the corner and stated, "Dude! You know you're in the girl's bathroom right?" while maintaining a cautious distance from the facility's entryway. With a reflective tone I replied, "No, I didn't … I couldn't see the sign that said …" "Right here," he pointed to the sign. Yep, sure enough, there it was. Seemingly tickled by my lack of observation, he directed me to the men's bathroom where I proceeded to change into my gi while considering my immediate blunder.
First impressions are lasting right? Well if that's the case, my ability to observe, and perhaps even my level of literacy, was already put into question … or at least that's what I was thinking as I stepped onto the tatami mat. Once class started, we lined up and began with kata.
Now there were a number of things that I needed to, and even now need to, work on in terms of my understanding and application of Kishaba Juku. Quite a bit actually, but I'm going to just touch on a few of the more outstanding key points for the sake of blog length:
Stances: As I recall, one of the first things to be addressed was my tachi. They were, in fact, too long. This is actually one of my long-time habits; I've always been bad to exaggerate stances which wouldn't provide a promising outcome in a realistic combat situation. Nevertheless, Sensei Goodin explained why stances need to be height appropriate in order for koshi, connection, and overall technique to come together. In my case this meant using shorter tachi.
Hikite: Next, the issue of what I've always referred to as my "chamber" hand came into question. During techniques that involved an affirmative strike or block, my hikite often found itself hovering over the arch of my hip. This is, of course, not correct as it doesn't sufficiently protect the side of one's torso. It was explained to me that the hand needs to sit approximately in the area of one's floating rib to effectively guard, and serve as an ideal position for the hips to drive a strike forward with power and efficiency.
Movement with the lats: As it turns out, I was largely using my arms and shoulders to punch which is also incorrect. In order for any technique involving the upper limbs to maintain the proper connection, the movement must come from the latissimus dorsi (not excluding koshi of course). This gives the individual the ability to drive a strike, make a connection with the opposing party, and recoil accordingly. The recoiling aspect of a technique is specifically important as it allows the business end of a strike to work like a whip, drawing the technique back in such a way as to immediately strike again, and again, and again … as many times as needed. It was equally stressed that timing is essential, being sure to have both the execution point of a strike and stepping movement into a stance coincide in order to generate both speed and power.
Breathing: It didn't take Sensei Goodin very long to notice that I wasn't exhaling to the same extent as his other students. As a matter of fact, I was holding my breath! Another habit that I developed somewhere along the way was to limit my breathing. I think I always believed that it would make my center tighter, should I absorb an incidental strike to the mid-section. Well … nope, that's not how it works. If anything, I would've dropped like a bag of bricks if someone were to hit me with my current breathing technique, or lack thereof. Sensei Goodin noted the importance of correct breathing; that it is necessary to expel air upon the execution of a technique, and tighten the hara in the event of that "incidental strike." He explained that if you're holding your breath, then there's air to be knocked out of you. And much like a kiai, the expulsion of air serves to focus one's energy into the technique being executed. It is, therefore, important to exhale assertively at the completion of each movement.
Koshi: Last, and most definitely not least, koshi! Being as my goal was to create a significant amount of power with as little movement as possible, I was sure to use small koshi movements … Only one "small" problem, I wasn't creating significant power. Actually, I wasn't creating any power at all. Sensei Goodin understood what I was trying to do; I was attempting to emulate an advanced technique where smaller koshi motion can generate the same level of power as larger koshi motion, but without prior understanding or development/augmentation of the basics. He explained:
"You're using smaller hip and body motions, but you don't really have the basis to generate the amount of power required for the [advanced] technique. You have to establish yourself in the basics: learn how the koshi works, learn how to apply the body mechanics, and understand how to generate power first. Practicing the technique as you are, you have less movement, but there's nothing backing it up beyond that. Granted, the goal is to eventually be able to execute the technique with less movement … but full power."
With other areas of interest being explored, these were among the major focal points we worked on for the two nights I was able to attend. With that said, the second night I attended class was on the following Wednesday. I'm not sure how much attention everyone on the mainland paid to the Asia-Pacific Economic Cooperation (APEC) Summit, but suffice it to say that it's kind of a big deal if you live on Oahu. As it turns out, this year President Obama participated in the event which resulted in increased security on the island. Among the precautions taken to insure the president and other politicians' safety was the closing, and police-monitoring of certain streets. The reason I mention this is because a great deal of the roads that were closed surrounded the area that Erika and I were staying in.
Well Sensei Goodin, as well as friends and relatives, had given me sufficient warning regarding the magnitude of the event and the impact it would have on driving. Unfortunately, I didn't plan my travel time well for the second night of class. We left the apartment we were staying at with what I thought was plenty of time to make it to class EARLY … which ultimately ended in my calling Sensei Goodin to make sure I could still come to class late. Apologetically I said, "Goodin Sensei, we've been on the road for forty-five minutes now and the traffic is just inching along. I'm not entirely sure when we'll make it to Aiea but …" Sensei Goodin very understandingly replied, "Just get here when you get here, we'll be training." I was immensely thankful for his patience and willingness to still allow me to train that evening, when in truth I probably deserved an "I told you so, better luck next time kiddo" instead.
So I finally make it to class, bow onto the floor, and begin training with the other students – by the way, his students are incredible, very gifted martial artists and extremely nice people on top of that. After a certain portion of kata, Sensei Goodin had his students work with each other and he took me to the back of the dojo to work on that which was eluding me so – the basics! To begin with, he had me work on my koshi motion in front of a mirror so that I could see exactly what I was doing. Soon after, he added strikes and blocks to the hip movements so that I could get used to the motion of executing techniques with koshi. This worked perfectly for my learning style as I pick things up much easier in an ABC format. After I had practiced the movements for a while, it was time to put the techniques together in a way that made sense … and what better way to that than through Naihanchi Shodan!
As we went through Naihanchi Shodan, the focus was on all of the aforementioned key points: stances, hikite, use of the lats, breathing, and koshi. Sensei Goodin explained how everything must be integrated for speed and power. He then gave me an example of how a beginner might start off going through Naihanchi, and then demonstrated a more intermediate way followed by an advanced set of techniques. Thinking that I had the 411 on what he was explaining I boastfully stated, "Ah that's the kaisho, gyousho, and sousho way of going through Naihanchi, huh."
He said, "No." - Yeah, I would've probably giggled if it were someone else trying to look smart, but it was me … so … it is pretty funny though isn't it?
He gave me a more thorough example of how a kaisho, gyousho, and sousho form would appear as it pertains to Naihanchi, which was as informative as it was cool. It wasn't long after that that class, sadly, had to come to a close. Just as it is in our dojo, we all stood in a circle so that everyone could see each other. Sensei Goodin told us about the importance of Kishaba students from different dojos training with each other; that it's good to see how other dojos train, and that Shinzato Sensei himself encourages us all to learn from each other. He told his students that if they ever found themselves in Florida they should train with Sensei Lucas, and very graciously extended a future welcome to any yudansha from the Tallahassee Karate Club. After a very warm farewell from the Hikari Dojo students, Sensei Goodin and I had one final chat … then I was on my way home to reflect and work on what I had learned.
It's hard to sum up the gratitude I have for Sensei Goodin's willingness to have me in his dojo and share the invaluable information that he sent me home with. In short, I am deeply honored, and truly appreciative for the experience. I am also thankful to Sensei Lucas for making the request and being an open-minded sensei who encourages constructive criticism from other, though familiar, sources; a willingness to consider others' viewpoints is among the many important facets that make up the true spirit of karate.
Eli Jones
Posted by Charles C. Goodin on Wednesday, December 14, 2011
Pinan Yondan - Part 16
By now you've certainly realized my point about the first movement of Pinan Yondan. I could have just as easily used the first movement of any kata, or the second, third, etc.
Any movement can teach you a great deal about Karate. What you learn is cumulative. What you learn in Pinan Yondan will improve your Pinan Shodan. And when you improve your Pinan Shodan, your Pinan Yondan will improve too.
Each movement is like Karate DNA. The building blocks of each movement are essentially the same. And the principles of movement are essentially the same too.
The ending form of movements may differ, but the methods of generating power, of moving, of shifting, of hitting, etc. are essentially the same, especially at the koshi/core level.
Don't you think so?
Do I think that Itosu Sensei intended this for school children? No I don't.
But I do believe that this was inherent of the kata system that preexisted the "modern" kata such as the Pinan and Fukyugata, when Karate masters taught a small group of students, in depth, with an emphasis on the fine points, customized for each student.
Is this relevant today? It is if we make it so.
All it takes is a movement, such as the first movement of Pinan Yondan (you probably knew that I was going to say that).
Charles C. Goodin
Posted by Charles C. Goodin on Saturday, December 10, 2011
Pinan Yondan - Part 15
When you have performed the first movement of Pinan Yondan, you are in nekko ashi dachi (a left cat stance) with a combined chudan and jodan shuto uke or uchi. The next movement is the mirror image, to the right.
But you could perform the same movement to the left, back, right, front, or any angle. You could move clockwise or counterclockwise.
You could execute the mirror image first. There is no difference between the right movement or the left movement. You could even execute the left movement to the right and the right movement to the left. There is no difference.
And if you can execute a chudan/jodan combination, you could also execute any other useful combination. You could execute a standard chudan shuto, or a gedan shuto, or a jodan/gedan combination. And these could also be executed in any direction, clockwise or counterclockwise.
And why does it have to be a shuto? It doesn't.
And why does it have to be in a neko ashi dachi? It doesn't.
Once you understand the first movement and learn how to execute it well, the idea is not to do that movement only, but to use that knowledge to enable you to do any movement in any direction, as needed.
And if the second movement is to the right, it could just as easily move forward to the left, or in any direction. It isn't limited either.
Each movement you learn is an invitation to many movements. It is like playing cards with a handful of wild cards.
Of course, many people cling to a literal interpretation of fixed kata and fixed movements. But we are preparing for the unknown -- an unknown attacker or attackers, at an unknown time, from an unknown direction, with an unknown technique. We are not preparing for a fixed attack -- that would be pretty easy. We are preparing for the unexpected.
To respond to the unexpected, you have to be able to adapt and move freely.
Learning kata can either help you or hinder you in this regard. In most cases, I would say that it hinders people because kata are taught in a rigid and fixed way. At first this is necessary, but students should be advised that the ultimate goal is fluency of motion.
A hard, rigid kata may look good to some people. This gets back to my earlier pretend question: "Would you like to look good at Karate or be good at Karate? Looking good and being good can be two different things. And what looks good to a layman will usually differ from what looks good to an expert.
The first movement of Pinan Yondan is an invitation to fluency of movement.
Another way to visual this is to say that each movement is an intersection point for an infinite (or at least large) number and variation of movements.
In English, we have just 26 letters. But using those letters, if we are fluent, we can form words and sentences to respond to any question.
And don't forget. If you are fluent at movement, the idea is to be just as fluent at application.
Charles C. Goodin
Posted by Charles C. Goodin on Saturday, December 10, 2011
Pinan Yondan - Part 14
The recoil of the first movement of Pinan Yondan, initiates the second movement, and so forth.
Through the use of recoil with koshi dynamics, a portion of the energy of each movement is recovered, and recycled, so to speak, into the next movement.
That is one reason a person skilled a koshi dynamics does not get as tired during kata -- he or she is expending less total effort. The idea is to get more done with less. And real skill is getting a whole lot more done with a whole lot less.
It is like bouncing a ball. It does not take much energy to keep it bouncing... if you time it right.
Charles C. Goodin
Pinan Yondan - Part 13
The first movement of Pinan Yondan is like... an uncontrolled sneeze.
Imagine that you are standing there, ready, and you suddenly sneeze. That is how the first movement feels.
Have you ever thought about a sneeze? It is a very powerful thing. Why? Because it comes from your core. You don't sneeze with your hands and feet. It comes from your lungs. Your whole body tenses, with very little effort.
Moving in Karate is like that, or at least it can be like that.
You wind up on the "ah" and strike on the "choo."
That is kind of funny. We are talking about "ah choo" when our art comes from "Loo Choo."
Ha ha ha!
Another way to describe the sneeze is like a "core twitch." When you are skilled at koshi dynamics and your body is conditioned, you simply twitch it and movements appear. If it sounds easy, it should be easy.
Charles C. Goodin
Pinan Yondan - Part 12
When you execute the first movement of Pinan Yondan, you are in a left neko ashi dachi (cat stance with your left foot forward). From the ready position, you move/drop into this stance.
But how? This is an important question.
Many people say that movements follow this pattern: eyes, feet, hands.
This is always true, however, it also not always true. It is not that rules are made to be broken, it is that rules are made for beginners.
If you first look to the left, then step slightly forward with your right foot, then turn into nekko ashi dachi, then execute the two hand movements (as described in earlier posts), you will be too late. The attacker will surely hit you.
Personally, I rarely move my feet first. I usually move my hands and feet together. They move together because of an important point: the feet and hands are powered by the same, koshi (core driven) body movement. I do not move my feet with one body motion and my hands with another. The same body motion (internal torque) powers both.
Since there is only one body movement, my feet and hands move together, but are slightly off timed.
When my feet reach the neko ashi dachi position, my hands will be recoiling from the strikes. It will look like my feet and hands are moving together. But actually, my hands are slightly ahead, and they too are off timed.
Again, when my feet are in position, my hands will have already struck. It will not be a case of stance first, then hand movements. And there will not be two or more body movements to power these movements. There will be only one body movement with multiple effects. And this is all timed with the body drop, as previously described.
Charles C. Goodin
Look Good or Be Good?
I'm taking a short break from Pinan Yondan but will return to it soon.
This is a story.
A Karate Fairy Godmother appeared to a student and asked him:
"Would you like to look good at Karate or be good at Karate?
The student was about to answer, when the Karate Fairy Godmother added:
"There is a catch. If you pick 'look good at Karate', you will look good to the public but will not actually be good. If you pick 'be good at Karate', you will actually be good but the public will not think so."
This is actually a very interesting choice. How would be pick?
In my own experience, the better a Karate instructor is, the more difficult it is for the public to recognize his skill. And sometimes the greatest skill is intentionally hidden. Remember that many 10th dans learned from no-dans, who learned from unknown hermits. Who is more skilled, the 10th dans or the hermits?
I think that the proper answer to the Karate Fairy Godmother would be:
"Skill at Karate comes from training, not making wishes. And in any event, looking good is not the issue, being skilled is. So if you don't mind, I will just train."
Charles C. Goodin
Posted by Charles C. Goodin on Sunday, December 04, 2011


