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Can David Beat Goliath in the Battle of Obscenity?
By Judd Handler
Ynot News, December 20, 2001
One would think it would take the giants of the industry to force the government to rethink existing, not-applicable-to-the-Internet obscenity laws. On the contrary, the little players may be the ones who are successful in getting the federal government and the Supreme Court to throw out irrelevant local community standards when applied to the Internet. As a result, new guidelines better suited for the cyber community may be formulated.
The National Coalition for Sexual Freedom and one if its members, an adult content photographer named Barbara Nitke are an example of those little players who aren't afraid to challenge the government. NCSF is a Washington, DC-based organization committed to protecting freedom of expression among consenting adults. A large portion of NCSF's members practices "an alternative sexual lifestyle," namely S&M, bondage and other fetishes. NCSF, according to its website, "mobilizes diverse grassroots communities to help change antiquated and unfair sex laws, and to protect free speech and advance privacy rights."
NCSF indeed does just that. On December 11, the NSCF and Nitke filed a lawsuit seeking to overturn Internet obscenity laws. The defendant in the case: John Ashcroft and the Federal Government.
Why would an organization such as NCSF and a relatively unknown photographer (outside the S&M community) try to battle a behemoth such as the Federal Government and what do they hope to accomplish?
I spoke with John Wirenius, the plaintiffs' lawyer (of the firm Leeds, Morelli & Brown, www.lmblaw.com), Susan Wright, the spokesperson for the NCSF and Nitke. This week, I will focus on my conversation with Wirenius. Next week, I will provide the insights of Wright and Nitke.
"The Supreme Court meant what it said in 1997, [that] they are drawing a distinction between indecency and obscenity, and that should put all adult webmasters on guard," said Wirenius. "Unless they can prove their work has literary, artistic, social, and political merit, they are at risk for prosecution."
Wirenius discussed with Susan Wright how to advance the NCSF's legal agenda and what was the best approach to raise the issues concerning free expression. Hence, the lawsuit. "One of the biggest concerns the NCSF's constituency had was the right to communicate with each other," said Wirenius, who mentioned the problem with censorship is that how it will be played out on the web, legally, has been a big question mark since 1997. That's when the Supreme Court struck down the indecency portion of the Communications Decency Act (CDA). The Supreme Court had the integrity to render that portion of the statute unconstitutional; however said Wirenius, "It left a portion unanswered of how obscenity be defined." He continued: "It striking down the INDECENCY problem, the court argued a geographical approach to local community standards wouldn't work with regards to the Web. It didn't explicitly hold that in the context of OBSCENITY, because the ACLU decided not to challenge obscenity."
Elaborating on why the ACLU didn't tackle the obscenity portion of CDA, Wirenius said the ACLU was more concerned with the indecency provision due to its broader nature. An adult webmaster can get him/herself out of an obscenity prosecution if the work in question has serious literary, social, political and artistic values; whereas with the indecency statute, the social value defense wouldn't necessarily work.
When asked if he thought the lawsuit would result in a positive outcome for the NCSF, Barbara Nitke and adult webmasters, Wirenius said, "We are confident we can get a decision on the merits."
It's important to note that this isn't the same as winning a lawsuit and successfully suing the feds. What this means, as Wirenius explained is that if successful, the courts will agree with the NCSF and Nitke that this particular case poses the legal question, "What should obscenity standards be as applied to the Internet?" That question, said Wirenius has been avoided since the creation of the Internet. "It needs to be decided and if it's not decided in the context of a case like ours, which involves Barbara Nitke, a serious artist whose work is genuine and supported by artistic rationale, it will be chosen in the best case of the government -- one that would justify the widest range of suppression." The NCSF and Nitke's case is an example that the Wirenius' legal team can present the court to raise "the specter of censorship on the Web." (The lawsuit was filed in the U.S. District Court for the Southern District of New York.)
Adult webmasters should pay attention to this lawsuit, as it is a perfect test case to see how the federal government will deal with those involved in online adult entertainment.
Expounding on the importance of this case, Wirenius said, "Social values are very subjective; it's not something that can be resolved in an easy manner. In legal terms, it's called mixed question of fact and law: a jury may find a work to not have serious literary, artistic, political and social value but that doesn't end the equation. It goes up on appeal. With an obscenity prosecution it shifts the burden of proof. The only way to effectively guarantee an acquittal in an obscenity prosecution is to stand trial."
