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Zero Loss Formula
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How Google uses location information
- Why does Google use location information?
- How does Google know my location?
- How is location saved in my Google Account?
- How is location used to show ads?
Why does Google use location information?
The Google Privacy Policy describes how we treat information when you use Google's products and services, including location information. This page provides additional information about the location information we collect and how you can control it.
Providing useful, meaningful experiences is at the core of what Google does, and location information plays an important role in doing just that. From driving directions, to making sure your search results include things near you, to showing you when a restaurant is typically busy, location can make your experiences across Google more relevant and helpful. Location information also helps with some core product functionality, like providing a website in the right language or helping to keep Google's services secure.
How does Google know my location?
Depending on the products you're using and settings you choose, you may provide Google with different types of location information that are critical to making some services work and making others more useful for you. Location can come from real-time signals, like your IP address or device location, and also your past activity on Google sites and services, to tailor experiences for your context. Below are the primary ways we may get information about your location.
From the IP address of your Internet connection
An IP address (also called Internet address) is assigned to your device by your Internet Service Provider, and is a requirement to use the internet. IP addresses are used to make the connection between your device and the websites and services you use. IP addresses are roughly based on geography. This means that any website you use, including google.com, may get some information about your general area.
Like many other internet services, Google can use information about the general area that you're in to provide some basic services. Estimating the general area that you're in means for instance that Google can give you relevant results, and keep your account safe by detecting unusual activity, such as signing in from a new city.
From your past activity
As you use our services, we may infer that you're interested in a place even if your device isn't telling us exactly where you are. For example, if you search for "Cafes in Paris", we may assume that you would like to see places near Paris and show you results of cafes there. Some items from your activity, such as previous searches, may also include the general area you were in at the time. Depending on your settings, this type of information may be stored with your account and used as an input, for example to decide whether you might still be in Paris when you do more searches at a later time.
From your labeled places
You might also choose to tell us about places that are important to you, such as your home or your work. This could help you do things like pull up directions faster by automatically pulling up your home and work addresses. This information can also be used to influence the results that we provide to you. Learn more
From your devices
Many devices, like phones or computers, can work out their precise location. You can allow Google and other apps to provide you with useful features based on where your device is located. For example, if you're running late to meet your friends, you'll probably want to use a navigation app to know the quickest way to get to your destination. To get turn-by-turn directions, you may need to turn on your device's location and give the app the permission to access it. Or for some searches like "coffee shop", "bus stop" or "atm", results will usually be more helpful when precise location is available.
On your Android device, if you choose to turn on your device location, you can use features like navigation, giving an app access to your current location, or find your phone. You can also choose which apps have permission to use your device's location with simple controls that let you turn the permission on or off for individual apps. On Android, you can see when an app is requesting to use your phone's GPS-based location when the top of your screen shows Location. Learn more
Google Location Services
On most Android devices, Google, as the network location provider, provides a location service called Google Location Services (GLS), known in Android 9 and above as Google Location Accuracy. This service aims to provide a more accurate device location and generally improve location accuracy. Most mobile phones are equipped with GPS, which uses signals from satellites to determine a device's location – however, with Google Location Services, additional information from nearby Wi-Fi, mobile networks, and device sensors can be collected to determine your device's location. It does this by periodically collecting location data from your device and using it in an anonymous way to improve location accuracy.
You can disable Google Location Services at any time in your device's location settings. Your device's location will continue to work even if GLS is turned off, but the device will rely only on GPS to estimate device location for apps with the necessary permission. Google Location Services is distinct from your device's location setting. Learn more
The settings and permissions on Android control whether your device sensors (like GPS) or network-based location (like GLS) are used to determine your location and which apps have access to that location. They do not impact how websites and apps might estimate your location in other ways, such as from your IP Address.
How is location saved in my Google Account?
Depending on the Google products and services that you use and your settings, Google may be saving location information to your Google Account. Two of the most common places where this information may be saved is Location History and Web & App Activity.
Google Location History
If you opt in to Location History and your device is reporting location, the precise location of your signed-in devices will be collected and stored, even when you're not actively using a Google product or service. This helps create your Timeline where Location History data is stored, and may be used to power future recommendations on Google. You can review, edit, and delete what's saved in your Timeline at any time.
Turning on Location History provides more personalized experiences across Google—restaurants suggested in Google Maps based on dining spots you've visited, real-time information about the best time to leave for home or work in order to beat the traffic, and albums in Google Photos automatically created from places you've visited.
To determine if you've turned on Location History, visit your Activity controls. You may be asked to sign in, and from there, you can view whether this control is on. While you may pause the collection of new Location History data, your past Location History data will continue to be stored until you delete it. Learn more
If you delete your Location History data, you may still have other location data saved elsewhere—such as in Web & App Activity.
Web & App Activity
If Web & App Activity is enabled, your searches and activity from a number of other Google services are saved to your Google Account. The activity saved to Web & App Activity may also include location information. As an example, if you type in "weather" in Search and get weather results based on where you are, this activity, including the location used to provide this result, is saved to your Web & App Activity. The location used and stored with your Web & App Activity can come from signals like the device's IP address, your past activity, or from your device, if you've chosen to turn on your device's location settings.
Turning on your Web & App Activity setting helps us show you more useful search results, more relevant ads, and more tailored suggestions–like when you see your search automatically suggested based on past searches. You can review and delete what's in your Web & App Activity, or pause it for your Google Account. Pausing Web & App Activity will stop saving your future searches and activity from other Google services. Even if you delete your Web & App Activity data, you may still have location data saved elsewhere—such as in Location History.
To determine if you've turned on Web & App Activity, visit your Activity controls. You may be asked to sign in, and from there, you can view whether this control is on. Learn more
How is location used to show ads?
Ads can be served based on your general location. This can include location derived from the device's IP address. Depending on your ads personalization settings, you may also see ads based on your activity in your Google Account. This includes activity stored in your Web & App Activity, which can be used for more useful ads. Another example is if you have enabled Location History and regularly frequent ski resorts, you might later see an ad for ski equipment when watching a video on YouTube. Google also uses Location History in an anonymized and aggregated manner, for users who have chosen to opt-in to it, to help advertisers measure how often an online ad campaign helps drive traffic to physical stores or properties. We do not share Location History or any other identifying information with advertisers.
You have control over the data stored in your Google Account, and can turn off personalized ads at any time. When ads personalization is off, Google does not use the data stored in your Google Account to serve you more relevant ads.

subset: commoncrawl


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Damn, time passes so/too fast! In case you are like me, you might not have realized that September is coming to an end and that The Daring Bakers have once again geared up in order to flood the internet with their latest creations...
The September 2009 Daring Bakers' challenge is hosted by Steph of "a Whisk And A Spoon" (USA) who chose the French treat, "Vols-Au-Vent" based on the "Puff Pastry" recipe by Michel Richard from the cookbook "Baking With Julia" By Dorie Greenspan.
Although the idea of making "Puff Pastry" in my kitchen and rolling it on my oven totally freaked me out, I greeted this new baking joust with much excitement and great anticipation. I had always wanted to make my own "Pâte Feuilletée", yet never managed to make any until now. I guess that the reason why I never got to baking that delicacy has more to do with my subconscious cowardness (which was the real blocker) than with not my lack of space (a lame excuse).
As I was not going to let myself get destabilized by my chicken ways , so I made the promise to honor the saying "When there's a will, there's a w ay " and gathered all my courage as well as inner strength to face the time-consuming task that lay ahead.
To my biggest surprise, it all went very smoothely and at the end, my sanity remained. Nobody was murdered, no pastry was thrown across t he kitchen and no profanities were uttered! Once my "Vols-Au-Vent" came out of the oven looking all golden and perfect, I was really relieved. I had another reason to be proud of myself. My ego an d confidence got magnificently boosted...
Since we are only two at home, I divided the dough in half. I used one half to create sweet "Vols-Au-Vent" and froze the other half in order to make savory "Vols-Au-Vent" later on.
I wanted a fresh and fruity dessert that would not be too sugary, so I opted for a simple yet divine "Pastry Cream" filling (Dorie Greenspan's recipe) and decided to decorate my pastries with slices of Italian prune that I glazed runny jelly. I served my "Vols-au-vent" with cinnamon and red wine poaches figs. All that resulted in a tantalizingly delicate and ambrosial treat that delighted us to the highest point.