text:
Fear comes at us from politics, war, work, relationships, strangers, movies, and television. It keeps us from behaving intelligently, since the mind's first reaction to fear is to ignore danger, hoping it will go away. When fear takes over, it drives us to extremes of manic happiness or fits of rage; it pushes us to destroy relationships instead of letting relationships help us defeat it. When fear wins the battle, viciousness sets in, and we have miserable lives in a miserable world. Most important, fear keeps us from the one thing that could stop its taking over: becoming present.
Robert Sardello, an exceptionally powerful writer who Larry Dossey deems "one of the few modern thinkers who genuinely senses how to deal with the barrenness of modern life," argues that the soul's greatest enemy is fear. It is only when we can look honestly at every fear—from insecurity at work to existential angst—that we may fulfill its potential for kindness, love, and compassion.
This book is at once an inspiring manual for dealing with fear and a call to arms to change our situation and thereby change the world. It is a rich combination of theory, anecdote, exercises for strengthening the soul, and the wisdom of a great student of the soul.
- Used Book in Good Condition
- Livre de Reliure: Paperback
- Marque: Brand: Riverhead Trade
- Couleur: Grey
- Catégories: Book
- Editeur: Riverhead Books
- Date de sortie: 2001-01-01
- Date de publication: 2001-01-01
- Broché: 304 pages
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text:
adidas ultra boost // drome (sold out, sorryyy)
I'm so excited to finally get these up on my blog! I admit it, in this moment, I am a hype beast. I got on the hype. I didn't buy them 'cause Kanye wore them, I honestly couldn't give a s*** about Kanye West. Would I have known about them if he didn't wear them? I don't know. Probably! But I won't deny that the limited availability of this colourway added with the fact they were selling out everywhere made me desperately want them. That and the fact they are BEAUT.
Now, getting into the nitty gritty. They are the most comfortable shoes I have ever worn. I can tell you that for free. The boost technology is incredible. I know it's easy to say like "oh these are so comfy" but I own a lot of comfy shoes and no... these are the best. Hands down. The midsole looks like polystyrene lol but it's more durable than that. It's a triple white shoe but there are sections of off-white which I really like. I also like the bulky sole shape, 'cause it's cool and a bit different, but not as bulky and massive as the Roshe Run from Nike. If you have a pair I'm sure you'll know what I mean.
The Ultra Boost is billed as "the best running shoe in the world" or something. Yeahhh... I will not be running in these shoes. I have old Free Run 2s for that, guys. Not in a million years are you gonna see me ruining these babies going for a jog.
What do you think? Fancy a pair? I got a size 6, and I'm lucky because I can always usually get shoes available to men as they run in a size 6. Size? were selling women's sizes in these but they have sold out too. Have a look on google shopping because they are in stock in a few sizes here and there on random sites.
x G


