text:
Special Offer!
ADT®-Monitored Home Security in Rendon
PLUS, get $850 in Security Equipment including:
*With $99 installation with purchase of 36/24 mo. monitoring contract. Termination fee applies. New customers only. See offer details below.
Special Offer!
ADT®-Monitored Home Security in Rendon
PLUS, get $850 in Security Equipment including:
*With $99 installation with purchase of 36/24 mo. monitoring contract.
Termination fee applies. New customers only. See offer details below.
Rendon, Call (844) 898-8900
Home Security in Rendon, Texas
According to jsu.edu, each year there are over 2.2 million burglaries in the US, which means that every 15 seconds, a burglary is committed
Your Chances of Becoming a Victim of a Burglary in Rendon, TX
No one likes thinking about potentially becoming a victim of crime in Texas, but every single day in the US a break-in happens every 4 seconds. It's easy to say "it won't happen to me" but 2.2 million families fall victim of burglaries each year in the US. Don't let your home in Rendon become part of those statistics. Installing a new home security system and along with monitoring from ADT your home could be protected and your family safer.
Homeowners Insurance
Did you know that ADT Home Security monitoring is so effective that many homeowners insurance providers offer discounts to policyholders with their security systems. By having an ADT-monitored security system installed in your home, you may be able to save on your homeowners insurance premiums. That's money back in your wallet!
24 Hours a day monitoring
ADT monitoring is a leader in monitored home security, but it also offers important services such as Emergency Alert Monitoring, Flood Monitoring, and Fire and Smoke Monitoring.
ADT 6-Month Money Back Guarantee
ADT is so confident in the quality of their monitoring services, that if your home is broken into while your system is armed, ADT will pay up to $500 of your homeowners insurance deductible (certain restrictions may apply).
Burglaries Cost More than You Think
Being the victim of a home burglary can be a very distressing experience. Stress may become compounded once the financial impact of a burglary becomes apparent. According to the FBI, burglary victims in 2011 faced, on average, nearly $2,200 in property loss. This number doesn't take into consideration additional expenses in the form of lost wages, insurance deductibles, and various other costs. Residents of some cities were victims of as many as 109101 property crimes and 27459 burglaries in 2011. Several of these burglaries could have been prevented had homeowners installed home security systems, which can deter potential intruders from breaking into a residence.
Why Texas Homeowners Choose ADT Monitoring Systems
There are many different reasons Texas residents choose ADT Security Monitoring to help protect their home & family from burglary and other disasters. But we thought we'd list just a few reasons for choosing SafeStreets USA and ADT.
Multiple types of protection. ADT monitored security systems not only help protect against burglaries and home invasion, but also helps against fire and even carbon monoxide poisoning. An alarm can help wake your family in case of smoke and fire. A panic button can also help contact police or fire department during an emergency, perhaps even saving your life.
Security equipment that's easy to use. With just a push of a button you can easily arm and disarm your system. And with the panic button your family can quickly alert emergency response such as police or the need of an ambulance.
Dependable equipment and confident monitoring your home security system is monitored 24 hours a day and 365 days per year by trained staff at the ready. ADT provides great redundancy with 6 US monitoring centers your home is never unprotected. If one center is down then another automatically starts monitoring your home.
Quick deployment of first responders. At any time your alarm is triggered or you push the panic button, ADT's monitoring centers will quickly try and verify your situation. If you are having an actual emergency ADT will immediately notify police or fire responders with your exact location and details.
Tip of the week: Real life lesson learned, Scammed
So this happened: I received an email with my name and one of my passwords in the subject line. And the first words of the email are "Lets get straight to point. Neither anyone has paid me to investigate about you."
Guess who got the latest sextortion scam email? Yep! Lucky me!
The email goes on to make accusations and to threaten exposing me unless I pay an extortion fee via bitcoin. You can read the text of the email here, as it's making the rounds and plenty of people have received it. Warning: It's nasty.
What set this email apart? My password
So it's a scam. So what, right? Why didn't I just delete it? Why was it such a big deal to get this email? There were two reasons why this email surprised me: One, I have my spam filter set very high, so I almost never get spam in my inbox. How did this one get past? I don't know. And two, the subject line included a password that I've used a lot and no one would be able to guess. That got my attention right away, believe me!
As soon as I started to read the email, I knew it was a scam, but still: my password! How did they get my password? That's when I started digging, and learned that more people are paying off these scammers because they see the password and think there might be some validity to the claims made. As Brett M. Christensen at the Hoax-Slayer website says, "The scammers know that if you receive an email that actually includes one of your passwords – even an old one that you no longer use – you may be much more inclined to believe the claims and pay up."
So again, how did they get my password? When it was stolen as part of a data breach, it turns out.
Has your data been compromised? Find out
One very good lesson was learned with this disgusting email: I found out I could go to https://haveibeenpwned.com and see which data breaches have included my data. I strongly advise you to do this as well. I was shocked to see that my data had been compromised in eight (yes, eight!) different data breaches. That's where the scammers got my old password.
I reviewed the list and made sure I had updated any necessary passwords or deleted accounts for each of the breaches. Sadly, one was a marketing firm that collects information on people to sell, and there isn't anything I can do about that—except be annoyed that the information is collected and sold without my knowledge.


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|Our son David, about to be a parent for the first time
and our son Seth, US Marine
|Our new Learning Center
We are looking at a few weeks here at the end of the year to be quiet, calm and peaceful--and then the RED ZONE time for us starts --from about mid January to July when the bee season blasts off.
I hope you find the rest of 2012 to be peaceful and relaxing. Have fun with your family.

subset: commoncrawl


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Gary Scruggs, Recording Academy President/CEO Neil Portnow, Earl Scruggs, and Randy Scruggs at the 2008 Special Merit Awards Ceremony
Photo: Rick Diamond/WireImage.com
Earl Scruggs, 1924–2012
(In 2008 GRAMMY winner Earl Scruggs was honored with The Recording Academy's Lifetime Achievement Award. The following tribute penned by Béla Fleck ran in the GRAMMY Awards program book that year. Scruggs died today at the age of 88.)
Earl Scruggs is the man who brought the five-string banjo front and center in the American consciousness. Throughout his career his creativity has played a major role in crafting some of the most startlingly original forms of American music.
His innovative three-finger style first stood the world on its ear in 1945. When he joined the historic "first bluegrass band" (the Bluegrass Boys) with Bill Monroe, Lester Flatt, Cedric Rainwater, and Chubby Wise, a musical explosion was heard 'round the world.
His banjo made the group stand out from everything that was going on in country music, and everything that had come before. That sound also drew in people that might never have had anything to do with country or folk music and made them into lifelong fans.
He and Lester left Monroe's group to launch Flatt & Scruggs, which took the music to incredible new heights. Even before they played in New York at Carnegie Hall in 1962, The New York Times had dubbed him the "Paganini of the five-string banjo."
You can easily understand the Paganini reference when you hear Earl's nonstop cascade of notes, as well as the unpredictable use of spaces in between each plucked tone. He uses accents to great effect, keeping the listener captive to his every move. When you hear that slurpy rising sound, it is quite possible that he is sliding up the strings on his fingernail. The melody to the song is nearly always reflected in his playing and yet he rarely plays things the same way twice. And, when you watch him, it looks like he's hardly expending any effort at all.
Continuing to make banjo history after Flatt & Scruggs, he embraced the "new music" of the '60s and searched for his own place within it. Going "electric" with his talented sons Randy, Steve and Gary (along with drummer Jody Maphis) in the Earl Scruggs Revue, and with the help of the business savvy of his wife, Louise, he brought the music to college crowds and collaborated with folks like the Byrds and Bob Dylan and, in later years, Elton John, Sting and so many others.
It was a long way from where he started, in Flint Hill, N.C., in 1924. Interestingly, the man who single-handedly created the bluegrass banjo tradition has never been bound by it himself. While every banjoist after him tries desperately to play exactly the way Earl did on a particular recording, he himself plays it differently every time, and to this day is finding new and eloquent ways to play the banjo. He continues to speak with his banjo, and we all listen gratefully.
Oh yeah, and he rocks.
(One of music's top banjo players, Béla Fleck has won 13 GRAMMY Awards. His most recent GRAMMY came in 2011 for Best Instrumental Composition for "Life In Eleven.")