The pastry was incredibly flaky, light, crispy and had well-defined layers. It tasted of butter and was far from being bland or vinegary like most industrial "Puff Pastries" tend to be. It was perfect texture- and flavor-wise; worthy of any good bakery. Together with the lusciously creamy, vanillaed "Pastry Cream" and, the crunchy and extremely fragrant prunes, each bite brought you a step closer to heaven!!!
I really wish to thank Steph for having choosen that fantastic recipe and for having helped me surpass myself and my fears.
~ Michel Richard's Puff Pastry Dough ~
Recipe taken fron "Baking With Julia" by Dorie Greenspan.
Yields 1.2 kg (2 1/2 pounds) dough.
Food processor (will make mixing easy, but this can be done by hand as well)
Rolling pin
Pastry brush
Metal bench scraper (optional, but recommended)
Plastic wrap
Baking sheet
Parchment paper
Silicone baking mat (optional, but recommended)
Set of round cutters (optional, but recommended)
Sharp knife
Cooling rack
Preparation Times:
. About 4-5 hours to prepare the puff pastry dough (much of this time is inactive, while you wait for the dough to chill between turns…it can be stretched out over an even longer period of time if that better suits your schedule).
. About 1 1/2 hours to shape, chill and bake the vols-au-vent after your puff pastry dough is complete.
This recipe makes more than you will need for the quantity o f vols-au-vent stated above. While I encourage you to make the full recipe of puff pastry, as extra dough freezes well, you can halve it successfully if you'd rather not have much leftover.
2-1/2 Cups (354g) Unbleached all-purpose flour + extra for dusting the work surface
1-1/4 Cups (142g) Cake flour
1 Tbs Sea salt (you can cut this by half for a l ess salty dough or f or sweet preparations)
1-1/4 Cups (300ml) Ice water
1 Pound (454g) Very cold unsalted butter
Mixing The Dough:
1. Check the capacity of your food processor before you start. If it canno t hold the full quantity of ingredients, make the dough into two batches and combine them.
2. Put the all-purpose flour, cake flour, and salt in the work bowl of a food processor fitted with a metal blade and pulse a couple of times just to mix. Add the water all at o nce, pulsing until the dough forms a ball on the blade. The dough wi ll b e ve ry moist and pliable and will hold together when squeezed between your fingers (Actually, it will feel like Play-Doh.).
3. Remove the dough from the machine, form it into a ball, with a small sharp knife, slash the top in a tic-tac-toe pattern. Wrap the dough in a damp towel and re frigerate for about 5 minutes.
4. Meanwhile, place the butter between 2 sheets of plasti c wrap an d beat it with a rolling pin until it flattens into a square that's about 2.54cm (1 inch) thick. Take care that the butter remains cool and firm (If it has softened or become oily, chill it before co ntinuing.).
Incorporating The Butter:
5. Unwrap the dough and place it on a work surface dusted with all-purpose flour (A cool piece of marble is the ideal surface for puff pastry.) with your rolling pin (Preferably a French rolling pin without handles.), press on the dough to flatten it and then roll it into a 25cm (10 inches) square. Keep the top and bottom of the dough well floure d to prevent sticking and lift the dough and move it around frequently. Starting from the cen ter of the square, r oll out over each corner to create a thick center pad with "ears," or fl aps.
6. Place the cold butter in the middle of the dough and fold th e e ars ov er the butter, stretching them as needed so that they overlap slightly and encase the butter completely (If you have to stretch the dough, stretch it from all over; don't j ust pull the ends.). You should now have a package that is 20cm (8 inches) square.
Making The Turns:
7. Gently but firmly press the rolling pin against the top and bottom edges of the square (this will help keep it square). Then, keeping the work surface an d the top of the d ough well floured to prevent sticking, roll the dough into a recta ngle that is three times as long as the square you started with, about 61cm/24 inches (don't worry about the width of the rectangle: if you get the 61cm/24 inches, everything else will work itself out.) With this first roll, it is particularly important that the butter be rolled evenly along the len gth and width of the rectangle; check when you start rolling that the butter is moving along w ell, and roll a bit harder or more evenly, if necessary, to get a smooth, even dough-butter sandwich (use your arm-strength!).
8. With a pastry brush, brush off the excess flour from the top of the d ough, and fold the rectangle up from the bottom and down from the top in t hirds, like a business letter, brushing off the excess flour. You have completed one turn.
9. Rotate the dough so that the closed fold is to your left, lik e the spine of a book. Repeat the rolling and folding process, rolling the dough to a length of 61cm (24 inches) and then folding it in thirds. This is the second turn.
Notes On Chilling the Dough:
If the dough is still cool and no butter is oozing out, you can give the dough another two turns now.
If the condition of the dough is iffy, wrap it in plastic wrap and re frigerate it for at least 30 minutes. Each time you refrigerate the dough, mark the number of tu rns you've completed by indenting the dough with your fingertips. It is best to refrigerate the d ough for 30 to 60 minutes between each set of two turns.
Notes On The Turns:
The total number of turns needed is six.
If you prefer, you can give the dough just four turns now, chill it overnight, and do the last two turns the next day.
Puff pastry is extremely flexible in this regard. However, no matter how you arrange your schedule, you should plan to chill the dough for at least an hour bef or e cutting or shaping it.
Extra tips:
. While this is not included in the original recipe we are using (and I did not do this in my own trials), many puff pastry recipes use a teaspoon or two of white vinegar or lemon juice, added to the ice water, in the détrempe dough. This a dds acidity, which relaxes the gluten in the dough by breaking down the proteins, making rolling easier. You ar e welcome to try this if you wish.
. Keep things cool by using the refrigerator as your friend! If you see any b utte r starting to leak through the dough during the turning process, rub a little flour on the exposed dough and chill straight away. Although you should certainly chill the doug h for 30 to 60 minutes between each set of two turns, if you feel the dough getting to soft or hard to work with at any point, pop in the fridge for a rest.
. Not to sound contradictory, but if you chill your paton longer than the recommended time between turns, the butter can firm up too much. If this seems to be the case, I advise letting it sit at room temperature for 5-10 minutes to give it a chance to soften before proceeding to roll. You don't want the hard butter to separate into chuncks or break t hrough the dough...you want it to roll evenly, in a continuous layer.
. Roll the puff pastry gently but firmly, and don't roll your pin o ver the edges, which will prevent them from rising properly. Don't roll your puff thinner t han about about 1/8 to 1/4-inch (3-6 mm) thick, or you will not get the rise you are looking for. Try to keep "neat" edges and corners during the rolling and turning process, so the lay ers are properly aligned. Give the edges of the paton a scooch with your rolling pin or a bench scraper to keep straight edges and 90-degree corners.
. Brush off excess flour before turning dough and after rolling. . Make clean cuts. Don't drag your knife through the puff or twist your cutters too much, which can inhibit rise.
. When egg washing puff pastry, try not to let extra e gg wash d rip down the cut edges, which can also inhibit rise.
. Extra puff pastry dough freezes beautifully. It's best to ro ll it into a sheet about 1/8 to 1/4-inch thick (similar to store-bought puff) and freeze firm on a lined b aking sheet. Then you can easily wrap the sheet in plastic, then foil (and if you have a se alable plastic bag big enough, place the wrapped dough inside) and return to th e freezer for up to a few months.
. Defrost in the refrigerator when ready to use.
. You can also freeze well-wrapped, unbaked cut and shaped pu ff pastry (i.e., unbaked vols-au-vent shells). Bake from frozen, without thawing first.
. Homemade puff pastry is precious stuff, so save any clean scraps. Stack or overlap them, rather than balling them up, to help keep the integrity of the layers. T hen give them a singe "turn" and gently re-roll. Scrap puff can be used for applications where a super-high rise is not necessary (such as palmiers, cheese straws, napoleons , or even the bottom bases for your vols-au-vent).
Yields 1/3 of the puff pastry recipe above will make about 8x-10 x 3.8cm (1.5 inches/diameter) vols-au-vent or 4x 10.2cm (4 inches/diameter) vols-au-vent.
In addition to the equipment listed above, you will need:
Well-chilled puff pastry dough (recipe above)
Egg wash (1 egg or yolk beaten with a small amount of water)
Your filling of choice
1. Line a baking sheet with parchment and set aside.
2. Using a knife or metal bench scraper, divided your chilled puff pastry dough into three equal pieces. Work with one piece of the d ou gh, and leave th e rest wrapped and chilled. (If you are looking to make more vols-au-vent than the yield stated above, you can roll and cut the remaining two pieces of dough as well…if not, then leave refrigerated for the time being or prepare it for longer-term freezer storage. See the "Tips" section below for more storage info.