text:
Create exquisite chocolate pieces or desserts with these chocolate transfer sheets!
Colours: Red, Green, Pink, Gold and Purple.
Kosher Certified.
Size Approx: 15.75" x 9.84" (40cm x 25cm)
1. Lay out your chocolate transfer sheet, making sure the pattern is facing up. You might want to secure the corners down with some small weights.
2. Prepare your chocolate or your candy-melts, and leave to cool very slightly. Pour a little over your transfer sheet, and with an angled palette-knife, carefully spread your melted chocolate over the design. You want to make sure you are only spreading the top layer of chocolate so as not to smudge the pattern.
3. Once covered, leave the transfer to set for a few minutes, until the shine starts to disappear.
4. You can then pick up the sheet and wrap it around a cake, or use a cutter to punch designs into the chocolate. You can also score it into strips, and wrap it around a pin to create chocolate curls.
5. Once the chocolate has fully set, peel off the plastic sheet to reveal your beautiful work!
Melting and Tempering:
Candy Melts - Candy Melts work very well as a chocolate replacement, as they do not require tempering. They will set shiny and hard in a short space of time, and can be melted in the microwave or over a bain-marie.
Chocolate- Chocolate will provide a richer flavour, but will requiring tempering before use on the transfer. There are several methods, and we advise the following:
Melt about two thirds of your chocolate at 45°C. When it is completely melted, start adding some of the un-melted chocolate and stir it in.
With a chocolate thermometer, keep an eye on the temperature and keep adding un-melted chocolate until it has cooled to 32°C for dark chocolate or 30°C for milk and white chocolate. Make sure all your chocolate is melted.
To make sure your chocolate is fully tempered, spread a small amount on an even, cool surface. If you have tempered it properly, it will set fast and shiny. It is now ready to use! If it looks a little streaky, then you need to cool it a bit more by adding some more un-melted chocolate.
Tempering Methods:
Seeding: This method adds solid chocolate to molten chocolate to lower the temperature before heating it up to the final temperature.
Bain Marie: The chocolate is melted above a hot bath, cooled above a cold one, and then heated again to reach its final temperature.
Stone: A traditional artisan method where 2/3 of the molten chocolate is worked on a marble slab to lower its temperature then remixed into the remaining portion.
Chocolate transfer sheets are best stored in a cool, dry place, away from strong lights and odours. If the weather is very warm, you can store them in the fridge in an airtight container.
Other uses:
Try lining flat moulds with the transfers, or cutting out smaller strips of the design to create wrappers for small cakes and cupcakes. You could also cut out long, thin strips to create ribbons with! For this, simply spread your chocolate over the strips, lift them up and fold into a loop, then leave them to set. Assemble a number of loops to create a bow.
Some chocolate transfers also work beautifully on sugar paste. For this, you would roll out your sugar paste, and then lay your transfer on top, with the design facing down. Smooth it on with a cake smoother, and with a hair-dryer on low heat, gently apply the design to the fondant, directing the heat-flow to the design and smoothing as you go.
These chocolate transfer sheets can also be used with isomalt. Simply melt your isomalt nibs and apply the same way you would use chocolate or candy melts.
Dispatch Time & Price
Orders which are placed before 4pm (3:30pm for edible images) will be dispatched on the same working day (Monday - Friday). Please note that this does not include Bank Holidays.
3 Days (Mon-Sat)
£2.99 (Free - spend over £40)
2 Days (Mon-Sat)
£3.99 (£1.99 - spend over £40)
Hermes - Next Day Delivery (Mon-Sat)
£4.99 (£3.99 - spend over £40)
DPD - Next Day Delivery (Mon-Fri)
£6.99 (£5.99 - Spend Over £40)
Pre 10:30am (Mon - Fri)
Pre 12:00pm (Mon - Fri)
Saturday or Sunday Delivery*
£6.99 (£5.99 - spend over £40)
International Delivery Pricing
*Weekend deliveries are only possible for orders placed Mon-Fri before 4pm.
Please note, there may be additional postage charges if your order consists of unusually large or heavy items. If this is the case, you will be contacted prior to dispatch.
Next Working Day Delivery (UK)
Any order placed before 4pm (3:30pm for edible images) Monday - Friday, with the Next Working Day Delivery option selected, will be dispatched for delivery the following business day (Monday - Friday), between the hours of 8am - 9pm. A signature is required for this method, so you will need to be at the delivery address to sign for it. Please allow an additional 24 hours for any order to be delivered to the Scottish Highlands.
If delivery cannot be made, DPD will try again on the next working day. If this is unsuccessful, it will be held at the depot for an additional 5 working days. After this, the parcel will be returned to us, at a surcharge of £5.
Please Note: None of our services are a guaranteed service. DPD have a 98% success rate on next day deliveries.
Any order containing a product that is listed as a preorder, will be held until the preordered item has arrived in stock. Orders containing a preorder cannot be split, if other items are needed before the expected delivery date, these items should be ordered separately.
Weekend Deliveries (UK)
Any order placed before 4pm* on Friday, with the "Saturday Delivery" or "Sunday Delivery" option selected, will be dispatched on the same day for delivery between the hours of 8am - 6pm on the selected day. A signature is required for this method, so somebody will need to be at the delivery address to sign for it. If the order is placed after the 4pm cut-off on a Friday, the order will be dispatched for delivery on the following weekend.
Please note we are unable to guarantee any order being dispatched to the Scottish Highlands to arrive within the quoted time frame.
*Orders for edible images have a cut-off time of 3:30pm – orders placed after this time will be dispatched for delivery the following weekend.