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Postseason individual awards will be announced during the opening-round games at the Big East Tournament next Friday in Hartford.
According to just about every coach in the conference, the choice will come down to three players, maybe four, for Player of the Year.
And the choice is more difficult than ever. Maya Moore of Connecticut or Angel McCoughtry of Louisville? Renee Montgomery of Connecticut or Shavante Zellous of Pitt?
Here's what some of them had to say.
Muffet McGraw, Notre Dame: "I think if I was picking a team I'd probably look at somebody from Connecticut first."
Agnus Berenato, Pittsburgh: "It's just so amazing that we have so many choices in the Big East. Most conferences have one hands down and you wouldn't even be asking the question. But in this conference it's amazing; we probably have four or five kids."
Phyllis Mangina, Seton Hall: "Can I have one for (the tournament)? Those three (Moore, Montgomery and McCoughtry) have been absolutely incredible, and I watch the Pitt kid play, and she's meant as much to where that team is right now than anybody."
Harry Perretta, Villanova: "We have four or five players who are arguably the best players in the country. We were talking about Maya, Montgomery, Tina Charles and all those guys. I actually thought that we should have two awards for each category. I know you can't do that, but the league is so good; there's so many good players."
Geno Auriemma, Connecticut: "I think if Angel McCoughtry is not one of the Players of the Year this year it will be a shame. To me, the three most dominant players in the league are Renee, Maya and Angel, in no particular order. So, if there's a way the conference can figure
out how to handle that … Two guys are going to get penalized because they're gonna split the vote. To be honest, I really don't care who wins it, but, I think this is one of those years when whoever does win it, there's going to be two other people that everybody, including me,
is gonna say, "She should have won it.' So, I think this is just one of those unique years where, God bless you if you're trying to pick among those three."
Players of the Week
For the second straight week, Louisville's Angel McCoughtry and Connecticut's Tiffany Hayes have been honored. McCoughtry has been Player of the Week six times this season, while Hayes
has been Freshman of the Week three times.
McCoughtry recorded her 12th double-double of the year with 28 points and 12 rebounds in a win over St. John's, then against Villanova she put up 34 and nine. She also totaled seven steals and four assists. The 5-foot-10 Hayes totaled 31 points and 26 rebounds in three games.
She had 12 boards in the win over Villanova on Tuesday.
Who's hot
Lindsay Schrader: The Notre Dame senior guard is on a three-game tear as the Irish won two of three games. She put up 23 points and 8 rebounds in a win over Syracuse Tuesday, coming after a 17/11 effort against Connecticut and 26/11 vs. South Florida.
Shanice Fuller: In two wins for Georgetown the junior guard hit the game-winning shot against Syracuse and finished with 17 points. She put up 19 points against West Virginia.
South Florida: The Bulls snapped a two-game losing streak by upsetting DePaul in Chicago on Tuesday. Now 18-9, USF kept its NCAA Tournament hopes alive. The Bulls host Cincinnati, which has lost 10 straight, today.
Who's not
Villanova: The Wildcats have dropped three in a row after having won eight straight conference games.
Doug Bruno: The DePaul coach will really cool off Saturday when he splashes into Lake Michigan as part of the annual Chicago Polar Plunge. The event benefits Chicago's Special Olympics. This is his first venture into Chicago's winter waters.
Syracuse: Cold temperatures in upper New York state are nothing to the Orange on the court. They have lost three straight and six of their last seven. This, after a 13-3 start to the season.
By the numbers
1 – The number of field goals made by Cincinnati in the first half against Rutgers.
4 – Consecutive years Pittsburgh has won at least 20 games.
17 – The regular-season conference record-tying blocks by South Florida against West Virginia. Despite that, WVU scored a season-high 90 points.
20 – The position of Rutgers' Kia Vaughn on the school's all-time scoring charts. She has 1,232 points. Next up is Tammy Sutton-Brown (1,246).
39 – The number of points needed by Epiphanny Prince to move into 10th on the all-time scoring list at Rutgers. Assistant coach Tasha Pointer currently resides there with 1,456 points.
Games to watch
No. 15 Pittsburgh at No. 8 Louisville (Today, 2 p.m., SNY): This should be for the No. 2 seed in the Big East Tournament, as well as a showdown of the top two scorers in the conference. It's McCoughtry vs. Pitt's Shavante Zellous.
Marquette at DePaul (Today, 8 p.m.): The loser will be in danger of slipping into the eighth seed in the conference tournament, which means it would be looking at Connecticut in the quarterfinals a week from Sunday.
No. 1 Connecticut at Rutgers (Monday, 7:30 p.m., ESPN2): All eyes will be on 28-0 UConn to see if they can finish the regular season unbeaten. That includes a sellout crowd at the Louis Brown Athletic Center.


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text:
- About this document
- Parse trees and parse series
- SLIF recognizer phases
- The Initial Phase
- The Reading Phase
- The Evaluation Phase
- Parse Tree Setup Subphase
- Parse Tree Traversal Subphase
- Legacy mode
- Copyright and License
Marpa::R2::Semantics::Phases - SLIF recognizer phases
About this document
This document describes in detail the sequence of events in the SLIF recognizer. It serves two purposes.
It describes the sequence of events in the SLIF recognizer in fuller detail than the other documents do.
It describes the use of more than one parse series.
Full detail of the sequence of events inside the SLIF recognizer is not usually necessary. Applications usually find that things "just work". But some application do depend on the details. These include
applications which make unusual use of side effects in the semantics; and
applications which alter their symbol tables at runtime.
The semantics has two different modes, one of which is deprecated. If the SLIF recognizer is created from a grammar which uses the SLIF grammar's
action_object setting, the SLIF's semantics will be in "legacy" mode. Otherwise, the SLIF's semantics will be in "standard" mode.
Legacy mode is deprecated and should not be used in new applications. It is documented in its own section. Unless otherwise specified, the other sections of this document assume that "standard" mode is in use.
Parse trees and parse series
Because Marpa allows ambiguous parsing, each parse can produce a a series of zero or more parse trees, -- a parse series. Each parse tree has its own parse result. Because the parse may fail, there may be zero parse trees in a parse series. Because a parse may be ambiguous, there may be more than one parse tree in a parse series.
The SLIF allows the recognizer to be run several times on the same virtual input stream. Each of these runs is a separate parse series. Most applications use only one parse series.
The call to the SLIF recognizer's
read() method is the start of the first parse series. The first parse series continues until there is a call to the
series_restart() method or until the recognizer is destroyed. Each call of the
series_restart() method starts a new parse series.
Few applications need to use more than a single parse series. But they are useful in some specialized applications. Starting a new parse series allows the applications to change some settings and to extend the input. Specifically,
Once input is read into a SLIF recognizer's virtual input stream, it is there for the life of the recognizer. It cannot be "unread". But during the Reading Phase of a new parse series, a recognizer can extend the virtual input stream, using the recognizer's
Within a parse series, the semantics package cannot change. But you can specify a new semantics package after starting a new parse series.
Certain other SLIF recognizer settings can be changed after starting a new parse series. These include the SLIF recognizer's
endsetting. For details, see "Recognizer settings" in Marpa::R2::Scanless::R.
SLIF recognizer phases
A SLIF recognizer is always in one of three phases:
The Initial Phase;
a Reading Phase; or
an Evaluation Phase.
In these documents, phase and subphase names are capitalized for clarity.
Reading and Evaluation Phases are always part of a parse series. The Initial Phase is never part of any parse series.
The Initial Phase
The Initial Phase of a SLIF recognizer begins when the recognizer is created with the a call of the
new() method. It ends when the
read() method is called. It will also end, of course, if the recognizer is destroyed, but most applications will want to continue into the next phases.
There is always exactly one Initial Phase for every recognizer. The Initial Phase is not part of any parse series. Very little can happen in the Initial Phase, but it is possible to change some recognizer settings using the
set() method.
The Reading Phase
The Reading Phase starts when a parse series starts, that is, with either a call to the
read() method or a call to the
series_restart() method. The Reading Phase ends when the first of the following occurs:
The recognizer is destroyed.
A new parse series is begun by calling the
series_restart()method. This and the previous case are unusual. Applications almost always want to continue the parse series into the Evaluation Phase.
value()method is called for this SLIF recognizer. This is the most common case.
read() method can be called only once for a SLIF recognizer. But, while a Reading Phase continues, the
resume() method may be called multiple times to continue reading input. The
resume() method should only be called except during the Reading Phase of a parse series.
A Reading Phase is always part of a parse series. There is always exactly one Reading Phase for every parse series.
The Evaluation Phase
The Evaluation Phase begins with a recognizer's first call to the SLIF's
value() method. It ends when the recognizer is destroyed, or when the SLIF's
series_restart() method is called for that recognizer. If a parse series ends before the
value() method is called, there is no Evaluation Phase.
value() method may be called more than once during the Evaluation Phase. The second and later calls of the
value() method will return the result of the next parse tree, if there is one. When there are no more parse trees, the
value() method will return a Perl
If you call the
resume() method during an Evaluation Phase, the behavior of Marpa::R2 is not defined. You should not do this.
When it occurs, an Evaluation Phase is always part of a parse series. But the Evaluation Phase is optional -- a parse series may end without entering into an Evalution Phase.
The Evaluation Phase has two subphases:
The Parse Tree Setup Subphase.
The Parse Tree Traveral Subphase.
Node Evaluation Time is the Tree Traversal Subphase, as seen from the point of view of each rule node. It is not a separate phase.
Parse Tree Setup Subphase
The Parse Tree Setup Subphase occurs during during the first call to the
value() method of every series. In the Parse Tree Setup Subphase, the following happens:
The per-parse argument is created. If a per-parse constructor was found, it is run at this point, and the per-parse argument is its return value.
All action names are resolved to actions -- Perl scalars or rule evaluation closures. The rule evaluation closures are not called in the Parse Tree Setup Subphase. They will be called later, in the Parse Tree Traversal Subphase.
Exactly one Parse Tree Setup Subphase occurs for each parse tree.
Parse Tree Traversal Subphase
During the Parse Tree Traversal Subphase, the rule evaluation closures are called.
Legacy mode
If the SLIF recognizer is created from a grammar which uses the
action_object SLIF grammar setting, the SLIF recognizer will be in "legacy" mode. Legacy mode is deprecated. It is documented here only for the support of legacy applications.
In legacy mode, there is an additional evaluation subphase, the Parse Series Setup Subphase, and tasks performed in standard mode by the Parse Tree Setup Subphase are split between the two subphases.
The Parse Series Setup Subphase occurs just before the Parse Tree Setup Subphase, in the first
value method call of the first parse series. It is important to emphasize that the Parse Series Setup Subphase occurs only in the first parse series.
In legacy mode, the only task performed by the Parse Tree Setup Phase is creation of the per-parse argument. Action resolution is performed in the the Parse Series Setup Phase.
One practical implication of this is that, in legacy mode, the semantics package cannot be changed by starting a new parse series. Both are decided once and for all in the Parse Series Setup Subphase, and the Parse Series Setup Subphase occurs only once during the life cycle of a SLIF recognizer.
The precise timing of semantics operations is affected by the changes described above. These changed timings, in turn, may affect applications that rely on side effects of the semantics.
Copyright and License
Copyright 2018 Jeffrey Kegler
This file is part of Marpa::R2. Marpa::R2 is free software: you can
redistribute it and/or modify it under the terms of the GNU Lesser
General Public License as published by the Free Software Foundation,
either version 3 of the License, or (at your option) any later version.
Marpa::R2 is distributed in the hope that it will be useful,
but WITHOUT ANY WARRANTY; without even the implied warranty of
MERCHANTABILITY or FITNESS FOR A PARTICULAR PURPOSE. See the GNU
Lesser General Public License for more details.
You should have received a copy of the GNU Lesser
General Public License along with Marpa::R2. If not, see