3. On a lightly floured surface, roll the piece of dough into a rectangle about 1/8 to 1/4-inch (3-6 mm) thick. Transfer it to t he baking sheet and refrigerate for about 10 minutes before proceeding with the cutting (This assumes you will be using round cutters, but if you do not have them, it is possible to cut squa re vols-au-ven ts usin g a sharp chef's knife.).
4. For smaller, hors d'oeuvre sized vols-au-vent, use a 3.8cm (1.5 inch) round cutter to cut out 8-10 circles. For larger sized vols-au-vent, fit for a main course or dessert, use a 10cm (4 inches) cutter to cut out about 4 circles. Make clean, sharp cuts and try not to t wist your cutters back and forth or drag your knife through the dough. Half of these rounds will be for the bases, and the other half will be for the sides. (Save any scrap by stacking—not wa dding up—the pieces…they can be re-rolled and used if you need extra dough. If you do need to re-roll scrap to get enough disks, be sure to use any rounds cut from it for the bases, not the ring-shape d sides.)
5. Using a 1.9cm (3/4-inch) cutter for small vols-au-vent, or a 5-6.4cm (2 to 2.5-inch) round cutter for large, cut centers from half of the rounds to make rings. These rings will become the sides of the vols-au-vent, while the solid disks will be the bottoms. You can either save the center cut-outs to bake off as little "caps" for you vols-au-vent, or put them in the scrap pile.
6. Dock the solid bottom rounds with a fork (prick them l ightly, making sure not to go all the way through the pastry) and lightly brush them with egg wash. Place the rin gs directly on top of the bottom rounds and very lightly press them to a dhere. Brush the top rings lightly with egg wash, trying not to d rip any down the sides (which may inhibit rise). If you are using the little "caps," dock and egg wash them as well.
7. Refrigerate the assembled vols-au-vent on the lined baking sheet while you pre-heat the oven to 200º C/400 º F (You cou ld also cover and refrigerate them for a few hours at this point.)
8. Once the oven is heated, remove the sheet from the refrigerator and place a silicon baking mat (Preferred b ecause of its weight.) or another sheet of parchment over top of the shells. This will help them rise evenly. Bake the shells until t hey have risen and begin to brown, about 10-15 minutes depending on their size. Reduce the oven temperature to 180º C (350º F), and remove the silicon mat or parchment sheet from the top of the vols-au-vent. If the centers have risen up inside the vols-au-vent, you can gently press them down. Continue baking (with no sheet on top) until the layers are golden, about 15-20 minut es more (If you are baking the cen ter "caps" they will likely be finished well ahead of the shells, so keep an eye on them and remove them from the oven when browned.).
9. Remove to a ra ck to cool. Cool to room temperature for cold fillings or to warm for hot fillings.
10. Fill and serve.
For additional rise on the larger-sized vols-au-vents, you can stack one or two additional ring layers on top of each other (using egg wash to "glue"). Thi s will give higher sides to larger vols-au-vents, but is not advisable for the smaller ones, whose bases may not be large enough to support the extra weight. Although they are at their best filled and eaten soon after baking, baked vols-au-vent shells can be stored airtight for a day. Shaped, unbaked vols-au-vent can be wrapped and frozen for up to a month (bake from frozen, egg-washing them first). There is a wonderful on-line video from the PBS show "Baking with Julia" that accompanies the bo ok. In it, Michel Richard and Julia Child demonstrate making puff pastry doug: http://video.pbs.org/video/1174110297/search/Pastry.
Etant donné la longueur du texte original, je n'ai malheureusement pas pu faire une traduction française de ce billet et je m'en excuse auprès de tous mes amis lecteur s et blogueurs francophones!
C'est pourquoi je vous suggère de vous rendre sur les blogs mentionnés ci-dessous. Vous y trouverez cette recette en version française.
Chez Jasmine de "Jasmine Cuisine" (Canada)
Chez Isa de "Les Gourmandises d'Isa" (Canada)


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Perhaps the only person more surprised than Nicole "Snooki" Polizzi when she and partner Sasha Farber were eliminated from Dancing with the Stars last week was Bill Engvall. Engvall and his partner, Emma Slater (who also happens to be Farber's girlfriend) were thisclose to elimination the previous week, but were spared, thanks to a glitch in the voting system that resulted in every couple being safe. "When Nicole got bumped, I literally was walking towards...
Perhaps the only person more surprised than Nicole "Snooki" Polizzi when she and partner Sasha Farber were eliminated from Dancing with the Stars last week was Bill Engvall. Engvall and his partner, Emma Slater (who also happens to be Farber's girlfriend) were thisclose to elimination the previous week, but were spared, thanks to a glitch in the voting system that resulted in every couple being safe.
"When Nicole got bumped, I literally was walking towards Tom [Bergeron] to say, 'No, no, no, no. That should be me,'" Engvall tells TVGuide.com. "She's a better dancer."
But, as Engvall said Emma and some of the other pros pointed out to him, the competition is about more than just dancing. And the comedian says that he's grateful to have lasted another week.
Fall TV Popularity Contest: Vote for your favorite new shows!
"I'm tired and sore," says Engvall, 56. "Listen, it's the hardest thing I've ever done. But you know what? I'm having the time of my life. With the two weeks of pre-rehearsal, it's been 10 weeks of the most fun I've ever had."
Read our full interview with Engvall below to find out which dances he believes the judges underscored him and Emma, and how excited he is to meet Cher on Monday's episode of Dancing.
You and Emma had a pretty big comeback this week. How shocked were you when you were saved, even though you had been in the bottom two the previous week?
Engvall: It was a weird mix of emotions, because I was excited, but Sasha and Emma, they've been dating for three years. So she was upset that Sasha was gone, so she starts crying. I was like, I don't know what to do here. I don't know how to react. I want to be excited that we're moving on. It was a strange array of emotions. But I'm so excited for us.
You went over to Nicole after her name was read. What did you say to her?
Engvall: I went up to Nicole and I said, "Sweetheart, that should have been me." She was crying and she said, "Shut up." I go, "No, you shut up." I said, "I didn't even want to like you. And now I love you." I've told her, I was not a fan of Jersey Shore nor her [before DWTS]. But over the last 10 weeks, I've gotten to know her and she's the sweetest, nicest little thing you'd ever meet in your whole life. She's fun to hang out with.
Leah Remini: Dancing came at the "exact right time" in my life
Are you surprised you've made it this far in the competition?
Engvall: When I first started this, I thought, if we get past the first elimination I'll be thrilled. If we get to Week 4, I'll be ecstatic. Because it's Emma's first year as a pro, I wanted her to at least get to Week 4. I didn't want her to get a celebrity and all of a sudden, we're out the first elimination. But now here we are in Week 8. And I am so happy and I'm so proud of her. Hell, why not win this thing? If we do, it'll be awesome and I'll go crazy, but if we get eliminated on Monday, I'm still just as fine with it.
Have you noticed yourself improving week to week?
Engvall: I started with nothing. I had never ballroom-danced in my life. ... I'm really proud of where I've come, from zero to here. Am I the best dancer on the show, technically? No. But I guarantee you, I've probably made more improvement than anybody. Jack [Osbourne] and I are in the same boat. Listen, I think a great finale would be me, Jack and Leah [Remini]. Because you're talking people who've never had dance experience.
What's your working relationship like with Emma?
Engvall: Little Emma, they could not have put me with a better partner. She's just sweet. It's like having another daughter. Every Monday night, we look at each other and we go, it's just me and you dancing. And we just have fun. I wink at her and she gives me a smile and we just take off. And what happens happens. And at the end of the night, I give her a big hug and we laugh. It's just been the time of my life.
We've seen some of the other pairs have moments of tension during rehearsals in recent weeks, but that doesn't seem to be the case with you and Emma.
Engvall: That little girl is so patient and such a good little instructor. We're like two peas in a pod. We laugh. I can honestly say that in 10 weeks, we've never had a moment where I was ready to walk out.
Dancing's Cheryl Burke: This is the most competitive season I've done
You really do seem to be having fun every week. You and Jack definitely lightened the mood during your team dance last week.