text: Donald Trump's tweets announcing plans to ban all Trans individuals from serving in any capacity were met by shock and criticism. He cited advice from his generals and medical costs as key factors in the decision but it has a far reaching impact on the people who currently and in future choose to serve the united states. What do you think about the decision?


text:
SALT LAKE CITY — Construction work on a new federal courthouse is nearly 90 percent complete.
The building at 351 S. West Temple is set to open next spring, and it looks nothing like the stately Frank E. Moss U.S. Courthouse it is replacing.
The new building doesn't have a name yet. For now it's simply known as U.S. Courthouse for the District of Utah. After 20 years of securing funding, property and everything else, ground was broken in January of 2011.
Amy Mills, project manager and sustainability coordinator for Okland Construction, said the building is 87 percent complete, is on budget and on schedule.
The building is 10 stories tall and 410,000 square feet. It will have 10 courtrooms, 14 judges' chambers, and house the U.S. Marshals Office, the U.S. Probation Office and a records library. It will also have two underground parking levels.
The new courthouse addresses a few concerns of the old building, including the need for space, technology and security. A major issue with the current federal courthouse is the difficulty of separating prisoners, the public and the judiciary and their travel paths, said Alan Camp, project manager for General Services Administration.
"You would have prisoners riding the same elevator as somebody from the public, and that's not acceptable in today's world of court design," Camp said. "So here in the courthouse we'll have separate travel paths for the judiciary, the public and the prisoner movement."
The new building also meets new perimeter security standards required in all new federal buildings. The building is set back 50 feet from the street.
"There is blast protection built into the perimeter of the building, and there's progressive collapse built into the design of it, so we don't have an Oklahoma City-type event," Camp said.
The Frank E. Moss building's original construction was completed in 1905. The courthouse underwent renovations in 1912 and 1932 but has remained essentially the same now for nearly 80 years. It was added to the National Register of Historic Places in 1978. The building is known for its elaborate classical revival style of architecture.
The new building's shiny and sterile-looking structure was designed that way intentionally. It is extremely well-lit. There will be no more dark hallways leading into dark courtrooms. The design concept known as daylighting takes advantage of the natural light, so the building has many windows. Each of the courtrooms is built against the exterior walls.
"They really wanted to bring the natural daylight into as many working spaces as possible, including the courtrooms, so it's kind of a unique feature in these courtrooms that we have one full wall of natural daylight pouring into the courtroom," Camp said.
The daylight allows the courthouse to use less electrical lighting. There are automatic dimmers that will dim lights when the outside light is best.
Not only does it reduce energy costs, the daylighting has been "shown to improve productivity (and) improve mood," Mills said.
The 10-story atrium also contains a contemporary artwork of suspended hexagonal metal tubes on cables, which also helps reflect light.
The new building also has reflecting pools. "On the west side of the building, at the main entry, we have two reflecting pools — a small one to the south and then a larger one that runs the length of the building to the north," Mills said.
The project was designed to achieve Leadership in Energy and Environmental Design Gold Certification from the U.S. Green Building Council, which evaluates energy efficiency and the building's environmental sustainability.
The building's electrical system is 34 percent more efficient than a comparable building. The daylight harvesting adds an additional savings to the overall energy usage of the building.
Recycling was also a big part of this project. "Part of that included recycling all of our construction waste, so we sort material on site: wood, cardboard, metal, refuse, and we recycle it," Mills said. "Currently, 86 percent of our waste — whether that's scrap or packing — has been diverted from landfills."
The popular Port O' Call bar was purchased for about $7.5 million and the materials were recycled. Odd Fellows Hall, a 118-year-old building, was moved from its original site to across the street at a cost of $6.7 million.
At its peak, there were 250 to 400 workers on site, including 85 contractors, most from local companies.
The entire project cost $186 million, down from the original fund request of $211 million thanks to the slow economy.
Crews still need to work on landscaping, carpeting, paint, woodmill work and bringing in furniture. The building will be open to the public on April 14, 2014.
The Bankruptcy Court will remain at the Frank E. Moss courthouse, and other federal agencies located in leased space will also be relocated there.
Email: firstname.lastname@example.com


text:
Single Top Plates - Code Notes
A single top plate is allowed under the International Residential Code, but it is not a common construction practice. The standard practice for exterior and interior wall framing is using a double top plate to connect wall segments, and to support framing above the plates.
Publication Date:
Thursday, June 16, 2011


text:
£70 including freshly cooked breakfast
Single Rooms: £70
Double Rooms for single occupancy: £77 – £90
All prices are per room, include our freshly cooked English breakfast and VAT.
Start your day in our conservatory style restaurant overlooking the gardens. Enjoy a mouth-watering buffet of fresh juices, fruits, yoghurts with a fresh pot of tea or caffetierre of coffee followed by a full English breakfast cooked freshly to order including free range eggs and thick cut, oak smoked bacon.
All rooms are en-suite with DVD TVs, tea/coffee making facilities, trouser press, hair-dryer
A room service menu is available as well as the onsite restaurant for residents. A number of country pubs and local eateries are within easy walking distance.
The hotel has free wireless internet, direct dial telephones, fax and printing facilities.


text:
I was afraid of something like this.
Yeah, that's my car, in a well-lit garage in downtown Seattle. I was half a block away, on the set of a movie called A WINDOW, ironically enough.
It's never good when you get a phone call from an unknown number at 8pm on a Sunday. Sure enough, it was the police, telling me my car had been broken into. They found a suitcase and a duffel bag on the roof.
As you might imagine, there's a lot of stuff in my backseat, so I'm still trying to figure out what's missing. There seems to be a little bit of cash missing and a pair of not-great jeans that were in the duffel bag. But the suitcase was recovered, which is great because it was a birthday present. And there was the box for my T2i, which has stuff in it (not a camera, but enough to give it weight). That was right next to the bags that were taken, but wasn't touched. Weird.
So now there's a big plastic bag on my window, held by gaff tape, and I've got to figure out how to get it replaced, and for cheap.
Anyone want to contribute to the "my insurance probably won't cover this" fund?
Naturally, my insurance doesn't cover this. The cheapest quote I've found is $288 at SafeLite, but I'm not sure I can get that scheduled before I have to leave. At least do that and get my oil changed. So I'm not entirely sure what to do. How long do I want to roll with a black garbage bag on a window?
With taxes and fees it comes to $327 (I know, right?). But the good news is that we've already raised...
Filmmaker Lucas McNelly is spending a year on the road, volunteering on indie film projects around the country, documenting the process and the exploring the idea of a mobile creative professional. You can see more from A Year Without Rent at the webpage. His feature-length debut is now available to rent on VOD. Follow him on Twitter: @lmcnelly.