This is the significant issue for adult webmasters as John Ashcroft has already appointed somebody to head the obscenity division of the Justice Department. This will most likely be an attempt to reverse the lack of obscenity prosecutions during the Clinton Administration. (For more on this, see Joe Obenberger's article on AVNOnline.com.)
When visiting the NCSF website as well as Nitke's, adult webmasters will find that the content pales in comparison to the risqué images found on many porn sites, so why is the NCSF and Nitke so concerned with the comparatively innocuous content? Wirenius said, "It's not just NCSF, it's the websites of the people who belong to NCSF."
"Even if NCSF doesn't have the most risqué content, under Ashcroft we have an intriguing situation. All the laws that we have on obscenity are based on local geographical standards. It's a pre cyber-law world. The very definition of obscenity assumes the content provider can control where the content is viewed, and by limiting distribution he or she can limit the content's exposure. That's no longer true in an Internet age." Under the current statute of CDA, members of the NCSF could have possibly also have their emails subject to prosecution under current CDA provisions. "CDA is not limited to websites alone," said Wirenius.
In the best case scenario, the Supreme Court will knock the statute out as unconstitutional on the grounds that a geographic-based local community standard approach is not the best measure for the Internet, said Wirenius.
Let's not even imagine what the worst-case scenario will be...
Stay tuned next week for conversations with NCSF spokesperson Susan Wright and photographer Barbara Nitke.
On page 4, YNOT News has an interview with Mike Jones, an adult photographer that is all-too familiar with being prosecuted according to draconian local community obscenity standards. Read what he has to say In the Spotlight.


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Two Live Broadcasts To Air From CAA Media Day
October 25, 2005
By ODU Athletics
By ODU Athletics
PHILADELPHIA, Pa. -- The CAA will hold its Basketball Media Day at the Wachovia Center in Philadelphia on Wednesday, October 26, and two live broadcasts will allow fans a chance to hear interviews with their favorite men's and women's coaches.
For the fifth consecutive year, WRHU-FM, the flagship station of Hofstra basketball, will broadcast live from 9:30 a.m. - 12 p.m. The team of Brandon Costa, Greg Rice and Evan Wilner will handle the interviews and analysis.
Also this year, WRAS-FM in Atlanta, the flagship station of Georgia State basketball, will broadcast live from 10 a.m. - 12 p.m. The team of Dave Cohen and Charlie Taylor will anchor the show.
To listen live, click here.

subset: commoncrawl


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is it true lin in chineses means breast? thats what it says on urbandictionary
Let him walk
Resign him and keep him long term
Resign him and trade him January 2013 with Amare
is it true lin in chineses means breast? thats what it says on urbandictionary
image courtesy amareisreal
Well, according to urbandictionary.com it means "boobs" in Cantonese which is a totally different language from Mandarin, the language that is spoken in Taiwan and most of mainland China...
also did peeps here already mention the ESPN headline chink in the armor?
image courtesy amareisreal
LOL whoever wrote that article needs to be fired... found some hilarious memes at www.linformed.com too
Last edited by unloopme; Feb 18, 2012 at 14:52.
@ClydeFacts "When one of his ladys asked clyde why he doesnt text he said if you dont get the message by now a phone aint gonna help." Except for Kate. Wobble Wobble!
Its pronounced Lin in English with a rising tone - start by lowering your pitch and then raising it to a normal level. That rising tone is actually quite important as "Lin" could be pronounced 5 different ways in Mandarin by changing the pitch differently, which is one of the two main reasons why studying Chinese as a native English speaker can be incredibly difficult.
And otherwise, Chinese people who immigrate to a non Chinese speaking country (mainly Europe, America, Australia) always have a huge problem with understanding words that can be pronounced with different tones. When you say a short "no" and a long "no" at first they think these are two different words.
On a side note he is currently a 75 overall in 2K12
No offense, I think people call him smart due to conditioning. "asians are smart" is a big stereotype thing. If it was a black or PR player getting 9 turnovers in a game, they would be called a cancer, dumb as hell.
I'm just stating how stupid society can be, and its not their fault. These things are true.