Engvall: I am. You know why? Because I get it. It's a TV show; it's fun. If it was a serious dance competition, you wouldn't be on Dancing with the Stars. You'd be on PBS. ... But yeah, it is fun. And that's what it should be.
You seemed to really enjoy the team dance from last week.
Engvall: I had so much fun. I was having just the time of my life. I thought we kind of got underscored. [But] I've got to tell you something. Derek [Hough], he gets Man of the Year award for me. With his back hurting him, he went out and he didn't mail it in. He threw out 200 percent. And I told him this yesterday. I said, 'Dude, you're like my hero.' He could have easily said, 'I can't dance because of my back' and no one would have said a word. But he went out there and threw it down. Threw. It. Down.
Your individual dance last week wasn't one of your best numbers, and you guys ended up with a pretty low score last week. What happened?
Engvall: I've gotten really good at covering the stage. [Laughs] ... And at the end of the dance, I spun Emma out too soon. It was not my best dance, but I felt like the scores were very fair.
Photos: Totally unnecessary spin-offs
Do you think all your scores have been fair so far?
Engvall: I feel like I was underscored on two. There was Week 1 with the foxtrot. ... They gave us that mid-range 6, and I think we deserved 7s on that one. I don't think it was better than a 7, but it was definitely better than a 6. And then I think the dance we got really underscored on was the Viennese waltz, because I felt like we really nailed that one. I thought there should have been a 9 or two in there. It is what it is. But last week, I thought it was scored very fair.
A lot of people are getting plagued by injuries at this stage in the competition. Have you had any, other than the usual aches and pains?
Engvall: I told my wife the other morning, 'God, it'd be so nice to wake up one morning and something's not hurting.' A lot of it's age. I'm twice some of these kids' age. So the knees ache, muscle pulls. But knock on wood, I've not had any big injuries.
What's been the show's biggest impact for you personally?
Engvall: It's been the best workout I've ever had. Not to sound like a giddy high school girl, but my wife and I were getting ready to go to a Halloween party last night and in my closet I have a section of clothes that fit, and then you have a couple pair of pants you go, 'Maybe someday I'll get back into that size.' When I started this dance competition, I was wearing a 34/35 jeans. I put on a size 32 yesterday and they fit. I haven't worn 32s in 10 years. So it's been crazy. Plus this week I get to meet Cher!
Yes! She's the guest judge this week. How excited are you?
Engvall: That's when I knew there's a God. [Laughs] ... I've been a fan of Cher since the Sonny & Cher show. I always thought she was one of the sexiest — I look at her and go, I could totally hang out with this lady. It's just going to be a blast. I'm dancing to a Cher song, and she's going to be 10 feet from me. ... She's on par with me, as far as a fantasy girl, with Farrah Fawcett in front of the Indian blanket.
Bubble Shows: Which will survive?
Is there an added sense of pressure because she's going to be judging you?
Engvall: Pressure's trying to save somebody's life, or being in the military and you don't know who's shooting at you. That's pressure. I'm dancing. [Laughs] I think at first there'll be some nerves, but ... I'm the regular guy that will walk up to you and go, 'Hi Cher, I'm Bill Engvall. How're you doing?' I'll be nervous meeting her, but it'll be fun.
What are you working on for your individual dance?
Engvall: We're doing disco, which I love. Of course, [Emma] wasn't even born. She goes, 'When you were in the disco, what was your move?' I go, 'My move?' She goes, 'Didn't you have, like, a standard move? I go, 'No. My only move was, how do I get this girl from the club back to my apartment?' What's funny is, we have gotten through this disco quicker than we've gotten through any dance. We actually have the dance down. Now it's just cleaning it up.
Are you getting a lot of material to use in your stand-up routines?
Engvall: Oh yeah. Trust me, this is going to end up being like a 20-minute bit when this thing's finally over.
Dancing with the Stars airs Mondays at 8/7c on ABC.


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Crispy buttermilk-cheddar waffles w/ kielbasa-maple syrup
print recipe
Use your favorite waffle or buttermilk waffle recipe (that would serve 2-4 people)
Add to the batter ½ - ¾ cup of mild cheddar cheese, shredded
Cook as normal.
For the kielbasa-maple syrup:
Chopped kielbasa, small chunks (about ¾ - 1 cup)
1 cup or more of maple syrup
Fry up the kielbasa until nice and crispy. Degrease a little of the oil out of pan, then pour in the maple syrup, turn heat to low, and let heat up until waffles are done. Don't let it boil! Just warmed through. When waffles are done pour the hot kielbasa syrup over them.
If you don't have a waffle recipe here is one from Cook's Illustrated:
Buttermilk Waffles
Makes about eight 7-inch round waffles.
While the waffles can be eaten as soon as they are removed from the waffle iron, they will have a crispier exterior if rested in a warm oven for 10 minutes. (This method also makes it possible to serve everyone at the same time.) Buttermilk powder is available in most supermarkets and is generally located near the dried-milk products or in the baking aisle. Leftover buttermilk powder, which can be used in a number of baking applications, can be kept in the refrigerator for up to a year. Seltzer or club soda gives these waffles a light texture that would otherwise be provided by whipped egg whites. (Avoid sparkling water such as Perrier—it's not bubbly enough.) Use a freshly opened container for maximum lift. Serve waffles with butter and warmed maple syrup.
2 cups (10 ounces) unbleached all-purpose flour
1 tablespoon sugar
3/4 teaspoon table salt
1/2 cup dried buttermilk powder (see note)
1/2 teaspoon baking soda
1/2 cup sour cream
2 large eggs
1/4 teaspoon vanilla extract
1/4 cup vegetable oil
1 1/4 cups unflavored seltzer water
1.1. Adjust oven rack to middle position and heat oven to 250 degrees. Set wire rack in rimmed baking sheet and place baking sheet in oven. Whisk flour, sugar, salt, buttermilk powder, and baking soda in large bowl to combine. Whisk sour cream, eggs, vanilla, and oil in medium bowl to combine. Gently stir seltzer into wet ingredients. Make well in center of dry ingredients and pour in wet ingredients. Using a rubber spatula, gently stir until just combined. Batter should remain slightly lumpy with streaks of flour.
2.2. Heat waffle iron and bake waffles according to manufacturer's instructions (use about 1/3 cup for 7-inch round iron). Transfer waffles to rack in warm oven and hold for up to 10 minutes before serving with butter and maple syrup.
For Crispier Texture, Ban the Butter
For crispier results, we swapped the melted butter in our batter for oil. Unlike butter, oil contributes no moisture to the waffle. The exterior of the waffle can thus reach a higher temperature faster, giving the crust more time to form. Plus, oil helps keep the waffle cripe after it comes off the heat: As pure as fat, it is better able to repel water, keeping interior moisture from migrating to the waffle's dry, browned surface and turning it limp.


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Linux/Gafgyt.A!tr.bdr is classified as a backdoor trojan.
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This year when Steven and I celebrate our birthdays together in July, I want to bake an extra special cake for the two of us. I don't make many layer cakes because I think they're too fussy to make and frost. I'm more of a muffin/quick bread kind of gal where I only need two bowls and don't have to bust out the KitchenAid. But I just can't resist the sheer beauty and elegance of a pristine white layer cake with buttercream frosting. There's really no substitute for a tall layer cake for a special occasion so I need to get as much practice in as possible before making the official birthday cake. I don't want to screw up like last year because screwing up a birthday cake is something I never want to do again. A white layer cake something I've always wanted to make, it's even on the list! So when Morven chose Dorie's Perfect Party Cake, I really couldn't have asked for a more perfect challenge.
We had a lot of flexibility this month. We could play around with the cake flavor, the fillings, and the buttercream flavors, as long as we stuck to Dorie's basic recipe for the cake and frosting. At first glance, I was shocked by the amount of butter and sugar the entire recipe called for: a full POUND of butter and 2 1/2 cups of sugar (not counting the sugar in the preserves). Oh my! I didn't mess with the butter content but I simply couldn't put 1 1/2 cups of sugar in the cake alone! First I scaled down the recipe by 3/4 for my 8 inch cake pans and then decreased the sugar to 3/4 cups. I tasted a piece of the cake and it was sufficiently sweet so I can't imagine how cloyingly sweet it would have been if I had used the full amount. Many Daring Bakers had an issue with the cake not rising very much and I ended up with the same problem. I used cake flour and followed the instructions to a T and yet my cakes did not rise very much at all. After baking, the layers were about 1 inch high. I worried that my cake would end up like my first chiffon cake, dense and rubbery. I cut off a tiny piece and surprisingly, the interior of the cake was light and fluffy and tasted amazing, it just didn't rise very much. Odd but nothing catastrophic. I compared the recipe to a Cook's Illustrated recipe for white layer cake and found that CI used the same amount of flour, more butter, but also more baking powder and eggs whites. Maybe next time I should try adding a little more baking powder?