text:
The Niagara Cutter STR440 Stabilizer AlCrN-coated carbide corner radius end mill with four flutes features the patented Stabilizer flute design, which combines variable helix angles and unevenly spaced flutes of differing lengths to allow deeper cuts at higher speeds on high-temperature alloys. The helix angle varies from tooth to tooth to reduce tool vibration and provide efficient chip removal. The unequal length and spacing of the flutes creates an out-of-phase cutting action that further reduces tool vibration and extends tool life. Aluminum chromium nitride (AlCrN) coating provides good hardness and better resistance to chemical breakdown in high-heat applications than TiAlN, TiCN, and TiN coatings. The carbide substrate is harder than high-speed or cobalt steel, making it more wear resistant at high speeds and hot temperatures, providing longer tool life. The Stabilizer flute geometry, carbide substrate, and AlCrN coating make the STR440 suitable for machining the high temperature alloys used in the commercial aircraft, aerospace, and defense industries.
The four-flute design is well suited for fine finishing. Corner radius end mills have a square end with rounded corners on the cutting edges to reduce chipping and extend the life of the tool. The center-cutting design has cutting teeth at the end of the tool, so it can be fed into the workpiece like a drill bit. The tool has an eccentric primary relief feature that provides better support behind the cutting edge than a flat relief, reducing tooth breakage in deep cuts. Cutting diameter tolerance is +0.000" to -0.002". The STR440 comes with a round shank for shank diameters smaller than 3/8" and a Weldon shank on shank diameters of 3/8" or larger.
End mills are designed to remove material and create multi-dimensional shapes and profiles. They have cutting edges along the outside diameter and flutes that remove chips from the cutting area and allow cooling fluids to enter. If heat is not reduced effectively, the tool's cutting edges will dull and additional material buildup can occur. The number of flutes can range from two to eight. Two-flute designs offer the most efficient chip removal, but more flutes provide a smoother finish. The shank is the end of the tool held in place by a tool holder or machine. Center-cutting end mills can create three-dimensional shapes and profiles, and make plunge cuts similar to a drill bit. Non-center-cutting end mills are for applications such as peripheral milling and finishing, but cannot make plunge cuts.
Niagara Cutter has been designing and manufacturing precision cutting tools since 1954. Specializing in end mills, cutting mills, and saws, the company is based in New York and manufactures its tools at facilities in Pennsylvania and Massachusetts. This allows the company control over production, from substrate to coating, which is essential for customers in a variety of industries, especially aerospace and automotive.


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Supplement your Common Core curriculum with these high interest titles.
Select a subject area to see the full selection of titles.
©2018 Academic Therapy Publications. All rights reserved worldwide. | Top
High Interest low level Books & Programs for Struggling
Readers. Serving Special Education since 1965.
20 Leveroni Court, Novato, CA 94949-5746
• (800) 422-7249


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NEWS- All wet? Barracks Road plan strips canopy
The latest plan to update the area's oldest shopping center has riled some of its merchants, who contend that Barracks Road Shopping Center's owner is more interested in a trendy look than in customer comfort.
Renovation plans filed with the city show the original 10-foot canopy in the main section of Barracks Road removed from Talbots to Panera Bread, and replaced with a series of awnings and pergolas. Some merchants fear exposure to foul weather will deter shoppers in an already gloomy economy.
Steve Metz at Lynne Goldman Studio, who used to own a store on the Downtown Mall, says he's experienced first hand the public's unwillingness to shop when exposed to the elements.
"The Wednesday before Christmas, it was raining," says Metz. "There was no business downtown. We had been doing a nice business. I feel like this is going to have a negative impact on customers."
Over at Oil and Vinegar, owner Paul Urmanski says that while he hasn't seen final renovation documents, he's not convinced that going canopy-less will help merchants.
"I personally don't think it's going to help our business," he says. "We get a fair amount of rainy days. Also a number of hot days, and then you'll have to walk in the sun."
Metz notes that because the awnings will not be contiguous, and because at just four-feet wide, they're much narrower than the canopies, they simply can't provide the same weather protection. He believes that the Center's owner, Federal Realty Investment Trust, has fallen prey to fashion.
"They're just hellbent," says Metz. "They feel like the center is too '70s, too dated. Every 10 years, shopping centers feel there's a new look that has to be done."
What many Barracks Road merchants really want is a parking deck for the popular but space-challenged center, according to Metz. A year ago, Federal, which also operates nearby Shopper's World (but wrongly gives that mall's address on its website as Willow Lawn Drive and West Broad Street, which is in Richmond) met with tenants and nixed that proposal.
Merchant reaction against removing the canopy was so strong that CEO Don Woods told his tenants it was off the table, says Metz. "Now they're doing it without telling the public," he says. "It's a fait accompli."
Metiz is also irked that Federal inserted a clause in all new and renewed leases that will charge tenants $3 per square foot for the revamping. "In spite of the fact they're doing this and I don't want it, I have to pay an additional $6,600, which to me is a hefty amount," he complains.
"We're not prepared to release anything at this time because it has not had final internal approval," says Federal spokeswoman Janelle Stevenson.
In Charlottesville's Office of Neighborhood Development, planner Mary Joy Scala says she gave administrative approval for the canopy removal, which requires no public input.
"It's not a historic district," says Scala. "As long as they go by entrance corridor standards..." (She notes that the City is, however, requesting historic protection for the 1959 Wachovia Bank building at Barracks Road.)
Federal submitted a comprehensive signage plan, Scala says. The site plan the company filed for Barracks Road Shopping Center restructures traffic flow, removing barricades so that cars have a straight shot from Emmet at Burger King to Millmont Street, and adds more crosswalks and islands with landscaping. Turrets and towers also are proposed for atop the existing structure.
As for the perennially crowded parking lot, Scala says the number of spaces increases from 1,359 to 1,484.
Metz is not convinced customers will thrill to shopping sans canopy at Barracks Road, and would like them to email their opinions to him at firstname.lastname@example.com. He promises to forward all comments to his landlord.


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Girls' Night Out promises fun and prizes
Every Thursday through July during its run of "Hairspray," the Summer Theatre of New Canaan is featuring "Girls' Night Out," when theater-goers will have a chance to win prizes while enjoying the show with their BFFs.
Girls' Night Out takes place July 24 and 31.
"Our production of `Hairspray' presents a natural opportunity to create a fun event to get together with girlfriends," Melody Libonati, artistic director, Summer Theatre of New Canaan, said. "What could be more fun than to see an outstanding show and have the chance to win some great beauty prizes?"
At 6 p.m. the elm restaurant is offering specialty-themed cocktails during its weekly "Happiest Hour"; a special pre-theater, prix fixe dining option is also available.
The show at the STONC tent at Waveny Park begins at 8 p.m.
Every woman who attends "Hairspray" will receive a raffle ticket for a special drawing of beauty-themed prizes. At intermission, five tickets will be drawn. The prizes are a Divaz Salon gift certificate for a blowout, valued at $40; a Zotos International gift bag of hair products, a $40 value; Space NK gift bag of special "Teaser" hair brush and hair products, a $25 value; Le Boudoir gift package of three make-overs or blowouts, a $90 value; and Sokushindo Reflexology 30-minute session, a $30 value.
In addition, anyone can enter to win a deluxe beauty basket and a ladies lunch for four at elm, valued at more than $350, by posting a "like" to the Girls Night Out post on Summer Theatre of New Canaan's facebook page, or by posting #STONCGNO to Instagram or Twitter. Winners will be selected July 31.
For tickets or information, visit www.stonc.org.