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It's been a great 7 days for murdering women at the hands of evil bastard men.
Firstly there's the one that enjoyed slaughtering prostitutes and posing their bodies for jollies, then there's the young loony tune who casually admitting to banging a stiff (as part of his defence) after stabbing her to death, and most recently a fat squeaky mummy's boy who hated blonde women with big tits so much he dispatched his with a hammer when he wasn't using his car to run them over, chances are one of them was Milly Dowler, a child coming home from school.
Obviously these three cunts are over and above the usual pile of knackings, rapings and knifings that are conducted on an hourly basis up and down the country by my dick-swinging brethren, and obviously such behaviour trickles down to effect society in more mundane ways.
Last week, just after the prostitute killer went down (I don't like these poor woman to be stigmatised by their choice of trade, I only mention it because it pertinent to their death in this case) I was walking back from the pub following a woman who was clearly unnerved by my walking behind her. In such circumstances I'm inclined to speed up and overtake them so they can see me walking ahead and away, but this lady also began to speed up so I crossed the road so we were virtually jogging on opposite sides of the street. She was on the side of my flat, which she began to approach, so I had to cross the road, which I left at the last minute, to get to my flat. Essentially she saw a man dressed in black walking quickly on the opposite side of the street suddenly darting towards her, she suddenly stopped then ran into the property next to mine and began furiously digging in her purse for keys. I walked up to my front door and popped the keys into my lock and turned to face her, smiling gently, and said 'good evening'. Judging by the expression of sheer gibbering terror on her face I may well have had my cock out, knife in hand quoting Revelations backwards.
On the tube last night a variation on this theme occurred on two separate occasions, on the way there and on the way back. In both cases I arrived on the tube platform and after much backing off, acceleration, too-ing a fro-ing through a journey that required 2 changes I wound up on the street heading in the same direction as the person I was trying desperately to avoid because I knew I was frightening the shit out of them. It's totally unfair I should be tarred with the same brush as these murdering horrors who've been mercifully convicted, but ultimately I curse god for not letting me enjoy the experience, with a rope.
Myfwt has given up smoking. This is fantastic news as far as she is concerned and I'm being very supportive of course. However, the selfish side of me can see problems, not smoking in the flat being one, or in the car, or outside next to her, being told to clean my teeth before I am within striking distance, being informed that it's impossible for me to taste food because my mouth is lined with death, the absolute insistence that I will die in the next 10 mins of cancer, heart disease, plague, ebola, hammers… the usual reformed-smoker disgust at my revolting obscene evil habit…


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Hey! You've gotten pretty good at your hobby, and everybody says you'd make some real money at it if you tried. But should you?
What do you get for the person who makes everything? More crafting tools and supplies!
The gap between making and consuming keeps widening, but making more of what you consume can lead to a richer life.
Tell us how you save money on your hobbies and we'll enter you in a drawing to win a $20 Amazon Gift Card!
A useful tactic for dealing with those who think you need to spend more, a luxury eccentricity helps deflect criticism while allowing you to indulge.
Lately many Californians have been heading to the rivers and streams to prospect for gold. The increase in people taking up this activity has some newspapers writing about "the new
There are countless ways to raise your income, besides the obvious one of getting a job. Here are a few categories, and a few suggestions.
A while ago an article on Wise Bread talked about how complaining via a letter works much more effectively than complaining with phone calls. This made me think about all the othe
That's part of a quote from a great Martin Scorcese movie – The Color Of Money. Certainly not in my top 10, it has Tom Cruise in it after all, but it had some sparkling dialogue fr
Hobbies generally end up in the expense category. Depending on the hobby, you may be paying for equipment, supplies, books and magazines, classes, training--the list goes on.
In these days of mass-production and Wal-Mart's low prices and lower standards, it's great to see handmade artifacts making a comeback. [more]
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text:
- Thomas Jefferson High School
- Homepage
Capital One, Heart of America and Richmond Public Schools Celebrate New Tech Corner for J.H. Blackwell Elementary
On Thursday, May 16, students and staff at J.H. Blackwell Elementary School celebrated the grand opening of their new Technology Corner thanks to a generous grant from Capital One and a partnership with Heart of America.
"We are incredibly grateful to Capital One and Heart of America for their continued partnership," said RPS Superintendent Jason Kamras. "This is a great example of how our community partners are working with us to advance our strategic plan, Dreams4RPS, as the new Tech Corner not only brings modern systems to our students at Blackwell Elementary School, but it also brings additional tools to engage them in exciting and rigorous teaching and learning."
Heart of America, a national non-profit focused on transforming spaces into modern learning environments, partnered with Capital One to create a state-of-the-art technology center at J.H. Blackwell Elementary School. The center features student Chromebooks, as well as a new layout, design, and furniture to foster collaborative learning. The new center will provide on-demand access to software and tools, empowering students to develop the skills needed to succeed in our increasingly digital economy.
"I am thrilled to see this project come together and I know our partnership with Capital One and Heart of America will mean great things for our students," said RPS School Board Chair Dawn Page. "This new Tech Corner will provide greater accessibility for our students and make Blackwell Elementary a more joyful place for our students to continue to learn and grow together."
Volunteers completed the new Technology Corner by assembling furniture, installing technology, and facilitated games of Financial Jeopardy with students during the day. The event culminated with an official ribbon cutting ceremony and remarks from Chief Engagement Officer Dr. Shadae Harris, Virginia Senator Rosalyn Dance, and representatives from Capital One and Heart of America.
"Access to advanced computer equipment and digital technology is critical to unlocking the imaginations and vast potentials of our children," said Senator Rosalyn Dance. "Thanks to the continual hard work and leadership of teachers and staff, as well as the generous support of corporate and community partners like Capital One and Heart of America, Blackwell Elementary and Richmond Public Schools are moving in the direction towards ensuring that all students have a chance to reach their ultimate potential."
The project was funded by Capital One Future Edge Initiative, a program dedicated to making a difference in communities by investing in programs that help people gain the skills necessary to succeed in the digital age.
"This Technology Corner is just one of the many ways Capital One is supporting digital fluency through their Future Edge Initiative," said Colleen Noland, Vice President of Programs with the Heart of America Foundation. "This infusion of technology and resources will provide new pathways for current and future students of Blackwell Elementary to learn and grow."


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This is one I've been meaning to post since the end of last year. I've also uploaded the original Woody Guthrie tracks for anyone unfamiliar with the songs.
Keijo Virtanen, Jukka Nousiainen, Lauri Puttonen and Sami Virtanen join together to put a spin on the dust bowl ballads of Woody Guthrie. After two incredible lathe cuts, they finally throw down a full album of what were once simple road songs, now pulled apart at their roots and tossed into the basement to be jammed into something completely new and unstoppable. Heady rolling guitar licks, fuzzy harmonica wails and snapping drums drift in and out of each other, locking in perfectly only to split back into the mumbling open.
Released on Cabin Floor Esoterica (tumblr) in September last year in an edition of 75 cassettes. The very first track is an original composition but the jams of the other songs are all re-workings of Guthrie songs - 'Ain't got no Home' is actually titled 'I Ain't got no Home in this World Anymore' and is (in my interpretation) about the unfairness of the world.
A1. Something In My Blood
A2. Pastures Of Plenty
A3. Jesus Christ
B1. Aint Got No Home
B2. Rambling Around
Rambling Boys ripped from cassette at 320kbps. Woody Guthrie songs ripped from CD (the fantastic 'This Machine Kills Fascists' compilation) at 320kbps.
Woody Guthrie (four songs)


text:
Dress up David Hasselhoff
Nome:David Michael Hasselhoff
Compleanno:July 17,1952
In 1996 he got star on the Hollywood Walk of Fame. Saved a drowning child. [August 1995] Helped to rescue a car crash victim. [March 1995] In 1989 he was awarded "Most Popular and Best Selling Artist of the Year" in Germany and was invited to perform 'Freedom' on the Berlin Wall New Year's Eve 1989. In 1990, Cosmopolitan's Editor Helen Gurley Brown chose him for her magazine's 25th anniversary issue. Was engaged to Roberta Leighton.


text: Carpenter Ants found in the summer are often invaders wandering in from outdoors, but since carpenter ants, like all insects, are cold blooded, ants active in the winter must be originating from a warmed source. Even if the air temperature is very cold, heat from the sun or the furnace may warm house walls and stir dormant ants to activity. Large colonies of black carpenter ants consist of a "parent" colony in a dead log or stump, with various "satellite" colonies occupying other pieces of wood. Published by Ampm Exterminators. 17 Views, 0 Likes on Docs.com. #ant exterminator seattle #ant control seattle #carpenter ants seattle #ants kill #killing carpenter ants