I knew I wanted to fill the cake with blackberry jam because I still had a huge gallon size bag of blackberries in the freezer from last summer that I needed to use (to make room for strawberry season). With my recently purchased shiny new food mill, I was able to make seedless jam since the first thing Steven did the last time I made jam was complain about all the seeds. I kept the lemon flavor in the cake because I think it pairs very well with blackberry. Instead of filling the cakes with buttercream and preserves, I boosted the lemony flavors of the cake by making Pierre Herme's lemon cream, also found in Dorie's book, to go inside. I still made the buttercream to frost the outside of the cake but since I had a 8 inch cake and no longer needed it to fill the cake, I only made half the recipe, just enough to frost the outside of the cake. Finally I made some candied lemon slices to decorate the outside. I used my new frosting spatulas that Bettina got me for Christmas for the first time (yay thanks Bettina!). This was my first time frosting a layer cake and all I can say is I definitely need more practice frosting cakes. Even though I did a crumb coat to seal in any loose crumbs, I still ended up with some crumbs on the outside of the cake. Oh well, go figure. And I spent a good 5 minutes trying to get the exterior to look perfectly smooth, but I gave up in the end. I planned to do a shell border on the top and bottom of the cake but only had enough frosting for a top border. At first the buttercream was too cold so it was difficult squeezing it out through the tip, then it started to melt from the heat of my hands and got a little too liquidy. I ended up with only half a dozen perfect shells, the rest were either chunky or blobby. It's okay, practice practice.
The cake was absolutely delicious. The blackberry and lemon flavors were perfect together. The cake was light and the frosting was sinfully creamy. I had 2 slices and then I realized I had just ingested roughly half a stick of butter. Eek! Better not think about that and just concentrate on how yummy it is. This is definitely a cake I will be making over and over for special occasions; it really is the perfect party cake.
I think everyone did the cake a little differently this month so be sure to check out all the great cakes by going to the Daring Baker Blog Roll
Dorie's Perfect Party Cake: Lemon and Blackberry
from Dorie's Baking: From My Home to Yours
Lemon White Cake (for 2 9inch pans)
2 1/4 C cake flour
1 Tbsp baking powder 1/2 tsp salt
1 1/4 C whole milk or buttermilk (I used buttermilk, Dorie says she prefers this with the lemon)
4 large egg whites
1 1/2 cups sugar
2 tsp grated lemon zest
1 stick (or 1/2 C or 4 oz.) unsalted butter, at room temperature
1/2 tsp pure lemon extract (I used some vanilla extract)
for 2 8 inch pans
1 2/3 C cake flour
2 1/4 tsp baking powder
1/4 tsp salt
1 C whole milk or buttermilk (I used buttermilk, Dorie says she prefers this with the lemon)
3 large egg whites
1 1/4 C sugar (<- oh my god that is so much sugar, I used 3/4 C and the end result was fine)
1/4 tsp pure lemon extract (I used 1/2 tsp vanilla extract)
For the Buttercream (I made half of this recipe)
1 C sugar
4 large egg whites
3 sticks (12 ounces) unsalted butter, at room temperature
1/4 C fresh lemon juice (from 2 large lemons)
1 tsp pure vanilla extract
For Finishing
Lemon Cream Filling
2 tsp lemon zest
1/3 C sugar
2 large eggs
1/3 C lemon juice
8 (1/2 C or 4oz.) unsalted butter, very cold cut into 8 slices
Blackberry preserves (I had some homemade)
(I skipped the coconut on the outside)
Getting Ready
Preheat the oven to 350 degrees F and adjust a rack to the center position. Butter 2 8 inch (see adjusted recipe for 8 inch pan) or 9 inch cake pans and line the bottom with a round piece of parchment paper. Set aside.
Sift together the cake flour, baking powder, and salt. Whisk the egg whites with the whole milk or buttermilk. Put the sugar and lemon zest in a mixer bowl and rub them together with your fingers until the sugar feels moist and smells lemony.
Using either the whisk or paddle attachment, add the butter to the sugar and beat at medium speed until the sugar and butter is fluffy and light, 3 full minutes.
Beat in the extract, then lower the speed and add one third of the flour mixture. If you continue to mix on medium you'll get flour poofing out. The add half of the milk-egg mixture, then beat in the rest of the dry ingredients, mix until incorporated. Finally add the rest of the milk-egg mixture and beat for a full 2 minutes on medium speed to insure that the batter is homogeneous and aerated.
Divide the batter evenly between the two prepared pans and smooth out the top. Bake for 30 - 35 minutes (or 25 - 30 minutes for 8 inch cakes) or until a toothpick inserted in the center of the cake comes out clean. Check early.
Transfer the cakes to cooling racks and cool for 5 minutes, then remove them from the pans, peel off the parchment liner, and cool the cakes to room temperature (the cooled cake layers can be wrapped airtight and stored at room temperature overnight or frozen for up to two months).
To Make the Lemon Cream Filling
Bring a saucepan of water to a simmer. Place the sugar and lemon zest in a mixer bowl or heatproof bowl and rub the two together with your fingers until the sugar is moist and lemony. Whisk in the eggs, followed by the lemon juice. Place this ontop of the pan of simmering water and whisk constantly until the mixture reaches 180 degrees. As it approaches 180 degrees it will thicken considerably and the whisk will begin to leave tracks. Be very diligent about checking the temperature at this point. As soon as it reaches 180 degrees take it off heat. With a rubber spatula, scrape the mixture into a blender or food processor and let it cool until it is 140 degrees, this will take about 5 - 10 minutes. When the mixture has cooled, turn on the blender or food processor and with it running, add 3 1-tablespoon pieces of butter at a time, waiting until each addition has been incorporated before adding more. Blend for a full 2 minutes to emulsify and aerate the cream. Chill it in the fridge for 30 minutes before working with it. It will store overnight but you will need to let it warm up and soften before you can work with it.
To Make the Buttercream (I made half of the recipe)
Bring a saucepan of water to a simmer. Put the sugar and egg whites in a mixer bowl or heatproof bowl and place this bowl over the pan of simmering water. Whisk constantly until the mixture feels hot to the touch and the sugar has completely dissolved, about 3 minutes. The mixture will look white and shiny like marshmallow cream.
Using the whisk attachment, beat the meringue on medium speed until it is cool, about 5 minutes. It will become very white, fluffy, and sticky. Switch to the paddle attachment and add the butter one stick at a time. Since I was only using 1 1/2 sticks I added 1/2 a stick at each time. Beat the buttercream until it is thick, fluffy, and smooth. At some point it will curdle but don't worry, this is normally and with continued beating it will come together. Gradually add the lemon juice, making sure each addition is absorbed before adding more and finally add the vanilla. I don't know how well buttercream keeps in the fridge. It is best to work with it right after you make it. You can make the cakes and filling ahead of time, but make plan to make the buttercream and finish the cake on the same time. However after frosting the cake you can refrigerate it for 2 days or freeze it for a month.
To Assemble the Cake
Using a serrated knife, gently saw each cake layer into two layers. I like to first slice an outline around the perimeter of the cake then work my way in.
Dab a little frosting in the middle of a cardboard cake round or a cake plate and center the bottom layer cut side up. The frosting will act as the glue so the cake doesn't skid around when you are trying to frost it.
Spread 1/3 of the lemon cream on the layer. Then spread blackberry preserves on top. Place the top cake layer, cut side up. This way the domed top will be face down. Repeat with the spreading of the lemon cream and blackberry preserves. Now place the top layer of the second cake layer cut side up. Repeat with the filling, then filling place the final layer cut side down, the bottom of the cake layer should be facing up.
First apply a thin layer of frosting all around the cake as the crumb coat. This helps seals in all of the crumbs that you don't want on the outside of your cake. Then, use the remaining buttercream to evenly frost the outside of the cake. If you have any leftover frosting you can pipe designs on the outside. I made some candied lemon slices for the outside of the cake.