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'Every show that has received incentive money has gotten that money lawfully,' says EUE/Screen Gems Studios exec
Gov. Pat McCrory's recent comments citing "abuse" of the film incentive has enraged some industry leaders who say the state operates one of the cleanest programs in the nation.
In a recent interview with WECT, McCrory said: "We need to have some compromise on it because, frankly, there was some abuse of it."
Asked by the StarNews this week for examples of abuse, McCrory spokesman Ryan Tronovitch said: "The governor talks about the 'Daily Show' receiving a few hundred thousand dollars for coming to the Democratic National Convention in 2012 (they would have been coming anyways.)"
Speaking to the StarNews editorial board last week, McCrory said the state paid Comedy Central $400,000 to cover the convention as part of its satirical "The Daily Show with Jon Stewart" news program.
But an analysis of audit records shows the production received $190,211 from the incentive after spending $760,846.
Though McCrory didn't mention it, "Late Night with Jimmy Fallon" that same year spent $467,954 and got back $116,989.
Asked for further examples of abuse, Tronovitch said he would check with the N.C. Film Office, which is a part of the Department of Commerce, though he had not followed up as of 10 a.m. Wednesday. The office's director, Aaron Syrett, confirmed Tuesday that he is stepping down at month's end. There have been sporadic news articles about unusual uses of the film incentive throughout the years.
But on the heels of McCrory's visit to Wilmington last week, EUE/Screen Gems Studios Executive Vice President Bill Vassar said in a statement: "There has been no abuse of the film incentive."
"Every show that has received incentive money has gotten that money lawfully," Vassar said.
Vassar and other industry leaders agree, however, that rules about what types of shows are eligible for an incentive should be tightened, the statement continued.
Johnny Griffin, director of the Wilmington Regional Film Commission, said the governor's use of the word "abuse" didn't sit well with him either.
"It made me cringe," Griffin said, noting that perhaps the governor would have been better served by suggesting that the film incentives program needed some adjustments to ensure that it was encouraging the type of business intended.
"To me, the word 'abuses' is rather strong because when I hear 'abuses' I think it's somebody that has done something that is illegal, that has manipulated the system in some way, something like that," Griffin said. "'The "Daily Show,' based on guidelines and rules as they are written, fully qualified to be able to come here."
At the same time, Griffin said, some people may "look and say that wasn't our intent."
"If that's the case, over time, any time you have a program you have to evaluate it and look at it and make some changes because you end up with unintended consequences."
But, he said, Comedy Central would probably be "highly offended" as being referred to as an "abuser of the system." An inquiry to Comedy Central's press office was not returned.
"When you claim abuse, that starts to taint all of us because we're all a part of this business," Griffin said.
Katy Feinberg, spokeswoman for the North Carolina Production Alliance, which represents the state's film community, also said there "have been no abuses – plain and simple."
"North Carolina has one of the most accountable and successful film programs in America, and part of what makes it work so well are the effective audits by the Department of Revenue," Feinberg said.
Leading House and Senate lawmakers continue budget negotiations this week. It's unclear whether the final budget will include a deal on film incentives, which expire Jan. 1. The latest Senate offer to the House included a $20 million "grant" program for the film industry.
Metro desk: 343-2384
On Twitter: @StarNewsMolly


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Mori Lee Dresses
Mori Lee have been designing beautiful and feminine dresses for years, which is why we select a special range of dresses from each seasons collection by Mori Lee, so that our customers are able to get a top end dresses at a super affordable price. Whether you are looking for a modern fishtail dress, or an embellished A-line, Mori Lee wedding dresses and prom dresses really do offer something for everyone.
Popular, versatile dresses
Mori Lee can provide dresses for any style no matter what your size or shape, the Mori Lee dresses which we pick are always dresses which have the potential to suit all shapes and sizes so that we are able to cater for any bride, prom girls and whatever occasions where a beautiful designer dress is required. Our dress experts make sure they always select Mori Lees most popular and versatile dresses so that our customers get to pick between the best dress designs, which may have flown out of stores elsewhere. Our dress professionals also offer an alterations service in some circumstances and can alter many of our Mori Lee dresses so that they fit perfectly on your big day.
All dresses can be altered
Mori Lee has been a successful designer for prom dresses, wedding dresses and general party dresses for many years and is well known for delivering style and elegance in all of their dress designs. We are able to offer our customers all kinds of dresses as the range really is endless and any dress which you feel is the one, can be altered to a certain degree in order for the dress to fit well and give you the desired fit with any of our wedding and prom dress styles.
Contact Us Today
We look forward to assisting you with your enquiries about our Mori Lee Dresses. Please call us today on: {PHONE_NUMBER} to find out more.


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Lifting a person from a horizontal position requires a sling with a sturdy support for head and back.
Please contact your Liko Service Centre for more information as well as advice and specific solutions.
Lifting from floor to wheelchair
...with Soft Original HighBack model 26
From the very beginning consideration for those for whom we develop our products has been our most important guiding-star. Our concept reflects our vision in our daily activity - always to improve life quality for patients and caregivers globally.
helps you find the right sling
Liko AB • Nedre vägen 100, SE-975 92 Luleå, SWEDEN • Tel: +46 (0)920-47 47 00 • Fax: +46 (0)920-47 47 01 email@example.com • User Terms • © 2018 Liko R&D AB ALL RIGHTS RESERVED


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Green Kitchens in Cambodia: Can Cookstoves Fuel an Economy?
Siem Reap, home of the Angkor Watt temples, is among Cambodia's poorest provinces [1]. Four out of ten villages lack access to clean drinking water; literacy rates are among the lowest in the country; 53 percent of all children are malnourished, and average incomes hover just above $1.80 USD per day [2]. The tourism industry here brings in over $640 million USD per year, yet foreign revenue streams do not ensure (and may indeed extract from) local development -- though the draw of external revenue streams is understandably attractive for Least Developed Countries such as Cambodia.
But a different form of foreign investment has dramatically changed Arun and Mlis Keo's [3] economic outlook. The couple, who farms just 20 kilometers from the Angkor Watt heritage site, acquired a biodigester through the National Biodigester Program (NBP) run by the Ministry of Agriculture, Forestry and Fisheries of the Cambodian Royal Kingdom (MAFF) and the Netherlands Development Organisation (SNV-Cambodia). The biodigester, which converts livestock dung to biogas, fuels their cooking and household lighting needs and has decreased their energy bill by $14.39 per month -- while saving them one and a half hours per day in fuelwood collection. The slurry waste from the biodigestion process substitutes for chemical fertilizer, generating an extra annual savings of $52 per year.
The Keo family represents just one of 8,000 Cambodian rural homes, spanning nine provinces, that have qualified for a flat $150 subsidy and soft private loans to invest an average of $472 into a household-scale biodigester. Considering that the average annual Khmer income is $412, the NBP's popularity (and zero loan-default rate) deserves investigating [4].
When talking about the biodigester, the Keos do not mention the environmental or health benefits of the project. The best part of owning a biodigester is the convenience, Mlis Keo said. She no longer needs to collect firewood or buy charcoal, and cooking rice on a gas stove is much easier than building and maintaining a fire.
But reductions in household soot and atmospheric methane from the livestock waste are certainly points of interest for NBP, which is trying to convert those benefits to carbon credits for international sale.
Carbon finance -- foreign investment in greenhouse-gas-reducing projects in developing countries that generate, in turn, carbon credits that developed countries may buy and use for their own climate commitments -- has been a source of controversy in international headlines and academic debate since the Kyoto Protocol launched a global carbon market in 2005. Proponents point to an estimated $141.9 billion market value in 2010 [5] while critics underscore imbalanced regional investment patterns [6] and uncertainty regarding the final destination of the revenue streams.
While much has been said on the shortcomings of carbon finance, the market's local successes are poorly understood and may, in fact, be hindered by current market rules. Further, while the future of the Kyoto Protocol is uncertain, international enthusiasm for carbon-financed cookstove programs is on the rise with the launch of the Global Alliance for Clean Cookstoves. But how can carbon finance truly benefit the poor? And are current requirements for defining a carbon offset project relevant for development objectives?
These are just a few of the issues driving my research. Through funding by the Yale Center for Environmental Law and Policy and pilot support from the Yale Institute of Biospheric Studies, I am collaborating with the Nexus Alliance of small-scale project developers to trace benefit flows and to identify principles for success when designing pro-poor cookstove and kitchen interventions.
Jasmine Hyman, M.Sc. (LSE), B.A. (Columbia) is completing a doctorate at the Yale School of Forestry & Environmental Studies, where she holds a doctoral fellowship from the National Science Foundation. Her research seeks to identify design principles for global climate finance schemes that promote equitable development and social justice.
[1] Kosa, Chea and Mara, Yos (2006), "Children's Empowerment through Education Services (CHES) Project in Siem Reap Province," in Winrock International (ed.), (Phnom Penh).
[2] Doherty, Ben (2010), "Angkor Butterfly Hunters Tell of Poverty Amid Tourist Wealth," The Guardian.
[3] Names have been changed.
[4] van Mansvelt, Rogier (2011) "Biodigester User Survey 2009-2011," for NBP, Phnom Penh
[5] Capoor, Karan and Ambrosi, Philippe (2010), "State and Trends of the Carbon Market 2010," (Washington DC: The World Bank).
[6] UNEP RISOE, CDM in Charts, Accessed July 2011.