Lin isn't smart like THAT on the basketball court. He has potential to be, but averaging 6+ turnovers a game is just not smart basketball. Not even AI or Kobe.
Lin has great agility, coordination, and skills. But its not his fault. He's a rookie being asked to carry an NBA playoff team. He's responded greatly, can score with ease. But I will never call Lin smart because he has a piece of paper, has nothing to do with basketball.
We should understand this Lin hype got too crazy and the media is going to ruin this kid. A lot of annoying asian bandwagon fans will flood, type of fans who don't care about the Knicks just want Lin taking every shot.
I like Lin, but guys like Mike Breen need to STFU and stop labeling him smart because he went to Havard and probably cause he's asian...its basketball irrelevant....its just lucrative for media and business...which what the NBA has become, just the WWE version of basketball.
Sig made by Sons of Thunder
Well said.
I just see Lin as a playmaker.
Parker/Marbury type play maker
Parker's agility, Marbury's strength...and just can make a play happen with his penetration....assist or score...dynamic guard.
28 & 14
Down Goes Dallas
Jeremy Lin and the Knicks battled back from a double-digit deficit to knock off the defending NBA champs.-ESPNWHAT IT MEANS: Knicksanity!
On Sunday, the Knicks had arguably their most impressive win of the season against one of the league's best defensive teams, the Mavericks, who had won six straight games.
Linsanity rubbed off on all the Knicks, even on the team's latest acquisition J.R. Smith, who finished with 15 points off the bench. Jeremy Lin (a team-high 28 points and 14 assists) in the starting five and Steve Novak (14 points) off the bench led the team to the 104-97 win, and they climbed back to .500. They have now won eight of their past nine games.
TURNING POINT: After Dallas allowed 30 points in the first quarter -- the third-highest total the Mavericks have given up all season -- they stormed back with two big periods. In the second and third, they outscored the Knicks 55-40, doing it offensively through Dirk Nowitzki (a game-high 34 points), which created spacing for other shooters (Vince Carter and Jason Terry), and defensively with dynamic traps and rotations. After all, Dallas entered the game only allowing 90.8 points per game (fifth-best) and 41.4 shooting (tops in the league).
But in the fourth, the Knicks went off offensively. As MSG color analyst Walt Frazier would say, "Steve brought that Novacaine!" Novak tied the game at 75 for the first time since the first half with a 3-pointer and went on to hit two more, including a two-pointer. He finished with 14 points in only 21 minutes off the bench.
THE GOOD: With Facebook founder and Harvard grad Mark Zuckerberg sitting behind the Knicks' bench, Lin, a fellow alum, had arguably the best first quarter with the team. He had 10 points, three assists and 0 turnovers, which had been a problem for him starting games. On Friday in a 89-85 loss to the Hornets, Lin had eight turnovers in the first half alone. On Sunday, he finished with a seven throughout the game, but he didn't pack them in bunches. Lin's floor game from the tip enabled the Knicks to score those 30 points in the first quarter, including nine off the bench (all threes) for Smith.
The Knicks' struggled offensively to start the third quarter, going down 15-5, but then Lin picked them up by slicing though the lane and getting to the basket. He scored eight points to end the period, including a final fastbreak one-hand dunk. Lin carried that penetration ability over to the fourth quarter, finding Novak three times each for a 3-pointer. Lin had two himself in the final period.


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The introduction to my Oxford World's Classics edition of Udolpho, by Terry Castle, takes it as a given that most 21st century readers who pick up Ann Radcliffe's 18th century bestseller do so because of the book's connection to Northanger Abbey, or at least with their expectations of what Udolpho is like having been determined by Jane Austen. But as Castle points out, Udolpho is a much stranger novel than Austen gives it credit for being, and much harder to sum up. True, a large portion of the novel does take place in the titular castle, a remote, imposing edifice in the Italian Appenines, where innocent orphan Emily St. Aubert is held against her will by her late aunt's grasping, heartless husband Signor Montoni, who tries to bully her into signing over her inheritance to him on the dubious promise of freedom and safe passage home if she acquiesces, and in whose darkened passages, freezing turrets, and damp catacombs she is exposed to all manner of psychological and actual horrors. But this is only the middle portion of the novel. The events leading up to it--including the shucking-off of Emily's parents, the introduction of her love interest Valancourt, her aunt's marriage to Montoni and their departure for Italy--which we'd expect Radcliffe to hurry through in a few chapters, take up more than 200 pages. These feel like a novel in their own right, one whose tone and emotional register are very different from the Gothic style of the Udolpho segment. Their main thrust is a long, hallucinatory journey through the French countryside undertaken by Emily and her father--allegedly for the sake of his health though the entirely predictable hardships of the trip actually end up hastening his death--and later Emily's journey to Italy and sojourn in Venice with her aunt and Montoni, where her supposedly incurable sorrow over being parted from Valancourt is quickly assuaged by the beauty of the scenery.