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WASHINGTON, March 10 (UPI) -- A group of more than two dozen Senate Democrats plan to take, after final votes Monday night, an all-night "talkathon" on climate change.
At least 28 Democrats, led by California's Barbara Boxer, Hawaii's Brian Schatz and Rhode Island's Sheldon Whitehouse plan to hold court on the issue in an effort to push Congress toward action.
The action isn't technically considered a filibuster, since no actual legislation is up for debate.
And notably, a number of Democrats vulnerable in the coming midterm elections will likely be absent, including Mary Landrieu, D-La., Mark Pryor, D-Ark., and Kay Hagan, D-N.C.
Jeanne Shaheen, D-N.H., and Mark Udall, D-Colo., are exceptions, and both have recently attended fundraisers sponsored by billionaire Thomas Steyer, whose NextGen Political Action group has refused to spend any of its pledged $100 million on Democrats who oppose climate regulation.
Democratic aides have provided the following list of senators planning to speak:
Senator Sheldon Whitehouse, D-R.I. Senator Barbara Boxer, D-Calif. Senator Dianne Feinstein, D-Calif. Senator Ron Wyden, D-Ore. Senator Bill Nelson, D-Fla. Senator Maria Cantwell, D-Wash. Senator Benjamin L. Cardin, D-Md. Senator Bernard Sanders, I-Vt. Senator Amy Klobuchar, D-Minn. Senator Mark Udall, D-Colo. Senator Tom Udall, D-N.M. Senator Jeanne Shaheen, D-N.H. Senator Jeff Merkley, D-Ore. Senator Kirsten Gillibrand, D-N.Y. Senator Al Franken, D-Minn. Senator Richard Blumenthal, D-Conn. Senator Chris Murphy, D-Conn. Senator Martin Heinrich, D-N.M. Senator Angus King, I-Maine Senator Tim Kaine, D-Va. Senator Elizabeth Warren, D-Mass. Senator Edward J. Markey, D-Mass. Senator Cory Booker, D-N.J.
[Washington Post]


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New research on the midshipman fish, a close relative of the toadfish, indicates that that the ability to make and respond to sound is an ancient part of the vertebrate success story.
After building a nest for his potential partner, he calls to nearby females by contracting his swim bladder, the air-filled sac fish use to maintain buoyancy. The sound he makes is not a song or a whistle, but a hum; more reminiscent of a long-winded foghorn than a ballad. Female midshipman find it very alluring, and they only approach a male's nest if he makes this call.
In a paper published this week in Science, three Marine Biological Laboratory (MBL) visiting investigators show that the sophisticated neural circuitry that midshipman use to vocalize develops in a similar region of the central nervous system as the circuitry that allows a human to laugh or a frog to croak, evidence that the ability to make and respond to sound is an ancient part of the vertebrate success story.
The research is presented by Andrew Bass of Cornell University, Edwin Gilland of Howard University College of Medicine, and Robert Baker of New York University Medical Center.
"Fish have all the same parts of the brain that you do," says Bass, the paper's lead author. The way our brains work is also similar. Just as we have neurons that coordinate when our larynx and tongue change shape to produce words, toadfish and midshipman orchestrate the movement of muscles attached to their swim bladder to produce grunts and hums.
Using larval toadfish and midshipman, the group traced the development of the connection from the animal's vocal muscles to a cluster of neurons located in a compartment between the back of its brain and the front of its spinal cord. The same part of the brain in more complex vertebrates, such as humans, has a similar function, indicating that it was highly selected for during the course of evolution.
Scientists have known for decades that these fish make sounds, but they are not the only species whose hums, growls, and grunts have meaning. "There's reason to suggest that the use of sound in social communication is widespread among fishes," Bass says.
This research is an example of the growing field of evolutionary neurobiology, which aims to understand the evolution of behavior through neurobiology. According to Bass, fish are an incredibly successful group, making up nearly half of the living species of vertebrates, and vocal communication may be partly responsible. "The kind of work we're doing contributes to answering questions as to why these animals are so successful," Bass says. "We're only touching the tip of the iceberg here."
The majority of this research was completed at the MBL over the past five years, although the question of how fish communicate through sound first came to Bass as a graduate student studying the neurobiology of fish at the University of Michigan. In the summer of 1986, Bass, then a summer instructor at the MBL, met Robert Baker, who was also researching the neurobiology of fish calling. For years they discussed fish social behavior with the roots of the hypothesis tested in the Science paper first published in 1997 and the research to test that hypothesis beginning in 2003. "The whole project began at the MBL," Bass says. "It's where collaborations happen."
Citation: Bass, A.H., E.H. Gilland, and R. Baker. 2008. Evolutionary Origins for Social Vocalization in a Vertebrate Hindbrain-Spinal Compartment. Science 321: 417-421.


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You know your aging loved one needs help, but maybe you're unsure of the type. Terms like "professional caregiver" and "in-home nursing" are relatively new. You're not alone. Many people have little knowledge of in-home care until they or a loved one needs it. One area that can often cause confusion is the difference between in-home care and in-home nursing, sometimes referred to as in-home health care.
Skilled medical workers provide In-home health care. These may be registered nurses (RNs), licensed practical nurses (LPNs) or, in rare cases of extreme need, doctors (MDs). The patient will usually have chronic, recurring medical needs, which requires treatment including monitoring or assessment, wound care or administering intravenous medicines. Some conditions that may require in-home nursing include:
It might be easiest to think of in-home nursing as an alternative to a hospital stay. Often patients may be well enough, in general, to return to their home after a hospital procedure but may still require some form of medical care such as having vital signs measured daily, blood drawn regularly or a weekly change of dressings. In-home nursing can be an alternative that allows them to return home from hospitals more quickly since these vital medical interventions can be carried out in the comfort of their own home.
If a doctor prescribes in-home nursing, it may be covered in part by health insurance. Medicare and Medicaid are both likely to cover at least part of the cost of in-home nursing which is medically necessary, on a part-time or intermittent basis.
Medicare usually will not cover permanent in-home nursing, and won't pay for a full-time nurse to stay at your home.
Paying privately for in-home medical care can be an expensive undertaking. Having an LPN visit can cost between $15-40 per hour, which will vary depending on where your loved one lives, and an RN can cost even more.
If your loved one needs help in the home and doesn't have a chronic medical condition that must be treated, then in-home care (home care) may be the better option for you. A professional caregiver can visit your loved one as little or as often as your loved one needs, for as long as necessary. Even if your loved one requires some medical assistance, it may be that hiring a caregiver to take care of his or her other needs is the best option.
Professional caregivers can help seniors with everything they need in their day-to-day life to be safe and comfortable, excluding healthcare. That may include help with housework, personal care or even just companionship. Isolation can lead to depression and other issues, so it's important not to underestimate the value of companionship. Socialization can have many benefits , including emotional welfare, slowing memory loss and stimulating brain health.
A professional caregiver can help your senior with housework tasks that may have become too difficult, like cooking, light cleaning, doing laundry or shopping.
Personal care includes things like help bathing, dressing or using the bathroom. If your senior needs support to physically get in and out of bed or move around the house, a professional caregiver can help with that too.
Having a professional caregiver around can also help you, the person who is suddenly tasked with caring for someone. Caring for a loved one who is demanding and can be a full-time duty. Professional caregivers allow you to take time away from your responsibilities to relax, run errands or deal with your own life, as other responsibilities will likely not disappear while caring responsibilities grow. Respite care is usually offered for as little or as many hours as you and your senior require. For more information see this guide to everything you need to know about respite care.
There are a few avenues to investigate when exploring financing for professional home care. It is unlikely that Medicare will cover long-term in-home care, but it is possible Medicaid may cover it. Although there is some variation by state, Medicaid is the largest funder of professional care in the US. If your loved one is a veteran, home care may be covered by the Department of Veterans Affairs. For more detailed information on financing in-home care, see this guide to financing senior homecare.
Whether your loved one's needs are better suited to home health care or in-home care, there are many advantages of having professional help with your loved one's care. While family and friends will always have your senior's best interests at heart, professional caregivers and nurses have the experience and training that can make a real difference in the quality of your loved one's life.
Read more on about what is home care?
Other Articles
You are a lovely person, and it's been a real pleasure to meet you and to be a part of your organization.
You are a lovely person, and it's been a real pleasure to meet you and to be a part of your organization.