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San Francisco International Fashion Week | Joseph Domingo
Lights, Camera, Action! Hot Chocolate's sixties hit "I Believe in Miracles" brightened the room as the show started off with swimwear such as plunging, space-dyed maillots for women, and super-short swim trunks for men in psychedelic citrus shades.
Key Takeaways: The show was full of references to nature, such as water-blue chiffon dresses, floral-print suits and jackets in earthy colors.Domingo also succeeded well in doing what he does best–couture gowns–as well as suits for women and edgy jackets for men. Overall, Joseph Domingo's show was one of the top highlights of SFIFW.
Silhouettes: In swimwear, plunging maillots for women and supershort trunks for men; Fitted skirt and pantsuits for women; boxy jackets for men, worn on a bare chest; deep-V dresses for women; flouncy cocktail dresses with tiered prairie skirts or accordion pleats for women. We loved the thoughtful details, like the green "leaves" that made up the sleeves of this dress:
One way to turn heads:
Photo Credit: Ling Kong
Add comment October 31st, 2005


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Penguin Mints
Penguins & Candies & Caffeine, Oh My!
- Each mint is loaded with caffeine.
- Three mints equals one cup of coffee's worth of caffeine.
- Reusable tin can be hacked into almost anything.
We love these. Very, very much. In fact we are building a sculpture out of empty tins (we'll show you that later...)
Three penguin mints are equivalent to about 1 can of Coke in terms of caffeine. There are about 75 mints per tin. Drop one in a BAWLS if you want to get serious (actually, we've named this concoction the 'Fizzling Blue Bawls').
(Penguin mints are sugarfree and contain sorbitol and aspartame)


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According to a new survey, more than half of Americans think their bosses are liars, and more than a quarter would fire them if they could.
Reuters says the survey, conducted by at Zürich-based human resources company, found that 53% of Americans think their bosses are dishonest. Specifically, 28% think their superiors are lying about their job security. A majority also think their bosses are unfair and disloyal. Oddly, two thirds of Americans would not change anything about their relationship with their boss, implying that we're all just used to a Kafkaesque work environment of backstabbing and deceit.
Possibly lending credence to the idea that bosses suck is another survey, showing that 22% of female executives have withheld a promotion or raise because of the way an employee dressed. In the same survey, 98% of women said their appearance affects their career, and 55% said they frequently felt like they had nothing to wear.
My current work uniform includes: sweatpants, a Snuggie (oh yeah), socks (it's cold in here), and a t-shirt with a picture of a dirt bike and the phrase "Personal Watercraft: Spend money in a royal style" (it was a gift). So I guess I'm in the lucky 2% of women for whom appearance doesn't matter. Then again, Anna H. probably just made these surveys up. What is "Reuters" anyway?
Workers Think Bosses Are Dishonest, Survey Says [Reuters]
U.S. Working Women See Appearance As Key: Survey [Reuters]


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ld evaluates
Major Section: MISCELLANEOUS
Ld-pre-eval-filter is an
ld special (see ld). The accessor is
(ld-pre-eval-filter state) and the updater is
(set-ld-pre-eval-filter val state).
Ld-pre-eval-filter must be
:query, or a new name that could be defined (e.g., by
defun or
defconst). The initial value of
ld-pre-eval-filter is
The general-purpose ACL2 read-eval-print loop,
ld, reads forms from
standard-oi, evaluates them and prints the result to
However, there are various flags that control
ld's behavior and
ld-pre-eval-filter is one of them. If the filter is
:all, then
every form read is evaluated. If the filter is
:query, then after a
form is read it is printed to
standard-co and the user is asked if
the form is to be evaluated or skipped. If the filter is a new
name, then all forms are evaluated until that name is introduced, at
which time
ld terminates normally.
:all filter is, of course, the normal one.
:Query is useful if
you want to replay selected the commands in some file. The new name
filter is used if you wish to replay all the commands in a file up
through the introduction of the given one.


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Total: €0,00
Portes envio: €6,20
Maternity top with an original print, which covers body like a balm.
- perfectly fits the body shape while your tummy grows
- delicate and soft to the touch, thanks to an incredible combination of cotton and modal
- perfect to wear even after childbirth
- wide range of imprints
- natural composition of: cotton, modal and spandex.
Our maternity clothes are produced in Poland from top quality fabrics.
Model: Weronika (height 172 cm) 9 months pregnant, size M in the photo.


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SIGN, or Society for the Involvement of Good Neighbors, was designed to help the community become more successful by playing directly to individual needs. Since this not-for-profit organization began in 1969, we have provided programs and services to individuals and families in need. Our mission is empowering children, families and individuals to achieve lifelong success through programs and services that build strong children, strong families and strong communities.
At SIGN, we understand that a community is only as successful as those who live and work within, and we hold tightly to our core values which include respect for all, excellence, integrity, compassion, inclusivity and leadership.
Please login to add a recommendation.


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Florida Republican Gov. Rick Scott says he will not implement the state health insurance exchanges mandated in the 2010 federal health care law despite President Barack Obama's re-election.
The Sarasota Herald-Tribune reports:
Speaking on the New College of Florida campus following a meeting of the state's university governing board, Scott said it will cost taxpayers and business owners too much to expand Medicaid and set up health insurance exchanges as called for under the law.
"No one has been able to show me that that health care exchange is going to do anything rather than raise taxes, raise the cost of our companies to do business," Scott said, adding that expanding Medicaid would also require tax increases.
Scott is one of many Republican governors who have resisted the state programs required by the law before Election Day, but he's the first to voice continued resistance after the election.
In Congress, Republican leaders have indicated that the election results, in which the Democrats retained control of the Senate and boosted their minority in the House, would curtail efforts of repealing the law.
"It's pretty clear that the president was re-elected," House Speaker John Boehner said in an interview with ABC News on Thursday. "Obamacare is the law of the land."