Nor does Emily's (anticlimactic, almost accidental) escape from Udolpho herald the end, or even the beginning of the end, of her story, but rather the beginning of a new one, as Emily returns to her native France and ends up in an entirely different Gothic edifice with an entirely different dark history to puzzle out (in fact, despite the novel's name there are more mysteries in this chateau than there are in Udolpho), while Montoni, entirely forgotten by the main characters, is done away with for unrelated reasons by his political enemies, his death reported to us long after the fact. Throughout all three of these stories Radcliffe returns again and again to themes and styles that have little to do with horror or sensationalism. Parts of Udolpho, especially Emily's journeys in France and Italy, read like nothing so much as a travelogue. Emily's own narrative is so suffused with discussions of her religious faith and how it sustains her that it sometimes feels like devotional writing. An important theme is the valorization of nature and secluded living over cities and high society, which are held to be corrupting and soul-destroying, despite the fact that Emily's story doesn't lend itself to an exploration of this contrast; Radcliffe gets around this difficulty by having Valancourt try to drown his heartbreak over losing Emily in the pleasures of Paris, where he quickly becomes dissipated, and in those brief chapters the novel feels more like a Balzac-esque social novel. The narrative is frequently interrupted by poems, allegedly composed by the characters on the fly, and though the novel is supposed to be a historical piece--it is set in the late 16th century, and the Italian civil wars of that period feature in it--that foreignness feels like a thin gloss of exoticism against which Emily (whose Frenchness feels, to me, equally thin) can be all the more effectively threatened.
It's tempting to call Udolpho bad, or at least so far outside the as-yet uncodified conventions of its form--then less than half a century old--that 21st century readers could never hope to stomach it. And there is some truth to this. The narrative's frequent pauses to describe scenery or recite poetry might have been overcome (in fact as I write this it occurs to me that I've just described The Lord of the Rings, a novel that is no less sui generis than The Mysteries of Udolpho, and one that is nevertheless beloved by millions of modern readers), but the anticlimactic resolutions to most of the Udolpho's mysteries--towards the end of the book it seems inevitable that Emily was born out of wedlock, but Radcliffe is so desperate to avoid tainting her heroine (and Emily's sainted father) that she pulls a last-minute revelation that preserves both their honors by the simple expedient of asking us to believe that Emily could have grown up entirely ignorant of her father's having had a second sister--and even more so, the contrast between the feverish pitch at which Emily's emotions are set by the horrors she experiences and our own placid responses to those horrors, are insurmountable obstacles. The crowning moment of the novel's horror is Emily lifting the veil that hangs in an uninhabited, usually locked room in Udolpho, and being so horrified by what she sees behind it that she immediately faints (to be fair, something she does quite a lot) and, upon waking, suppresses the memory of the experience so thoroughly that for the rest of the novel it is merely a dim recollection of something unpleasant on which her mind refuses to linger. This is serious buildup indeed--the first mention of Udolpho in Northanger Abbey involves Catherine's frantic speculations on what might lie behind the veil--and Radcliffe waits until the novel's very last pages to pay it off. A 21st century reader, however, has so little reason to expect the answer to the mystery of the veil to be truly shocking that its constant teasing quickly become aggravating, and the actual solution--which is anyway delivered rather inelegantly--is simultaneously overwrought and deeply silly.