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Chemotherapy for Stomach Cancer
Chemotherapy (chemo) uses anti-cancer drugs that are injected into a vein or given by mouth as pills. These drugs enter the bloodstream and reach all areas of the body, making this treatment useful for cancer that has spread to organs beyond where it started.
Chemo can be used in different ways to help treat stomach cancer:
- Chemo can be given before surgery for stomach cancer. This, known as neoadjuvant treatment, can shrink the tumor and possibly make surgery easier. It may also help keep the cancer from coming back and help patients live longer. For some stages of stomach cancer, neoadjuvant chemo is one of the standard treatment options. Often, chemo is then given again after surgery.
- Chemo may be given after surgery to remove the cancer. This is called adjuvant treatment. The goal of adjuvant chemo is to kill any cancer cells that may have been left behind but are too small to see. This can help keep the cancer from coming back. Often, for stomach cancer, chemo is given with radiation therapy after surgery. This combination is called chemoradiation. This may be especially helpful for cancers that could not be removed completely by surgery.
- Chemo may be given as the primary (main) treatment for stomach cancer that has spread (metastasized) to distant organs. It may help shrink the cancer or slow its growth, which can relieve symptoms for some patients and help them live longer.
Doctors give chemo in cycles, with each period of treatment followed by a rest period to allow the body time to recover. Each cycle typically lasts for a few weeks.
A number of chemo drugs can be used to treat stomach cancer, including:
- 5-FU (fluorouracil), often given along with leucovorin (folinic acid)
- Capecitabine (Xeloda)
- Carboplatin
- Cisplatin
- Docetaxel (Taxotere)
- Epirubicin (Ellence)
- Irinotecan (Camptosar)
- Oxaliplatin (Eloxatin)
- Paclitaxel (Taxol)
- Trifluridine and tipiracil (Lonsurf), a combination drug in pill form
Depending on the situation (including the stage of the cancer, the person's overall health, and whether chemo is combined with radiation therapy), these drugs may be used alone or combined with other chemotherapy or targeted drugs.
Some common drug combinations used when surgery is planned include:
- ECF (epirubicin, cisplatin, and 5-FU),which may be given before and after surgery
- Docetaxel or paclitaxel plus either 5-FU or capecitabine, combined with radiation as treatment before surgery
- Cisplatin plus either 5-FU or capecitabine, combined with radiation as treatment before surgery
- Paclitaxel and carboplatin, combined with radiation as treatment before surgery
When chemo is given with radiation after surgery, a single drug such as 5-FU or capecitabine may be used.
To treat advanced stomach cancer, ECF may be used, but other combinations may also be helpful. Some of these include:
- DCF (docetaxel, cisplatin and 5-FU)
- Irinotecan plus cisplatin
- Irinotecan plus 5-FU or capecitabine
- Oxaliplatin plus 5-FU or capecitabine
- Trifluridine and tipiracil (Lonsurf), a combination drug in pill form
Many doctors prefer to use combinations of 2 chemo drugs to treat advanced stomach cancer. Three-drug combinations can have more side effects, so they are usually reserved for people who are in very good health and who can be followed closely by their doctor.
Side effects of chemotherapy
Chemo drugs attack cells that are dividing quickly, which is why they work against cancer cells. But other cells in the body, such as those in the bone marrow (where new blood cells are made), the lining of the mouth and intestines, and the hair follicles, also divide quickly. These cells can also be affected by chemo, which can lead to side effects. The type of side effect depends on the type of drugs, the amount taken, and the length of treatment. Short-term side effects common to most chemotherapy drugs can include:
- Nausea and vomiting
- Loss of appetite
- Hair loss
- Diarrhea
- Mouth sores
- Increased chance of infection (from a shortage of white blood cells)
- Bleeding or bruising after minor cuts or injuries (from a shortage of platelets)
- Fatigue and shortness of breath (from a shortage of red blood cells)
These side effects are usually short-term and go away once treatment is finished. For example, hair will usually grow back after treatment ends. Be sure to tell your cancer care team about any side effects you have because there are often ways to lessen them. For example, you can be given drugs to prevent or reduce nausea and vomiting.
Some chemotherapy drugs have specific side effects. You should be given specific information about each drug you are receiving and you should review it before you start treatment.
Neuropathy: Cisplatin, oxaliplatin, docetaxel, and paclitaxel can damage nerves outside the brain and spinal cord. This can sometimes lead to symptoms (mainly in the hands and feet) such as pain, burning or tingling sensations, sensitivity to cold or heat, or weakness. In most cases this goes away once treatment is stopped, but it may be long-lasting in some patients. Oxaliplatin can also affect nerves in the throat, causing throat pain that is worse when trying to eat or drink cold liquids or foods. This pain can lead to trouble swallowing or even breathing, and can last a few days after treatment.
Heart damage: Doxorubicin, epirubicin, and some other drugs may cause permanent heart damage if used for a long time or in high doses. For this reason, doctors carefully control the doses and use heart tests such as echocardiograms or MUGA scans to monitor heart function. Treatment with these drugs is stopped at the first sign of heart damage.
Hand-foot syndrome can occur during treatment with capecitabine or 5-FU (when given as an infusion). This starts out as redness in the hands and feet, which can then progress to pain and sensitivity in the palms and soles. If it worsens, blistering or skin peeling can occur, sometimes leading to open, painful sores. There is no specific treatment, although some creams may help. These symptoms gradually get better when the drug is stopped or the dose is decreased. The best way to prevent severe hand-foot syndrome is to tell your doctor when early symptoms come up, so that the drug dose can be changed.
To learn more, see Chemotherapy.
Last Revised: February 27, 2019
American Cancer Society medical information is copyrighted material. For reprint requests, please see our Content Usage Policy.


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Music is one of those things that feels truly universal—it's in every culture, and it has existed in some form or other for thousands upon thousands of years. And yet it was something that evolved, just as surely as the humans who make it did.
In a very cool article at The Atlantic, scientists Geoffrey Miller and Gary Marcus have a conversation about the origins of music, whether or not we have a music gene, and why humans began playing music in the first place.
Marcus believes that music is what he calls "cultural technology." That is to say, it's something that humans have created on their own rather than something that evolved genetically (which is what Miller thinks.)
Here's marcus on why that may be:
The oldest known musical artifacts are some bone flutes that are only 35,000 years old, a blink in an evolutionary time. And although kids are drawn to music early, they still prefer language when given a choice, and it takes years before children learn something as basic as the fact that minor chords are sad. Of course, music is universal now, but so are mobile phones, and we know that mobile phones aren't evolved adaptations. When we think about music, it's important to remember that an awful lot of features that we take for granted in Western music-like harmony and 12-bar blues structure, to say nothing of pianos or synthesizers, simply didn't exist 1,000 years ago.
"Music isn't just compelling to the listener; musical performance is also romantically attractive in a way that playing video games isn't."
Miller responds by pointing out that while instruments may be 35,000 years old, musical performance may be a lot older. He puts forth Darwin's argument that music evolved as a means with which to attract sexual partners, calling it "the theory to beat."
Darwin argued that music evolved mainly by sexual selection through mate choice-and that we're uncomfortable acknowledging that fact. He wrote back in 1871 that, "The impassioned orator, bard, or musician, when with his varied tones and cadences he excites the strongest emotions in his hearers, little suspects that he uses the same means by which his half-human ancestors long ago aroused each other's ardent passions, during their courtship and rivalry." He knew that music didn't need to have a "survival value" for the individual or the group; it could spread through purely reproductive benefits. He suggested that the more musically talented proto-humans attracted more sexual partners, or higher-quality sexual partners, than their less-musical rivals. We see sexual selection for music in many other species-insect song, frog song, bird song, whale song, and gibbon song-so I think that's a reasonable default theory for how humans evolved music. It's the theory to beat.
Well, playing music does help meet girls, it's true.
After that, the two begin to discuss other cultural artifacts, including video games. When Miller points out that kids are more passionate about music than they are about other cultural inventions like chess and algebra, Marcus responds by pointing out that lots of kids are indeed passionate about chess, and also about more recent "versions" of chess like, hey! Video games.
In support of the notion that music is at least in part due to Darwinian evolution, Miller makes the (possibly not intended to be as funny as it is) observation that "Music isn't just compelling to the listener; musical performance is also romantically attractive in a way that playing video games isn't."
Ha! Playing a real guitar solo is a bit more romantically attractive than playing Guitar Hero. Also true.
In addition to contributing to this article, Gary Marcus is the author of "Guitar Zero: The New Musician and the Science of Learning," a book about how we learn music. In the book, he talks about how he didn't learn guitar from a teacher or a music institute, but rather from the video game Guitar Hero:
From a New York Times Profile:
What finally pushed him wasn't seeing Springsteen in concert or listening to the "Goldberg" Variations. It was a video game, Guitar Hero, that rewards players who can press the correct buttons in time with recorded music. He was terrible at first, but through sheer repetition he improved just enough to think that maybe rhythm could be learned after all. But real guitars, he was frustrated to learn, weren't designed by computer engineers.
Compared to his Guitar Hero controller his Yamaha felt heavy and awkward. The musical scale isn't perfectly linear. (Quick: what's another name for C flat?) And the guitar has the same notes at different frets along different strings. "That's something the brain doesn't want to deal with," he said. "There's no one-to-one relationship on where the notes are. You have all these memory traces that interfere with one another."
Very cool! So when Marcus says in The Atlantic, "I think of talented musicians as being like Steve Jobs: grand cultural engineers who design entertainment technology that appeals to brains that evolved for millions of years before the technology was developed," you know where he's coming from.
It's a very cool discussion, and while of course the two scientists don't arrive at a single conclusion, they raise a lot of interesting questions about music, evolution, and the brain.
One of the coolest things that Marcus reminds people of is that playing music lights up a lot of different parts of the brain... and the same thing happens when we play video games.
Say! That sounds in line with something I've been saying for a long time now.
Did Humans Invent Music? [The Atlantic]


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Artist Releases
- The Corin Tucker B...
- Kill My Blues
- 09/18/12
- krs560
- The Corin Tucker B...
- 1,000 Years
- 10/05/10
ABOUT The Corin Tucker Band
"Corin Tucker knows how to transmute melancholy into energy, a stubborn belief that what can feel like a trap can also turn into a map to freedom."—NPR "Fresh Air"
"A punk-rock heroine"—Rolling Stone
The Corin Tucker Band is set to return with Kill My Blues September 18 on Kill Rock Stars. The follow-up to the group's critically acclaimed 2010 release 1,000 Years—an album hailed as "thoughtful [and] subtle" by Pitchfork and "a determined effort" by the Los Angeles Times—Kill My Blues finds former Sleater-Kinney frontwoman Tucker returning to her riot grrrl sonic roots along with band members Seth Lorinczi (Golden Bears), Sara Lund (Unwound) and Mike Clark (Stephen Malkmus and the Jicks). The group will tour the east coast this fall, please see a list of dates below.
Of writing and recording the new album, Tucker notes that Kill My Blues was a group effort. "After the past two years playing together, traveling and making music, I think we're more comfortable," she says. "We collaborated on every song on this record and no one was shy about their ideas. I think you can hear that sense of joy and abandon in the songs."
Best-known for her role in punk rock mainstay Sleater-Kinney, Tucker also played in the influential early-`90s rock group Heavens to Betsy. Recently she has appeared alongside Sleater-Kinney bandmate Carrie Brownstein in the IFC comedy Portlandia. Corin lives with her two children and filmmaker husband Lance Bangs in Portland.
Booking Info
Artist Info
MP3'S (Click to play)
Upcoming Tour Dates
There are currently no tour dates available for this artist


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She said...I just First, can I say a big thank you!!! Even though my little girl has dark hair, she was still a baldy until close to her first birthday. I've looked at hair blogs before, but quickly became discouraged because she really still doesn't have much hair. Since I've learned the "crawlers" I can do so many things with her hair even though it's still pretty short. I know you did a similar post a few months back with the "shoe string" hair style. If you don't want to post this, I'm not at all offended, but thought it may be worth your reader's interest. I've included some pictures of the finished product. I'm sure just by looking at it you'll know what I did. Instead of doing the shoestrings on the top of her head, I started at the back and bottom, then finished it off with messy piggies.
Thanks again for such a helpful blog!