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A new album from Boston and a classic release from Chic
New album:
Love, Life and Hope
Artist: Boston
Label: Frontiers Records
Rating: 1 star out of 5
The latest album from Boston is ridiculously horrible.
Group mainstay Tom Scholz is still a genius at layering guitar parts, but the rest of the instrumentation sounds as if it was recorded on a cell phone. The largest sonic abomination is the synthetic sounding drum tracks, which resemble the canned percussion tracks available on most $50 keyboards in the early 1980s. Either Tom Scholz is using Frankie Goes To Hollywood's old drum machine or he has drummer Curly Smith playing those tin foil covered drums Kraftwerk built back in 1975.
What's worse, it took Scholz 10 years to produce and album that sounds too tame for an H&R Block commercial. Even the songs that feature vocals by late original singer Brad Delp (such as the the schlocky �Didn't Mean To Fall In Love�) can steer this album out of its nosedive. Other than Delp's vocals or the occasional burst of guitar wizardry from Scholz, everything that turned Boston into a classic rock radio behemoth is nowhere to be found on this album.
The lyrics for the songs on �Life, Love & Hope� are just as tepid as the instrumentation. The word �love� pops up in five song titles, all of which longtime Boston fans will most likely hate. If Delp's suicide in 2007 influenced the writing of these songs it's unapparent, as they come off as passionless as the soundtrack to an instructional video on shoelaces.
Millions of people love the big, symphonic arrangements and ear-worm melodies of �More Than A Feeling,� �Foreplay/Long Time� and �Cool The Engines,� so much so that classic rock radio routinely plays the songs more than once in a day. In an age when people either steal music or refuse to listen to anything that wasn't released by the time they started shaving, no one expected the new Boston album to do 1970s-level business, but no one thought it would be this dreadful of a listening experience either.
Independent bands with no budgets routinely make albums that sound like Stravinsky compared to this abomination. Avoid this thing at all costs.
Classic album:
Artist: Chic
Label: Atlantic Records
Rating: 4 stars out of 5
�Risque�� was arguably the zenith of Chic's recording career. Although it was lumped in with disco upon its release in 1979, groups such as Duran Duran and Queen acknowledge the album's influence on their own work.
Group leaders Nile Rodgers (guitar) and Bernard Edwards (bass) knew how to create music that would jump genres, and in that respect �Risque�� was their greatest achievement. Vocalists Luci Martin and Alfa Anderson were the perfect foils for the songs Edwards and Rodgers wrote, with drummer Tony Thompson laying down a funk beat with rock drive. Everything from the lyrics down to the bass lines exuded a light, happy feeling.
Lead single �Good Times� (a whopping eight minutes long on the album) was in many ways a scaled down version of the good-time vibes laid down by Earth, Wind and Fire in the 1970s. The vocals were layered as thick as anything Phil Spector recorded in the 1960s, but Chic's sound was sleek and sophisticated. Not one note was out of place on �Good Times,� but the perfectionism never got in the way of the groove.
Although not as catchy as �Good Times,� �My Feet Keep Dancing� and �My Forbidden Lover� were also decent sized hits � both on radio and in the clubs. �A Warm Summer Night� is one of the rare non-dance songs in the Chic cannon, but as breezy slow jams go it's one of the best. �Will You Cry� is even further away from the dance floor, but album closer �What About Me� lays it down for the hoofers once last time.
After Chic's initial run, Rodgers and Edwards produced and played on albums by Stevie Ray Vaughn, David Bowie and Madonna, while Thompson went so far as to join Robert Palmer and two vacationing members of Duran Duran in The Power Station. Chic have since enjoyed a few successful reunions and the shelf life on their big hits seems to be far from expiring. Expect to see people dancing badly to their great songs at weddings for years to come.
Jon Dawson's album reviews appear every Thursday in The Free Press. Contact Jon at 252-559-1083 or firstname.lastname@example.com. Purchase Jon's book �Making Gravy In Public� at Amazon.com and jondawson.com.


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Department of Decision & Information Sciences
Bauer Tutoring Services
Overview and Hours
Created with the students in mind, it is our motto that you're never too late for help. We offer tutoring for the following classes: MIS 3300, SCM 3301, STAT 3331, and FINA 3332. BTS is supported by a portion of these specific courses' fees, therefore, tutoring is provided at NO additional cost to students enrolled in these courses.
It is our primary goal to prepare the students for success, thus BTS operating hours are flexible in order to accommodate the students. All tutoring is available on a walk-in basis, and there is no need to schedule an appointment. We are located in Room 133, Melcher Hall for all your tutoring needs.
BTS now offers tutoring for ACCT 6331, FINA 6335, and STAT 6360. View tutors' schedule at MBA Tutors' Page
BTS Hours
Monday - Thursday: 10 am to 7 pm
Friday: 10 am to 3 pm
Saturday & Sunday: Closed
View Hours and info available at the Tutors Page
We, the staff at Bauer Tutoring Services (BTS), would greatly appreciate your feedback, so we can continue improving our services. Please take a moment and e-mail us your perception of your current visit to BTS.
- Home
- Directory
- Newsroom
- Recent Publications
- Bauer Tutoring Services
- Supply Chain Forum
- MIS Academic Ranking
- Faculty Recruitment
DISC Degrees
& Programs
Contact Us
Department of DISC
Melcher Hall Room 280
The University of Houston
Houston, TX 77204-6021
Phone: 713-743-4747


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|Melissa and Doug Alphabet Nesting and Stacking Blocks
|Wedgits Deluxe Set
|Melissa and Doug Cutting Food Box Play Set
|Building Words Tabletop Pocket Chart
|Primer Pack
These are just a couple of the recommended ones, they have so many more. They carry a wonderful selection of brands, too; Melissa and Doug, Guidecraft, Plan Toys, Patch Products, and more.
It was a really hard choice for me, there were so many tot school tools I wanted to get. After a lot of thought, I finally decided on these three...
|Counting Bear Cups
|Melissa and Doug Magnetic Wooden Alphabet in a Box
|Tall Stacker Pegs Building Set
Tall Stacker Pegs Building Set
Avery's favorite was probably the Tall Stacker Pegs Building Set. I was really impressed with how many pieces came with it. Right now she pretty much likes playing with the large purple pegboard (it's orange on the other side) and the pegs. I think the building pegboard pieces are going to be something she grows in to, which I love because it makes it a toy that will grow with her and hopefully keep her interest for years to come.
She had the best time playing with it and it kept her interest for over 30 minutes. Then when Papa and Nana came over that night she was really excited to show them the toy and spent another 30 minutes playing with it. I loved how much she concentrated on what she was doing. So cute!
Wooden Alphabet in a Box
Avery has suddenly developed a great interest in the alphabet. She is constantly asking about letters and telling you letters that she sees around her. So, I figured this Melissa and Doug Alphabet in a Box would be perfect for her and boy was I right. I love how high quality they are, the wood makes them extra sturdy and the size is just right for little hands. The bright colors make them fun and give them another learning/teaching attribute.
We started out by getting out the first 5 letters of the alphabet in all capitals. She loves going over to her magnetic chalkboard, playing with them, and telling me what each of the letters are. She is getting really good at it and can even say them in the right order. I just love hearing her say "A, B, C, D, E" with a big smile on her face. Soon I will add a couple more letters and we can start working on those, too.
Counting Bear Cups
The Counting Bear Cups was one that I was really excited about. I had seen them before and knew that they were great for working on so many concepts; colors, sorting, counting, addition, and subtraction. They came with 5 different colored cups and 50 colored bears, 10 of each color to match.
Avery still isn't super excited about sorting but she is really into the colors blue and yellow right now so I thought that if I used those it would keep her interest. I was kind of right. She sorted a couple and then became more interested in checking out and playing with the bears. I think this is another one of those things that she will have to grow into a little. But it has so many possible uses that I am looking forward to playing around with them and seeing what I can come up with.
CSN Stores not only has a wonderful selection of toys and educational materials, but they have over 200 stores that carry just about anything you could be looking for. Be sure to stop by and take a look at all their wonderful products!
Disclosure: I was provided with a gift certificate in order to purchase the products for this review (I was responsible for any expense over the gift certificate value). All views and opinions with regard to the products or the company are my own and were not influenced by the company.