At the same time, to classify Udolpho as bad or unsuited to modern tastes is too dismissive, too easy a judgement. This is more than just a bad read; it is a profoundly strange one, so uncertain of what it wants to be and what affect it is striving for that its very inability to settle on a tone, a mode, a style, and even a coherent narrative structure comes to seem almost like a success. As Castle writes, "Udolpho has a way of escaping critical formulas: it is always bigger and baggier and more uncanny than one thought it was. No trite summing-up can capture the novel's dreamy, surreal flow of incident, the odd, mediumistic shifts through space and time, the often bewildering vagaries in Radcliffe's handling of plot, character, and scene. ... Virtually anything one might say about the work--down to its most basic textual features--will be countered. The book is its own antithesis; the clichés fail to hold." While I certainly wouldn't say that I enjoyed Udolpho, or that I recommend it to other readers, I'm just as certain that its representation in Northanger Abbey is reductive and unjust. There's more to the novel than Austen's portrait of it as an overwrought, cliché-ridden horror-fest, even if that more doesn't cohere into a whole or successful work. But as my second reading of Northanger Abbey revealed, Austen's novel is less a parody of The Mysteries of Udolpho than it is a parody of its readers.
Before we delve into that, I should say that this second reading has done little to endear Northanger Abbey to me. Reading Udolpho may clarify Austen's references and the targets of her parody, but it does nothing to obscure Northanger's rather significant faults. To put it simply, Northanger Abbey doesn't sound like a Jane Austen novel. It was completed around the same time as Pride and Prejudice and Sense and Sensibility, but whereas they stayed with Austen for the better part of a decade before being published, during which she presumably revised and polished them, Northanger was sold to a publisher in 1803, then allowed to languish unpublished for 13 years. Probably as a result of this, the published novel gives off the impression of a writer who has not yet found her style, and who is using a parody of another style to conceal that fact. Northanger's narrative voice is much more present than in Austen's other novels, frequently addressing the readers directly. This has the effect of placing a buffer between us and the characters, but it also means that almost everything that Austen tries to tell us is Northanger Abbey is right there on the surface. The frequent criticism of Bath as a city of relentless bustle and equally relentless triviality, for example, is delivered in bald, blatant terms whose obviousness undercuts their effect. (Austen lived for several years in Bath and was, from what I've read about her, deeply unhappy there, and it's therefore easy to assume that there is more than a little score-settling in her unflattering portrait of the city.) The barbed wit that characterizes all of Austen's novels is already here, but the surgical control over it that she develops in her later novels, the silk and velvet beneath which she conceals her stilettos, are not yet in evidence.
It is with a similar forthrightness that Austen explains her plans for Catherine, who is introduced to us in the novel's opening sentence with the unpromising assurance that "No one who had ever seen Catherine Morland in her infancy could have supposed her born to be an heroine." Such asides persist throughout the book (though they fade a little in its middle segments), telling us how Catherine's mundane adventures in Bath, her first experience as a young woman away from her parents, fail to live up to the standards set by novels of Udolpho's ilk--her father is "not in the least addicted to locking up his daughters," her mother does not die giving birth to her "as anyone might expect," when she first arrives at the Upper Rooms in Bath, "Not one [young man] started with rapturous wonder on beholding her, no whisper of eager inquiry ran round the room, nor was she called a divinity by anybody," and when she's disappointed in her hopes of dancing with a young man who caught her eye, her heartbreak takes the following ignominious form: "It appeared first in a general dissatisfaction with everybody about her, while she remained in the rooms, which speedily brought on considerable weariness and a violent desire to go home. This, on arriving in Pultney Street, took the direction of extraordinary hunger, and when that was appeased, changed into an earnest longing to be in bed; such was the extreme point of her distress; for when there she immediately fell into a sound sleep which lasted nine hours, and from which she awoke perfectly revived, in excellent spirits, with fresh hopes and fresh schemes." Leaving aside the again uncharacteristic lack of subtlety displayed in this device, and even admitting that it can be quite funny (though personally I think it overstays its welcome quite quickly), the question has to be asked--who is it that's supposed to be harboring these expectations?