The cake is best the day it is made, but it will keep well covered and refrigerated for up to two days or you can freeze the cake (freeze it solid then wrap it well) for up to two months (defrost it well wrapped in the fridge overnight). Bring it to room temperature before serving. I find that the buttercream tastes the fluffiest the day it's made.
Playing Around
You can use whatever flavors or fillings your heart desires and decorate the cake however you like. In the original recipe, Dorie covered the outside of the cake with coconut but but you can also used grated chocolate, chopped nuts, or fresh berries.


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Associated Press
BOSTON (AP) - The family of a former special assistant to President John F. Kennedy is auctioning hundreds of photographs, documents, gifts and other memorabilia that once belonged to the late president.
David Powers, who died in 1998, was a close personal friend to Kennedy and his wife, Jackie. He was also the first curator of the John F. Kennedy Presidential Library and Museum in Boston until he retired in 1994.
Powers' family found "an extraordinary collection" of memorabilia locked away last year as they prepared to sell the family home, according to John McInnis Auctioneers in Amesbury.
Powers, who joined Kennedy for his first political campaign for Congress in 1946 and was with him when he was assassinated in Dallas in 1963, collected keepsakes and documents spanning years of friendship with the Kennedy family. His collection of about 2,000 items will be auctioned in 723 lots on Feb. 17.
The collection includes the president's Air Force One leather bomber jacket; photos of the baptism of his only surviving child, Caroline Kennedy; pictures of John F. Kennedy Jr.'s birthday party taken in December 1963; a birthday card that a young John F. Kennedy Jr. sent to his father a few months before he was assassinated; and a collage of photos that show JFK and Jackie before he was elected president. Other items include a statement announcing Kennedy's candidacy for president, ephemera, letters, documents and gifts to and from the family.
The JFK Library, which is charged with promoting the life and legacy of Kennedy, says it is trying to figure out whether some of the items belong to the institution.
"The Kennedy Library is working with the family of Dave Powers to explore whether any of the items currently up for auction by the Powers family properly belong to the Kennedy Library and should be donated to library similar to other items that they have donated in the past," the institution said in a statement released Friday.
At the request of Robert F. Kennedy, Powers in 1964 began assembling and collecting Kennedy memorabilia that was to become part of the library's permanent exhibit, the library says on its website. He also traveled around the world with an exhibit to raise money for the library's construction, according to the website.
Powers' daughter, Mary, was not at home and could not be reached for comment Friday.
Dan Meader, of John McInnis Auctioneers, played down ownership concerns.
"You have to remember they've donated so much stuff through the years," Meader said. "These are their own private things and the Powers family ... loves the JFK Library and they want to do anything they can do to preserve that legacy that their father started."
Meader said he did not know how much the auction is likely to generate or the estimated total value of the items being sold.
The auctioneer's highest estimate was for the bomber jacket, at $20,000 to $40,000, while some lots were estimated in the $50 to $100 range.
The memorabilia, Meader said, has generated interest from all over the world. People from Ireland, United Kingdom, Germany, Mexico, South Africa, Canada, Australia, United Arab Emirates, the Netherlands and elsewhere have already registered to bid, he said.
Rodrique Ngowi can be reached at www.twitter.com/ngowi
(Copyright 2013 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.)


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When I had my consultation, the nurse explained the procedure and gave me a couple different options to prepare for the test. Prepare for the test. This is where the deception starts. In my world, prepare for the test means study and memorize how to conjugate irregular verbs in Spanish. But that's not the kind of preparations or tests they're talking about.
One of the options she gave me was to drink some concoction called GoLytely. Go lightly. Well, that sounds nice. It's the name of Audrey Hepburn's lovable character in Breakfast at Tiffany's. Lightly. Go lightly. It sounds nice and calm. Deception number two.
The first two choices she gave me entailed drinking some sort of vile liquid. I knew I wouldn't be able to get down, let alone keep down, any kind of disgusting drink. I had flashbacks to the many glucose tolerance tests I've taken while pregnant. Take my word on this, the technicians do not like it when you throw up on them. I asked the nurse, "Do you have a third choice? How about an xray? A blood test? Anything less um, icky?"
She said, "Well, since you're young and healthy, you could take pills instead, but we'd need to do bloodwork first to make sure your kidney function is okay. And if you opt for the pills, you need to take 32 of them and you'll need to drink 8 ounces of water every time you take the pills."
"Water I can handle," I said, relieved I wouldn't have to drink any foul fluid. Sign me up!"
So, the day before my colonoscopy comes and I begin my prep.
4:00 PM – I've had nothing but water all day, figuring the less in, the less out. I swallow the first 4 pills that I'm pretty sure are actually those little salt pellets you use in your water softener. I down my 8 ounces of water and wait, poised outside the bathroom door, ready to make a dash. I'm not sure how long it will take before I begin to experience the, um effects. Fearing it will happen instantaneously, I refuse to move from my post next to the toilet.
4:15PM – I feel fine and prepare to take my next 4 pills, followed by an additional 8 ounces of water. Waiting is scary. How long will it take to kick in, I wonder. Will I really be locked in the bathroom for the rest of the evening or had my friends and family exaggerated when they spoke of their experiences?
4:30PM – As I look at the clock and prepare to swallow my next four pills, I begin to feel some bubbling and gurgling in my tummy. For those of you who are new to the whole colonoscopy experience, take heed. That bubbling means – Get your butt on the toilet NOW!
4:35PM – I grab my book and head for the toilet. I can't help thinking of the Seinfeld episode when George takes a book into the bathroom with him, is forced to buy it, then the book is flagged so George can't return it. I wonder how many library books have undergone the colonoscopy prep. Then I think it's probably better not to ponder that. (This was not a library book. I promise.) I decide this isn't too bad. I've had worse gastrointestinal viruses in my life.
4:45PM – I finish my business and wash my hands. As I take my next 4 pills, it hits me again. And by hits me, I mean, I not only do not have time to dry my hands, but I very nearly don't have time to pull down my pants. Oh. My. Gosh. I had no idea my body could hold that much. I see things I ate when I was five years old come out. All the partially digested pieces of grape Hubba Bubba I'd swallowed when the teacher caught me with gum in high school came out.
5:00PM – I manage to choke down pills 17-20 and
7:00PM I leave the safety of the bathroom. It doesn't last long. But now I can manage to go 5 - 10 minutes between effects (effects sounds so much nicer than explosive diarrhea, doesn't it?).
8:00PM – At this point, my colon is clean enough to eat off, not that I recommend eating off colons or anything. However, those 20 salt pills didn't get the message that my colon is empty; they're still working. Since there's nothing left in my entire digestive system, my internal organs liquify and come running out instead. I've only consumed about half a gallon of water, but somehow, once in my body, that 64 ounces turned into 87 gallons.
8:30PM – You know how babies get diaper rash after having poop on their butts for a period of time? Yeah, well six and a half hours into my preparations, my butt actually burst into flames. It's okay though, the veritable Niagara Falls that continued to flood from my body doused the fire. For the moment anyway.
9:00PM – I nearly vomit as I try to choke down the next 4 pills. Then I wonder what on earth these pills are going to do to me. I'm empty. I'm afraid if I take the final 8 pills, what's left of my body will drain out my butt and nothing will remain of me except my earrings.
12:00AM – The hollow shell of skin that used to be me gives up, crawls to bed, and passes out, knowing I won't need the bathroom for the next 5 weeks because there's absolutely nothing left in me.
10:30AM – I arrive at the doctor's office and take a seat in the waiting room.
11:00AM – I consider slapping the person sitting next to me, popping her gum, and talking loudly on her cell phone.
11:30AM – They finally call me back to a room and ask me a litany of questions.
"Is there any chance you're pregnant?" I laugh so hard, I snort.
"Do you wear glasses or contacts?" No.
"Do you have dentures?" No.
"Do you have a hearing aid?" What?
"Do you have a hearing aid?" What?
"Do you have a hearing aid?" I decide this nurse doesn't have a sense of humor and give up.
She has me change into a hospital gown so they can have easier access to violate me, and starts an IV.
12:00PM – I'm wheeled into the room where the magic happens. I look around for the buttcam and see some ominous-looking tubes. The anesthesiologist comes in and takes my blood pressure. It's 612/438. "Are you nervous?" he asks. "No", I reply, "I do this every couple weeks for fun." The nurse tells me to turn onto my side (you know, for easy access), and the anesthesiologist injects his drugs into my IV. The last thing I remember is hearing Secrets by One Republic playing in the room, and thinking it's a good thing they aren't playing Baby Got Back.