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The restrictions imposed by DRM systems may be encouraging people to play pirate games, according to Gabe Newell, co-founder of Valve.
Newell believes that gamers play pirate software because they offer a better experience than legitimate products.
"In general, we think there is a fundamental misconception about piracy," said Newell, speaking to The Cambridge Student Online. "Piracy is almost always a service problem and not a pricing problem.
"For example, if a pirate offers a product anywhere in the world, 24 x 7, purchasable from the convenience of your personal computer, and the legal provider says the product is region-locked, will come to your country 3 months after the US release, and can only be purchased at a brick and mortar store, then the pirate's service is more valuable.
"Most DRM solutions diminish the value of the product by either directly restricting a customers use or by creating uncertainty."
Piracy is effectively "a non-issue" for Valve, added Newell, because the company has focused on providing a better service for its users.
"Our goal is to create greater service value than pirates, and this has been successful enough for us that piracy is basically a non-issue for our company. For example, prior to entering the Russian market, we were told that Russia was a waste of time because everyone would pirate our products. Russia is now about to become our largest market in Europe."
In the same interview, Newell was asked whether he felt it was a mistake to release Half-Life sequels in episodic form. "Not yet," he replied.
The Valve chief added that he had didn't know when Half-Life 3 would be released.
Newell's logic seems bang on the money, and the success of Steam speaks for itself.


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Item Description
Letter, Marian S. Hand to Dear Bro & Sister, [Samuel and Florella Adair] note added by T. W. Hand
Author: Hand, Marian S.
Date: July 7, 1856
Marian Brown Hand, Rawsonville, Ohio, wrote her sister Florella Adair and brother-in-law Samuel Adair inquiring about events in Kansas and John Brown and his sons. She said the Kansas Aid Societies and Ladies Aid Societies were forming to help families that suffered in Kansas Territory. Her husband added to the end of the letter discussing politics. He felt that Fremont would be elected President and that would insure freedom in Kansas and the North.
Location of Original: KSHS Call Number: Samuel and Florella Adair Collection, #161, Box 4, Folder 4
Item Number: 100352 Number of images: 2
Keywords: Adair, Florella Brown; Adair, Samuel Lyle; Antislavery perspective; Election, Presidential, 1856; Fremont, John Charles, 1813-1890; Hand, Marian S.; Hand, T. W.; Ohio; Rawsonville, Ohio; Relief; Women
pg. 1
pg. 2