Not every reader of novels in Northanger Abbey expects real life to proceed like The Mysteries of Udolpho. In Henry Tilney, Catherine's sardonic love interest, and his sister Eleanor, Austen gives us two examples of devoted fans of Gothic fiction, and Udolpho in particular, who are nevertheless rational enough to distinguish between fact and fiction, between the rules that govern a Gothic novel and the ones of real life. But Catherine herself, and her friend Isabella Thorpe, are incapable of making that distinction. Isabella, who introduces Catherine to Udolpho, romances and becomes engaged to Catherine's brother James, schemes to attach Catherine to her own odious brother John, and throws James over for Henry and Eleanor's caddish brother Frederick (who leaves her in a lurch), behaves at all times as if she were the star performer in a grand drama. She pretends to be the kind of virtuous, principled woman of character she's read about in novels, but never quite bothers to live up to that self-image. She feigns sisterhood with Catherine, declaring that she prefers her company to that of flirting young men, or that she means to pay her friend attention rather than James; she announces her indifference to the men who flirt with her and flatter her, and her determination not to behave improperly by, for example, dancing a second set with James before they are engaged. But whenever the high-minded principles that, Isabella has decided, a heroine must possess clash with her desires, the latter win through--Catherine finds herself abandoned, James gets his second dance, the flirts and flatterers find a willing subject. It's also worth noting Isabella's conviction that she is playing to an audience--she can't dance with James because it would be a terrible scandal, tongues would wag, she'd be the talk of the town. When the truth--to Isabella's great sorrow, no doubt--is that no one is watching, because no one cares.
Catherine, who despite her descent into silliness over the course of the novel emerges from it as the kind of quietly principled person Isabella pretends to, but could never really, be, lacks Isabella's pride and self-importance. Whatever Austen thinks our expectations of her might be, Catherine herself has no idea of being a heroine. She does, however, arrive at Bath almost entirely innocent in the ways of the world, and is thus, on the one hand, convinced of the morality and honesty of the people around her, and on the other hand, all too ready to take a novel like The Mysteries of Udolpho as a reliable guide to human behavior. In the Bath-set chapters of the novel, this strains credulity--Catherine may be young, and may have lived a sheltered life, but her inability to consider, except at the greatest provocation, that a person might say one thing and mean another comes to seem less like innocence and more like an autism-spectrum disorder. Nevertheless, there is something quietly affecting about these chapters, in which Catherine blindly and painfully fumbles her way towards the realization that Isabella may claim to be her friend and to love James, but is really greedy and selfish, and that the people around her may claim to adhere to strict codes of propriety, but are really happy to ignore them for the sake of convenience. The scene in which Catherine, after learning of Isabella's betrayal of James, is finally disillusioned, exclaiming that Isabella is nothing but a "vain coquette" whose protestations of fidelity and friendship are worthless, is quietly heartbreaking--we are watching something delicate and irreplaceable within Catherine as it is lost forever.
It's when she arrives at Northanger Abbey that Catherine's naiveté ceases to function as a human, albeit exaggerated, quality and becomes the tool of Austen's comedy. The same Catherine who earlier in the novel tells Henry and Eleanor that she doesn't like reading popular history because too much of it is made up, considers The Mysteries of Udolpho to be such a reliable record that she supports her belief that their father, General Tilney, killed his wife by musing that "how many were the examples to justify even the blackest suspicions!" This loss of perspective is actually a very short interlude--Northanger Abbey appears even later in the novel that bears its name than Udolpho does in Radcliffe's novel, and Catherine only lets her imagination run away with her for a few short chapters--but it lingers over the novel, and is its best-known segment. As much as Northanger Abbey has determined the public perception of The Mysteries of Udolpho, The Mysteries of Udolpho defines Northanger Abbey.
One of the most famous passages in Northanger Abbey is Austen's spirited defense of the novel, in which she condemns other novelists, whose heroines are too intelligent or too sophisticated to ever read anything as insipid as the work in which they themselves appear, for their "ungenerous and impolitic custom," and angrily replies to the self-deprecating exclamation of the novel reader, "It is only a novel" with "[it is] only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best-chosen language." But Northanger Abbey also draws a worrying picture of the effect that novels have on impressionable minds, causing them to lose touch with reality and become blind to their own faults and the flaws of others, and justifying bad behavior. This is only one of the ways in which Northanger Abbey, like Udolpho, seems not only flawed but deeply weird, though at least in Austen's case it is more obvious that this weirdness is deliberate and purposeful. When Henry Tilney learns about Catherine's suspicions of his father, he delivers another famous passage (if nothing else this is a very quotable novel), a harangue in which he chides her for thinking that such horrible things could really happen.