12:30PM – A mean nurse is trying to get me to wake up. Apparently, she's been trying for a while because she seems impatient and frustrated that I won't open my eyes. I want to tell her to go away and let me sleep. I'm a single mom to six kids, for crying out loud. I need this rest! But I can't wake up enough to form the words. I feel the need to pass gas and think to heck with being a lady. I'm afraid if I hold back I'll likely explode. At some point, the doctor came in and told me that although I have diverticulosis, it isn't too bad and there are no polyps or any other scary things in there. Then he tells me I don't need to come back until I'm 50. I've got 8 years and 1 month to prepare for my next preparation.
So folks, the moral of this story is - just do it! Make the appointment and do it! Yeah, the preparation sucks, but look on the bright side, you'll lose a few pounds, have something to blog about, and will be able to put your mind at ease about colon cancer. Colorectal cancer is one of those things that's curable if it's caught in time. Suffering through stage 4 colorectal cancer is much, much worse than a colonoscopy. Oh yeah, and buy some diaper wipes and maybe even some Desitin for your prep. A butt on fire is not a happy butt.


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In recent years, photography has become the most accessible and affordable art form, however with this in mind, photographers must continue to drive the medium forward.
Photography awards are as ubiquitous as the image itself. As the medium has advanced in recent years, artists are confronted with the challenge of finding new and innovative ways to push the boundaries of photography even further. It's not always digital manipulation or post-production that holds the answer, but rather concept, which is driving the image forward. Every year, the Deutsche Börse Photography Prize awards a living photographer of any nationality, who has made a significant contribution in exhibition or publication format to the medium of photography in Europe. This year's shortlisted photographers are Thomas Demand (b. 1964, Germany), Roe Ethridge (b. 1953, USA), Jim Goldberg (b. 1953, USA) and Elad Lassry (b. 1977, Israel).
Each photographer is contributing to the wider image-revolution. They are making a highly significant contribution to the medium by re-thinking the exact position of the image and re-defining its potential. Demand, who is nominated for his exhibition, Nationalgalerie in Berlin, often uses photographs drawn from the media, turning them into life size and painstakingly constructed three-dimensional paper models, which he then photographs. This construction of the "set" and the image is the ultimate critique on value systems and pictorial authority. Roe Ethridge has been put forward for the prize for his solo exhibition at Les Rencontres d'Arles in 2010. Ethridge is particularly interested in the unpredictability of image-making, often taking "outtakes" from his commercial work, pouncing on the banal and the mundane, depicting a new Americana.
Jim Goldberg received his nomination for Open See, a highly politicised project that focuses on the plight of refugee, immigrant and trafficked populations to Europe. However, it's Goldberg's fusion of image, text, ephemera, as well as large and medium photographs that make his work a document of the visual narrative. Finally, Elad Lassry, the youngest photographer this year, is nominated for his exhibition, Elad Lassry at Kunsthalle in Zurich. Through collage and found images, Lassry creates a meaningful discourse around appropriation, authorship and originality.
The shortlist is particularly diverse this year, with each photographer demonstrating an individual style and cultural critique. This year's Curator of the Prize and the Photographer's Gallery, Stefanie Braun is well versed in photographic innovation with over 10 years experience. This year's prize and exhibition sets the benchmark for photographic innovation, recording an exciting moment in photography's 150-year history and cementing its place in the fine art world.
The Deutsche Börse Photography Prize is now in its 15th year, and has rewarded some of the most influential photographers of our times, what is the main criterion for being shortlisted?
The criterion is quite straightforward: photographers can be nominated for an exhibition or a publication that was exhibited / published in Europe between 1 October 2009 – 30 September 2010. Each year, we ask our so-called "Academy" of nominators, a group of about 100 writers, curators and critics from across Europe, to send us up to two names of artists they were particularly impressed with over the last year. The Award is recognition of a specific exhibition or publication, so it's not a life-time achievement award, but a celebration of a distinct body of work. This has generated some very interesting and varied finalists over the last 15 years as photographers can be nominated for work that was recently produced as well as retrospectives or re-editions of previously produced bodies of work. This ability to reassess and re-celebrate previous works (such as Joel Sternfeld who won the Prize in 2004 or Stephen Shore's Uncommon Places, which made it onto the shortlist in 2005) as well as the inclusion of relatively unknown artists alongside, such as Richard Billingham who won in 1997 with Ray's a Laugh or Shirana Shahbazi, winner in 2002 for her images of everyday life in Tehran, is for me one of the great strengths of the prize.
Since the Prize was launched, which photographers have been the most memorable, particularly with winners like Robert Adams, Esko Männikkö, and Paul Graham in recent years?
I guess that's difficult to say because we all have different views on what's "memorable" or good. And this is exactly why I like the exhibition so much, as it generates debate among our audience and the people in the wider photographic community. A competition always creates strong reactions from people: why did the jury choose him or her? Why do they deserve to be in this selection? For me, the Prize is much more about the shortlist than about the winner, and I like its unpredictability due, in part, to the jury who change every year. I remember in 2005 for example JH Engström was included on the shortlist – a young and relatively unknown Swedish photographer who produced a beautiful, diary style publication called Trying to Dance. He was up against Luc Delahaye (who won that year), Stephen Shore and Jörg Sasse, but was often mentioned in the reviews and has since gone on to become a big figure in the photography scene. Or Jacob Holdt, who was shortlisted in 2008, and whose work had never been seen in an art context – for me his work was the (re-)discovery of that year.
Elad Lassry uses innovative photography and film techniques, how does he play with the ideas of appropriation, authorship and originality?
Lassry's work is very much concerned with images that as he puts it "have been exhausted of their meaning" – stock photography, advertising images, studio portraiture – images that we all know too well and that Elad makes us look at again in a different way. He raises questions about the uniqueness of photographs with his playful images that are either photographs made in the studio in front of monochrome backdrops, often mimicking 1970s product photography, silkscreens on magazine covers or found C-prints or collages that fuse photographic prints with images he has taken himself. Rendering the over-familiar and clichéd – a kitten, a pretty model, lipsticks, a carton of eggs – strangely peculiar, Lassry's very diverse approach embraces and plays with the multiple histories that photography has generated.
Jim Goldberg's Open See is poignant in today's political climate with its limits and restrictions. Through Goldberg's juxtaposition of text and image, how do you think he balances politics and aesthetics?
I think Goldberg sees it as his responsibility to provide a voice for others who lack the means or power to express their rights, while opening up many questions about the veracity of the photographic image and authorial power. He wants to expose social injustice and encourage change and at the same time he is pushing the boundaries of documentary photography through his innovative way of storytelling, which directly involves his subjects. Open See took over six years to complete (2003 – 2009) and is a photographic narrative of the lives and experiences of illegal immigrants, refugees, displaced people and asylum seekers who are trying to make new beginnings and a better future in Europe.
Thomas Demand's exhibition, Nationalgalerie explores German history since 1945, how do you feel his enigmatic constructions deconstruct meaning, time and memory?
Demand investigates the relations between fiction and documentary in an interesting and unsettling way in his meticulously constructed photographs. His approach is really a photographic practice based on sculpture that is concerned with the aesthetic as much as the ethical or political. For Nationalgalerie, Demand selected images that especially relate to Germany – places of wider historical meanings such as the interior of the Bonn Parliament or more intimate, personal importance such as the artist's children's room. He also conceived the exhibition as a large-scale sculptural installation in itself with the works being hung in front of curtain covered walls accompanied by more elusive statements written about the individual pieces by the playwright, Botho Strauss.
Roe Ethridge's work is descriptive and captures a narrative in a non-linear manner by fusing the commercial with the editorial; can you tell me more about his shortlisted exhibition pieces?
Roe Ethridge has created a diverse body of work which includes fashion-style portraiture, deadpan suburban domesticity, landscapes and brightly coloured still lifes that nevertheless carry the clear stamp of his artistic vision. Relating to contemporary American culture, Roe's work is inherently critical, but also humorous about the medium – he once said: "Images are redundant and I am implicating myself as part of that redundancy" – subverting photography in unusual ways with his eclectic photographic compositions.
What are the main aims of the Prize and how is it different from other high profile photography prizes?