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A few times a each month we revisit some of our reader's favorite posts from throughout the history of Vectortuts+. This tutorial by Alan Ballard was first published on March 18th 2009.
Alright folks, it's time to roll up the sleeves and get down to business with this full-featured Adobe illustrator CS3 tutorial. This one takes you from setup to production of a really cool beer label, although this could be useful for any bottled concoction of your choosing.
We get to cover all kinds of useful Tools like Type On A Path, Live Trace, and the Opacity Mask. My buddy brewed his own beer and I made him labels using this technique, and they were an instant hit! I'm very happy to show you how it's done. OK, let's do it!
Want access to the full Vector Source files and downloadable copies of every tutorial, including this one? Join Vector Plus for just 9$ a month.
Step 1 - Create the Document
Open a new Illustrator document 11 inches by 8.5 inches in CMYK color mode. This probably isn't your default setting so make sure to change the Units and Color Mode for this one.
Select the Rectangle Tool (M), with no fill and .25pt stroke, then click once on the stage and enter 4in wide by 3.5in high. Select Ellipse Tool (L), click once on the stage and enter 2.1in by 2.2in. Select both the ellipse and the square, and in the Align palette center the objects horizontally and vertically.
Step 2 - Make Crop Marks
Select the square, and in the Menu go Filter > Create > Crop Marks. Increase the square size to 4.125in by 3.875in. This square will be the size of our image, which is 1/8in larger than the crop marks. This ensures no white-space when you or the printers cut these labels out.
Step 3 - Center the Label
Select all, and in the Align palette toggle the artboard and center the label horizontally and vertically. Select the square and crop marks and in the Menu select Object > Lock > Selection (Command + 2).
Step 4 - Create the Oval
Ok now we can start really making graphics. First off, select the ellipse and copy it (don't paste it quite yet). Fill the oval with dark green (#6B752A). Give the oval an inside light green (#D3E27E) 3pt stroke. Use the Appearance palette to add an outside dark green (#6B752A) 1.5pt. stroke.
Step 5 - Cut Out the Center
Go ahead and paste in front your copied ellipse (Command + F). Double-click the Scale Tool to bring up the dialogue, and enter 65% in the Uniform field. Select both ellipses and in the Pathfinder palette, then apply Subtract From Shape Area an then click Expand.
Step 6 - Create the Brand Name Text
You should still have your original oval in the clipboard, so paste the ellipse in front again (Command + F). Double-click the scale Tool to bring up the dialogue, and this time enter 71% in the Uniform field. Select the Type On A Path Tool and choose a font (I used Copperplate bold at 34pt) and set the color to white. The Copperplate font-family is available at MyFonts.com. Click on the oval and type the brand name of the product.
Adjust tracking (space between the letters), if necessary, by clicking between the letters and pressing (Command + Shift + Left or Right Bracket keys). >Adjust the baseline, if necessary, by increasing or decreasing the size of the ellipse that the text is on.
Step 7 - Rotate the Text
View the rulers by pressing (Command + R) or Menu > View > Show Rulers, select the type and drag a horizontal guide from the top ruler to the center of the circle. If the guide isn't visible, then go to Menu > View > Show Guides (Command + Semicolon). Use the Selection Tool (V) to drag the handle of the text to the centered position.
Step 8 - Add a Background to the Oval
Select the Ellipse Tool, click and hold Alt + Shift while dragging outward from the center of your oval to create a circle that extends past the empty center of the oval. Fill it with orange (#DF771C) and no stroke. Right-click > Arrange > Send to Back (Command + Alt + Left Bracket key) to send the orange circle to the back.
Step 9 - Create the Main Banner Strip
Select the rectangle Tool (M) and click once on the stage. Enter 2.2in and 0.3in for width and height. With the rectangle selected, go to the Gradient palette and choose a horizontal linear gradient color #533930 on each end and #A6583F in the middle. Give the rectangle a 1pt black stroke, and check the Round Join option.
Step 10 - Squeeze It!
In the Menu, go to Object > Envelope Distort > Make With Warp and choose Squeeze, check Horizontal, and Bend only 2%.
Step 11 - Create the Banner Text
Type the name of the product and center it in the rectangle (I'll stick with Copperplate for all the text).
Step 12 - Create the Banner Tail Part 1
Select the Rectangle Tool (M) and click once on the stage, enter .5in width and .3in height. Give it a 1pt black stroke, using the Round Join option again. Give this rectangle a linear gradient with #533930 on the left and #DF771C on the right.
Step 13 - Create the Banner Tail Part 2
With the rectangle selected in the menu go to Object > Path > Add Anchor Points. With the Direct Selection Tool (A) select the middle point on the right of the rectangle, and drag it towards the center to create the end of the tail. Hold Shift while dragging to force it to be straight.
Step 14 - Position and Duplicate the Tail
Place this tail object on the right end of the rectangle, and nudge it down a bit. Send it behind the rectangle with a right-click > Arrange > Send Backward (Command + Left Bracket key). Copy the tail object and paste in front (Command + F). Right-click the copied tail object and select Transform > Reflect. Choose vertical and 90 degrees for the angle. Move the reflected tail object over to the left side, holding Shift while dragging to force it to be straight.
Step 15 - Create Banner Details
Now, a detail to make the banner more realistic: zoom in close to where the right tail meets the rectangle. Choose the Pen Tool(P) and draw a shape with four clicks: the bottom right of the rectangle, the bottom left of the tail, straight up to any position (hold Shift) and back to the beginning point to close.
Fill the shape with a dark brown (#2D1C17) and 1pt rounded black stroke. Press Command + Left Bracket key until the shape is behind the rectangle but in front of the tail.
Copy it, paste in front (Command + F), Right-click > Transform > Reflect > choose Vertical 90 degrees. Shift-drag to the same spot on the left end of the banner.
Step 16 - Warp the Banner
Select the entire banner and in the menu go to Object > Envelope Distort > Make With Warp, choosing Arc and 12% for the Bend.
Step 17 - Position the Banner
Now let's place the banner in the design. Click the brand name text ("VECTOR TUTS") so the center point is visible. Drag a vertical guide from the left ruler to the center point. >Place the banner in position, using the vertical guide to keep it centered.
Step 18 - Create a Wheat Grain
We could just grab an image of wheat or a stock vector, but would you learn much? Nope! Let's make stalks of wheat from scratch. Use the Ellipse Tool (L) and create a small thin vertical oval of any color.
Use the Convert Anchor Point Tool (which is nested in the Pen Tool) and click the top point of the oval. Use the Selection Tool (V) and press Alt while dragging to create a copy of this tear drop shape to use as the tip of the wheat in a few steps. Place it aside for now.
Use the Direct Selection(A) Tool and drag the top point up and to the left on our original tear drop shape. With the Direct Selection Tool, drag the left side curve handle to the right, which curves the tear drop shape. Now it looks more like a grain of wheat.
Double-click the Rotate Tool (R) and choose an angle of about -20 degrees. You want to get that tip pointing slightly right of vertical.
Step 19 - Transform the Wheat Grain
From the Menu, select Effect > Distort & Transform > Transform. This is a great feature of Illustrator. You can use it to create all kinds of interesting patterns and shapes. In this case, we will repeat the wheat grain to make the rest of the wheat stalk. Check Preview and enter 3 for copies and -0.15 (about) for more vertical. Click OK when it looks right.
Step 20 - Copy and Position on the Left Side
Copy it, paste in front (Command + F), then right-click > Transform > Reflect, and choose Vertical 90 degrees. Nudge it left into position. Place your copied tear drop on the tip.
Use the Line Segment Tool(\) and create a white vertical line for the stem, below the grains.
Step 21 - Warp the Wheat
Select all the wheat elements and make them white. From the menu select Object > Envelope Distort > Make with Warp, and choose Arc for the style, check Vertical, and about a 30% Bend.
Step 22 - Position the Wheat in the Label
Place the wheat in the label, resizing and rotating as necessary, then go to Arrange > Send Backward (Command + Left Bracket key) to send it behind the banner. Copy and paste in front (Command + F), right-click and Transform > Reflect, choose Vertical 90 degrees and move the copy to the right side of the label.
Step 23 - Add Text to the Bottom
Add the word "Ale" or "Root Beer" or whatever the type of drink it is. In the Menu, go to Object > Envelope Distort > Make with Warp and enter an acceptable negative number under the Arch effect. Position the text in the middle-bottom of the label.
Step 24 - Add Text to the Top
Select and copy the main large text-on-a-path. Paste in front (Command + F). Increase the size so the circle is just larger than the label oval. Use the Selection Tool (V), and click any corner of the text-on-a-path and Alt + Shift-drag to expand equally.
Type a catch-phrase or quote to personalize the product. Decrease the font size as necessary and use the color #6B752A. Use the Selection Tool (V) to adjust the position of the text on the curve, by dragging the right handle.
Step 25 - Grab a Photo
Get a photo of the Brewmaster, or any person you'd like to feature on the label. It's the head and shoulders we're looking for. It is very helpful to have the subject on a white background. Many thanks to wookiestock at deviantart.com for this photo I have used in this tutorial. Open the photo in Adobe Photoshop.
Step 26 - Prepare the Photo
In the Photoshop Menu go to Image > Adjustments > Threshold and adjust the slider until there's a good balance of light and dark in the face. We will need the face area to be contained, as in no breaks along the perimeter of the head, because we will fill the face in with white later. So for this image, I darkened his left cheek and right ear so there is a complete outline of his head after the Threshold is applied.
Use the Elliptical Marquee Tool (M) to create a selection around the head and shoulders. Go to Select > Inverse (Command + Shift + I) and delete everything but the head and shoulders. Crop and save the photo.
Step 27 - Live Trace!
Open your new face photo in Illustrator. Select the image and click Live Trace, adjusting the settings as needed.
Step 28 - Live Paint!
Click Live Paint, then with the Live Paint Bucket Tool (K), fill all the black areas with dark brown (#533930). Fill all the face portions with white, using the Live Paint Bucket Tool. Clean up the image as necessary and place it in the middle of the label.
Step 29 - Add Depth to the Face
Now we want the top of the head to pop out from the oval, but the rest to go behind the oval, making a 3-D effect. Select the face, copy (Command + V), and paste in front (Command + F). Right click and select ungroup (Command + Shift + G.)
In the Pathfinder palette, choose Add To Shape Area and click Expand to make the face one solid shape.
Use the Knife Tool to chop off the top of the head, and delete the rest by using the Direct Selection Tool (A). The Knife Tool is one I hardly ever use, and there's no shortcut for it, so it may be tricky to find. It is hidden under the Eraser Tool (Shift + E)
Select the face and send it back behind the oval. The chopped-off head part will be in front now.
Wow this thing is really starting to shape up! All we need now is a background and the label is finished!
Step 30 - Hook Up the Color and Lines
Select the label square and fill with light green (#D3E27E), and remove the stroke. Use the Line Tool to create two horizontal .25pt black lines; one near the top and one near the bottom. Feel free to make them longer than the square, as we will crop them later.
Step 31 - Blend the Lines
The Blend Tool makes it easy to repeat evenly these lines across the background. Select them both and in the Menu go to Object > Blend > Blend Options and choose 50 for Specified Steps and click OK. Now go to Object > Blend > Make to apply the effect. Send the lines behind the artwork but keep them in front of the green background.
Step 32 - Fade the Lines in the Center
Another really cool feature in Illustrator is the Opacity Mask. I will use it here to fade out the lines. Copy the green square and paste it in front of the lines, and give it a radial black and white gradient, with black in the center.
Select the square and the lines, and in the Transparency palette menu, choose Make Opacity Mask.
Adjust the gradient to fade the lines out in the center. Your label design is done!
Make sure to click the left square in the Transparency palette when you are finished editing the opacity mask, because you will not be able to select other elements until you do.
Step 33 - Flatten Transparency
Some printers freak out when they see transparency-related effects, so we will flatten ours to be safe. Select the opacity mask and choose Object > Flatten Transparency.
Step 34 - Create Outlines
Select all the text in this file (or just select all (Command + A), and in the Menu choose Type > Create Outlines. This will ensure your typography is preserved. It may be a good idea to save your file before this step, in case you want to edit the text later.
Step 35 - Arrange Two Labels on the Artboard
Select everything including the crop marks and group it (Command + G). Change the x-position to 3in. Copy and paste another label in front (Command + F). Move the x-position of the second label to 8in.
Ungroup the objects until you can select and delete the horizontal crop marks in the middle of the two labels. Here is your final, printer-friendly, super tasty illustration!
Thanks for following along, and I really hope your labels are a big hit!
Here is the original label I made for "Huja Brew."
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Exploring A1 - Items to DocumentsPosted by Mitchell at 10:27 am
In the last post I outlined the main approach used to visualise Series A1 - a word frequency cloud based on item titles, showing co-occurrences between terms. Here I'll show how that was expanded into an interactive tool for exploring the Series, all the way down to images of the documents themselves. If you're impatient, skip straight to the latest sketch for Mac, Windows and Linux (1.8Mb Java executables).
To turn the text cloud visualisation into a general-purpose interface, I added the ability to focus on terms (where focus means include only items containing that word). Exclusion and focus have an additive relationship; so I can exclude one term to create a subset of items, then focus on a second term to show only items in that subset, with a given term. I can also exclude, or focus on, multiple terms to further refine a subset. A simple interface allows for terms to be removed from any point in the sequence; so for example I can exclude all "naturalisation" items, then focus in on a second term (in the grab below, "immigration"). While this navigation technique isn't perfect, it is simple and scalable. We can rapidly move from Series level to small groups of items - in the grab below, we have zoomed from 65k items to 233 items, in two clicks. With this iterative navigation process, the co-occurrence display in the cloud becomes a useful way to scope or preview term relationships, and inform the next focus or exclusion.
The new visualisation element here is a simple histogram, showing the number of items with start dates in each year of the Series. The histogram visualises the current subset; so refining the text-cloud display also modifies the histogram; as well, hovering on a term in the cloud shows the relative distribution of that term, in the histogram. The date histogram becomes a powerful tool for exploration and discovery in this display. For example in the grab above, there's a big spike in the histogram in 1927: why? Hovering over the most prominent words in the cloud, we get a sense of their different distributions; for example "restriction" appears mainly between 1900 and 1915, whereas "deportation" occurs almost exclusively in items starting in 1927, and makes up most of the spike. Simply clicking either a term, or a histogram column, fills the lower pane with a list of relevant items, and from there we can explore much deeper - more of that later.
A second example of how the text cloud, co-occurrences, and histogram can combine to reveal patterns in the dataset, and prompt discoveries in the content of the series. Focusing in on "Darwin" reveals another big spike in the histogram, this time in the year 1937. In this case, the co-occurrences and the distribution of terms give an accurate preview of what the items in that spike are about: a cyclone hit Darwin. The text cloud even reveals the month of the event, and again the item listing shows fine-grained confirmation of the pattern.
The final challenge in this process was to zoom in again, to the level of the individual document. The Archives has digitised a significant chunk of its records - it currently stores 18.2 million images which are accessable through the search interface of RecordSearch. With the invaluable help of the Archives' Tim Sherratt, I can access these images dynamically by passing item details - barcode and page number - to an Archives PHP script. Because the dataset I am working with does not record the number of digitised pages, this is a two-stage process: first, query RecordSearch for the item details, and scrape out the number of digitised pages (shown in the right hand column of the items listing). Then, when an item in the list is clicked, load and display the page images.
This involved getting around a couple of little technical issues. The loading of the images was surprisingly straightforward. Processing's requestImage() function happily grabs an image from the web without bringing the entire applet to a halt. Loading the pages data was slightly harder, because loadStrings() does halt everything while it waits; and in this case, I wanted to load up to 14 URLs at a time. Java threads provided the solution - another case where Processing's ability to call on Java for backup was extremely useful.
The first time I successfully loaded one of these scans - a crinkled, typewritten page, encrusted with notes - was a real thrill. What this shows is that given the opportunity, interactive visualisation can provide not only insights into the structure and content of an archival collection; it can also provide an interface to the (digitised) collection itself. If the text cloud and histogram visualisations hint at historical events in the items content, the page images let us verify or explore their leads in the primary sources. For example in the 1927 deportation items above, the digitised documents reveal cases where recent migrants were deported to their country of origin because of mental illness. The Immigration Act (1901-1925), quoted in these documents, gives the Minister the power to deport recent arrivals who are convicted criminals, prostitutes, or "inmates of insane asylums." Not what I expected to find - but that's good, if the aim here is exploration. There's an amazing wealth of material in here - and it is beautifully material: the screen grab above shows a page from item 1921/22488, which documents the theft of a pearling lugger by its (indentured) Japanese crew. This page shows a handprint of one of the men, Unoske Shimomura, taken in 1914.
You can download the A1 Explorer applet for Mac, Windows and Linux (each is a 1.8Mb Java executable). System requirements are pretty minimal, though you will need a network connection to load images. One more caveat: the user interface is very rudimentary - again UI is not the focus of my research here - so below is a quick cheat sheet that should be enough to get you going. I'd love to hear your feedback on it, or any interesting discoveries you've made.
A1 Explorer Cheat Sheet
Text Cloud view
- hover over words to see correlations, item distributions and numbers
- click a word to load a list of its items into the lower pane
- to exclude a word and regenerate the cloud hold down '-' and click the word
- to focus on a word hold down '+' and click the word
- to remove a focused or excluded word, click on it in the central info bar
- use the up and down arrow keys to scroll through the items list in the lower pane
- click on an item in the list to load its page images and switch to document view
- page through the document with the left and right arrow keys
- drag the page image to move it
- press 'Z' to zoom the image up
- press 'H' to load a higher-resolution image of the current page
- press 'T' to revert to text-cloud view
2 comments:
Unknown said...
Great to see the development progress.
Mitchell, it's fantastic to be able to download and use this tool. Tag clouds on their own give you a good sense of the high end, but the exclude and focus functions you added give it a far bigger bang – you can explore the whole long tail.
Nice that Tim had done the interim work to enable (or facilitate) the display of images. It would / will be great if / when the Archives opens up its data so that the scraping step becomes redundant.
Looking forward to it being implemented!
In the mean time, applauding loudly.


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Rear view of the yellow Lamborghini Diablo GT1 that remained in the SAT showroom ...
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Note : All information and images found on this site are copyright protected by their respective owners and are used for review purpose only, nothing found on this site may be reproduced in any form without prior consent from the actual owner. Please feel free to take a look at the copyright information and the legal disclaimer for more details on these issues.
Added on Mar 9. 2011
FileSize : 116 Kb
Downloads : 9605


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El Ayuntamiento de Sevilla visto desde la Plaza Nueva en 360º
On the website of Sevilla in 360 degrees (www.sevillaen360.es) we can find 360º photographic compositions showing the most typical, characteristic and distinctive monuments and places in Seville.
If we click on the link below, we can watch Seville Town Hall in 360º. Seville Town Hall was mostly built at the end of the 15th and beginning of the 16th century. The architect in charge of its construction was Diego de Riaño, who designed the area of the building looking into San Francisco Square with the exuberant Platereque façade that we can behold nowadays, two storeys and the small arch that contributed access to the old Franciscan convent existing by that time in the current Plaza Nueva (New Square). The façade presently visible in this square, of Neoclassical style, was designed in the XIX century, when the building was restored and a third storey was added.
Link to Seville Town hall seen from Plaza Nueva in 360º:
We recommend watching compositions in 360º in full screen mode and increasing the zoom. This tools are provided on the left lower side of the website.
Further information on Seville Town Hall on:
Issue published by Alcoba del Rey de Sevilla Hotel
This picture is a screenshot of the 360º composition taken from the aforementioned website
Categories: Hotel


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Renowned Benedictine Monk and SVS Press Author Joins Orthodox Church
Half-way around the world, in a church in Moscow, the famous Benedictine monk and spiritual writer, Fr. Gabriel Bunge, was welcomed into the Orthodox Christian faith on August 27, 2010. His reception into Orthodoxy holds special significance for our seminary, since Fr. Gabriel has written two exquisite volumes for St. Vladimir's Seminary Press (SVS Press): Dragon's Wine and Angel's Bread and The Rublev Trinity.
Moreover, and coincidently, other highly respected authors of our academic press were present as Fr. Gabriel was received into his newly chosen faith: Metropolitan Hilarion (Alefyev), archbishop of Volokolamsk, who authored Christ the Conqueror of Hell; Metropolitan Kallistos (Ware), bishop of Diokleia, who wrote The Orthodox Way and The Inner Kingdom; and Fr. Andrew Louth, Professor in the Department of Theology and Religion at Durham University, who authored Greek East and Latin West and is the Series Editor for our press's Church in History series.
Father Gabriel was received into the Orthodox Church just prior to the beginning of the All-Night Vigil service for the Feast of the Dormition of the Theotokos, according to the Julian Calendar. Metropolitan Hilarion officiated and Metropolitan Kallistos concelebrated at the service. Mingled with the parish congregation was a delegation from "The Friends of Mount Athos Society," who were visiting with the blessing of His Holiness Kirill, patriarch of Moscow and All Russia. Congratulating Fr. Gabriel on his entrance into the Orthodox Church, Metropolitan Hilarion presented him with an icon of the Mother of God called "Joy of All the Afflicted"—which also is the name of the church in which Fr. Gabriel was received.
Fr. Gabriel, who lives in Switzerland, has been practicing an eremitical monastic life since 1980. He has been a contributor to numerous spiritual and monastic journals, and his books and articles demonstrate his expert knowledge of the writings of the church fathers.


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Soft Board 53x16 / 89 eur
Designed by Mette Schelde
A handy work station in the kitchen and a beautiful serving platter on the dining table. Soft Board takes its name from the rounded edges and smooth, almost velvety surface. The board does not go soft on germs, though, as oak is well-known for its superb anti-bacterial properties. Available in two sizes.
- Details
- Oak
LxWxH: 53x16x2 cm
Item no. S1990827
- Packaging
- WxDxH: 55x17x3 cm
Weight: 2,8 kg
- Material and care
Proper usage and maintenance
Proper usage and maintenance is vital for getting the most out of the valuable resources we have. Our designs are made to last for generations, but just like everything else, they need a little care to get there.
Oak grows in most temperate zones. The Skagerak oak comes from European forests and is either 100% FSC certified or FSC mix certified, supporting sustainable forest management. The selection of the wood is extremely careful and all processing is by hand, so that only the best and most durable pieces of wood are used in production.
Oak is a sturdy and hardwearing type of wood containing natural tannins that will protect against bacterial growth. Combined with its light, elegant colour and well-defined grains, this makes oak wood safe choice for high-quality interior and accessories.
The wood comes with no finish. If you choose not to treat it with soap or oil, use a suitable cleaning agent for wood.
As the wood is untreated it may be affected by grease and colorants. For this reason, we recommend saturating the wood with soap or a suitable furniture oil to make it more resistant. If you wish to use soap or oil, use a suitable product. Be aware that the wood will change colour when applying soap or oil.
Your new oak product is not suitable for dishwasher.
About the designer / Mette Schelde
Mette Schelde has design in her blood. She challenges her materials by focusing on handicraft and on reflecting the underlying values in a positive way. She was born in Brørup, Denmark and is curious about what surrounds her – people in everyday situations, nature and, in particular, the world of geometry. Her favourite materials are wood and concrete, which represent such complementary, tactile properties as cold/ hard and warm/ soft – and also happen to work well together.


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This A+ list mostly movie actor has spent almost $50M in the past two years and is completely broke.
He is so broke that he has signed away future earnings and has no income coming in despite his movies grossing well over $1B.
He refuses to downsize or cutback though and thinks he can keep things going until he gets another big paycheck.
He had his electricity turned off in his primary house because he didn't pay the bill.
He has a monthly cell phone because he doesn't have good enough credit to get a regular one.
He owes all the cell phone carriers thousands of dollars.
Nicolas Cage
Source: http://www.crazydaysandnights.net


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Shepherd, Jessica
Fairfax, CA
Jessica Shepherd has studied astrology since 1992 and has been practicing and writing about astrology since 2003. She specializes in counseling people through transition, personal growth & awakening.
Jessica believes astrology can help us understand our self, our world, and even guide us to make better decisions. Her personal interests include magic, art-making, spirituality, psychology, personal growth and learning about health and healing tools.
Jessica is the author of A Love Alchemist's Notebook: Magical Secrets for Drawing Your True Love Into Your Life (Llewellyn, 2010) Karmic Dates & Momentary Mates: The Astrology of the Fifth House (2014), and Venus Signs: Discover Your Erotic Strengths and Secret Desires Through Astrology (Llewellyn, Jan 2015). She's written for WellBeing Astrology (Australia), Llewellyn's Moon Sign Book, Pregnancy & Newborn, Constellation magazines. She is a contributing writer at Mooncircles.com, and her writing has been featured on Astrology.com and Astrocenter.com.
Jessica has a B.A. in Arts Management from Coastal Carolina University in Conway (Myrtle Beach), SC, USA. She is a certified Steven Forrest Evolutionary Astrologer and has trained with astrologers Stephanie Austin, Karen Hamaker-Zondag, and Paul Bogle. She holds a certificate in the Mechanics of Vision (clairvoyance & vision), and is a member and speaker/teacher at San Francisco Astrological Society (SFAS). Jessica is also an AADP Certified Health Coach. You can find her health coaching articles and website at JessicaShepherd.net. Visit Jessica's astrology site at www.moonkissd.com


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Granted, I teach books, so I hardly ever toss any picture books from my collection. I suppose not everyone has that same inclination, eh? So unless you're aiming to be featured on an episode of Hoarders someday, how do you sort through all those books that your kids have outgrown? Do you get rid of them all? Should you save some? If you save some, how many and which ones?
My in-laws recently came for a weekend visit and brought along two big boxes of books from my husband's childhood. It was like Christmas for me! I had so much fun looking through them all, seeing vintage editions of some classics, and hearing my mother-in-law tell me about where they came from and which ones were most treasured. I've been reading them with my kids and delight in telling them, "This was one of Daddy's favorite books when he was little!" That is gold! I am so thankful that my MIL hung onto those books all these years.
You don't need to save all the picture books on your shelf, but I think you should save some. Here are a few reasons why:
- They make wonderful family heirlooms.
- What are you going to read the grandkids if you get rid of all those picture books?
- It's great reading motivation for kids to be able to hold, and feel, and experience a picture book from their parents' childhood.
- Was this one of my child's favorite books? Did they ask to have it read to them often? Do I know it by heart? Was it special to them for some reason?
- Was this book special to me as a mom or dad? Did I particularly enjoy reading this one to my child? Does it remind me of my child for a particular reason?
- Is there special meaning or significance to this book? Was it a gift from someone special? Was it received on a special occasion? Does it have a personal inscription penned inside the cover?
- Is there a personal story that goes with this picture book? Was it the first book your child ever read themselves? Did it get them through a difficult time? Did it help them grasp a difficult concept?