The aim is to celebrate photography and to stimulate public debate about the medium. It also reflects the growing importance of the role photography plays in contemporary culture. I think it's wonderful that the Prize rewards photography in all its forms which can be seen in the wide variety of previous winners such as Juergen Teller, Robert Adams, Andreas Gursky and last year Sophie Ristelhueber, shifting seamlessly between fashion and documentary photography and between contemporary and conceptual art. There are always different practices and concerns among the shortlist, but all are trying to push the boundaries of the medium in some way.
Finally, how do you think photography has evolved in recent years with regards to artistic practice and cultural acceptance, what are photographers doing today that they weren't 10 or 20 years ago?
I think there is a much greater fluidity in the medium today – artists and photographers combine analogue techniques with digital technology, still with moving imagery, and they exhibit in galleries and online too. The ubiquity of the photographic image does prove a challenge to artists and how to make sense of it in a creative and engaging way. In an institutional sense, photography has firmly established itself in the artistic canon – places like Tate Modern now have a dedicated curator for photography, The National Media Museum is building a second home in London and the Photographers' Gallery has evolved over the last 10 years from a constrained premises in Great Newport Street to a newly converted building with double the exhibition space and a dedicated education space. All these provide more opportunities for photographers to show work and for audiences to engage with it.
The exhibition opened 5 April – 1 May 2011 at Ambika P3. www.photonet.org.uk.
Cherie Federico


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The training of soldiers was organized by UK President Frank L. McVey as executive head of the operation; Major Justin W. Harding (US Army) commanded the troops and UK Dean F. Paul Anderson (Engineering) was appointed head of technical training. Anderson began on the first contingents' arrival, May 7, 1918. Barracks were constructed on land owned by the Kentucky Trotting Horse Breeders' Association. Soldiers received eight weeks of general training before training for specific assignments. UK professor L. E. Nollau was designated photographer for the training sessions.
At the very beginning of the soldier training in technical subjects there was a well-defined organization effected. There was no encroachment on the time allotted to technical training and to military training. Every man was accounted for every day, and the individual record of each man shows how his time was occupied from the time he reported to this military technical training course until he was sent away. In all branches of the work, the men were put under the instruction of the most expert artisans in their lines.
The blacksmiths were under the supervision of the most expert men in this community. The carpenters were trained by men taken out of recognized contracting organizations in Lexington. The auto mechanics received their instruction in twenty independent shops organized on the campus of the University of Kentucky, under the tutelage of the best garage foremen that could be secured. The demonstration material in the automobile shops consisted of private cars sent for repair. The contingent of auto mechanics shown in these records reconstructed and repaired over one hundred automobiles during the eight weeks they were under instruction. The electricians were placed in charge of electrical contractors who were men of wide experience in house wiring. The telegraphers and wireless operators were taught by experienced telegraph operators taken right out of the active service of railroads and wireless stations.
Lectures were given to various classes every day and great stress was laid upon the theoretical side as well as the practical. These soldiers were well trained and well fed, and when they left the University of Kentucky they were fit for the fighting game.
The University of Kentucky Training and Fighting mechanic records consist of eighteen bound volumes documenting the May-December 1918 vocational training of three contingents of soldiers at the University of Kentucky. As is indicated in Anderson's preface to the manuscript, records detail the training of draftees from their point of arrival until their departure, revealing their schedules, course enrollment, work assignments, etc. Various rosters are included listing individual names on arrival and on assignment to classes. Also included is an organization chart for the camps administration.
Volumes 1 and 2 of the First, Second, and Third Contingents contain the Class Records, which include information relative to the class organizations and work carried out during the training of the contingent of soldiers at the University of Kentucky. It also gives numbers of men and places to which they were sent. The last pages of each volume have menus of what the soldiers ate each day. Volume 1 for each contingent has a booklet voluntarily prepared by enlisted personnel of the particular detachment, describing and depicting soldiers and their activities. Volume 1 of the First Contingent only, has a set of opening pages featuring a photograph of President McVey and his Executive Heads, an organization chart, and opening words by F. Paul Anderson, summarized in the above biography.
Volumes 3-5 of the First, Second, and Third Contingents are the Individual Records. These contain one page of information on each soldier including: a photographic headshot, name, identification number, course, division number and location, home address, place of birth, age, nationality of mother and father, number of years in graded school, high school, other school, college, and whether they graduated or not from each school. It also includes a statement of work done for the past four years, name and address of last employer previous to induction into the army, their duties, remarks, and the date of entry. The second page of each entry has the daily and weekend schedule for all soldiers in early morning and at night - printed at the top of the page. The bottom half of the page and subsequent pages is a written record of the soldier's activities on each day, from 8:00 to 11:45 am and 1:15 to 5:00 pm.
Volume 6 of the First, Second and Third Contingents contain photographs of events of the Camp and progress in shops and laboratories from the time the men arrived in Lexington until they were sent away to various camps. UK professor L. E. Nollau was designated photographer for the training sessions. The photographs are 5x7 prints and are dated and labeled in all cases. They detail camp administration, training sessions, social activities, athletic competitions, and troop departures from Union Station in Lexington.
This collection is arranged by subject and chronologically in eighteen volumes. In 2009, the volumes were disbound for preservation purposes and the photographs were interleaved with archival tissue.
Collection is open to researchers by appointment.
The intellectual rights to the materials in this collection are held by the University of Kentucky Special Collections
0000ua209, War Memorial records, University of Kentucky Archives.
0000ua197:[Item Number], University of Kentucky Training of the Fighting Mechanic records, University of Kentucky Special Collections.


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"We knew he (Lesnar) was gonna come out with a lot of pressure, but we didn't think he was gonna come out that hard."
The American Dream had come to Anaheim, California.
Years after to coming to the United States from Mexico to offer a better life to their children, Efrain and Isabel Velasquez watched on October 23rd as their son, Cain, earned the title of heavyweight champion of the world.
"Both my parents were real proud of me that we finally did it," said the new champ. "It was an amazing feeling that we were all able to experience that together."
Along with nearly 15,000 fans and countless others watching around the world on Pay-Per-View. But after years of struggle, Velasquez' sacrifice and subsequent celebration centered on his family, his fiancee, his daughter, and his close-knit team. It was one of the feel-good moments of 2010, mainly because the soft-spoken Californian has been embraced by fans in and out of the sport for his story, his demeanor, and his ability to fight.
"There's been a great reaction from everybody," he said. "I've heard nothing but good things from people and that makes me feel good. It definitely has surprised me, but it's good to have the people behind me and believing in me."
But there would be none of this celebrating if Velasquez didn't survive the initial rush of then-champion Brock Lesnar at Honda Center a little more than a month ago. At the sound of the bell, Lesnar - a nearly 300 pound Mack truck with no brakes - charged at Velasquez, intent on taking out his most dangerous challenger before he could even get a shot off. It certainly wasn't what Velasquez and his coaches from the American Kickboxing Academy – Javier Mendez, Bob Cook, and Dave Camarillo – expected.
"We knew he was gonna come out with a lot of pressure, but we didn't think he was gonna come out that hard," recalled Velasquez. "It definitely did surprise me and I got into that brawl mode after that, but I just had to tell myself to relax and get back into the fight."
He got back into it in a big way, rising quickly from two Lesnar takedowns to score his own before finishing off the big man with a crushing series of ground strikes that brought a halt to the bout at 4:12 of the opening round.
Now Cain Velasquez belongs to the world.
Yet despite his quiet nature, he's embraced his newfound fame, and – partly due to his appearance on the pre-fight UFC Primetime series – it seems like these days, everybody's a fan of the 28-year old.
"That (letting people see his other side on Primetime) may be one of the reasons, along with my fight style," he said. "I put on exciting fights and people love to see that, but the show definitely helped."
To celebrate his victory and introduce him to the world that hasn't met him already, Velasquez has gone coast to coast and to Mexico to meet with the media and fans. By his estimation, he was home for two days after the fight before hitting the road, but he's fine with his newfound responsibility as ambassador for the sport, and it hasn't hurt that he's had a little company with him as well.
"I've been able to bring my fiancee and my baby to Miami and New York, so I've been able to spend time with them even though we're not home," he said.
At heart though, Velasquez remains a fighter, so when he's asked if he's getting itchy to put the gloves back on again, he laughs.
"I'm ready to get back in the gym and start training again," he said, and if you think he's going to let some fame get to his head, think again, because he's already got his first title defense on his mind.
"I haven't been able to train for him yet, but that first week, I already started thinking about him," said Velasquez of his next opponent, number one contender Junior dos Santos.
Let the reign begin.
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