"Dear Miss Morland, consider the dreadful nature of the suspicions you have entertained. What have you been judging from? Remember the country and the age in which we live. Remember that we are English, that we are Christians. Consult your own understanding, your own sense of the probable, your own observation of what is passing around you. Does our education prepare us for such atrocities? Do our laws connive at them? Could they be perpetrated without being known, in a country like this, where social and literary intercourse is on such a footing, where every man is surrounded by a neighborhood of voluntary spies, and where roads and newspapers lay everything open? Dearest Miss Morland, what ideas have you been admitting?"Ian McEwan used this passage as an epigraph in Atonement, presumably to highlight the irony of a story in which dark and dastardly things do happen behind the walls of rich, Christian, English houses. But that irony is present in Northanger Abbey as well. When you think about it, this is actually a weirdly specific and cold-blooded objection for Henry to make--at a point where you'd expect him to be spluttering in anger at the insult to his family, he behaves like a lawyer before the court, calmly but forcefully arguing that the prosecution's case doesn't hold water. The whole thing gets even stranger when you consider that, as Henry has reason to at least suspect, something dark and dastardly is happening behind the walls of Northanger Abbey. General Tilney, fooled into believing that the rich neighbors who escorted Catherine to Bath mean to leave her all their money, has been effectively courting her for his son, and both Henry and Eleanor are shown to be surprised and suspicious of his solicitous behavior towards her. Even Catherine, when she realizes the reason that the General first curried her favor, then threw her ignominiously out of his house upon learning of his mistake, muses that "in suspecting General Tilney of either murdering or shutting up his wife, she had scarcely sinned against his character, or magnified his cruelty."
And yet, that weirdly sanctimonious speech from Henry. This, by the way, is one of the reasons that although I may find Catherine annoying at points, Henry is the Northanger Abbey character I genuinely dislike. It's not just the fact that he is more patronizing of Catherine than even an Austen hero should be allowed to be, but that that condescension often crosses the line into a cynical worldliness that in Austen's other novels marks out coarse, even dissipated characters. Henry watches Isabella Thrope toy with James Morland's affections and his only response is that James--and Catherine, who doesn't understand Isabella's behavior--are fools. He watches his brother flirt with an engaged woman with resigned detachment. He calmly informs Catherine that, having been the cause of the breakup of Isabella's engagement, there is no chance that Fredrick will marry her because she's not rich enough. Catherine's naive conviction that everyone around her shares the fervency of her moral convictions and could never knowingly do wrong may be a flaw, but it's a less off-putting one than Henry's calm, sarcastic acceptance of the moral bankruptcy of those around him.
In a way, though, Henry is as much a victim of Austen's scheme for the novel as Catherine--his cynicism, like her innocence, is in service of the novel's message, the conclusion Catherine comes to when she gets some sense knocked into her by Henry--"Charming as were all Mrs. Radcliffe's works, and charming even as were the works of all her imitators, it was not in them perhaps that human nature, at least in the Midland counties of England, was to be looked for. ... Among the Alps and Pyrenees, perhaps, there were no mixed characters. There, such as were not as spotless as an angel might have the disposition of a fiend. But in England it was not so; among the English, she believed, in their hearts and habits, there was a general though unequal mixture of good and bad." We're not meant to take Henry's assurances that these sorts of things don't happen here at face value. Or rather, we're meant to realize that horror doesn't have to mean sinister foreigners hounding their wives to death and terrorizing innocent virgins; it can also mean living like Eleanor Tilney, a slave to her domineering father's caprices, forced to put a polite face on his boorish behavior. There is no moment in Northanger Abbey that so thoroughly captures The Mysteries of Udolpho's tone as when a mortified Eleanor visits Catherine in the middle of the night to tell her that she must leave in the morning, and seems as close to hysteria as Emily St. Aubert ever was: "Eleanor's cheeks were pale, and her manner greatly agitated. Though evidently intending to come in, it seemed an effort to enter the room, and a still greater effort to speak when there." To be on constant lookout for the first kind of horror, as Catherine is during her stay at Northanger, is to miss the signs of the second.
So, after a stirring defense of the novel that culminates with a list of its finest qualities--it displays the greatest powers of the mind, the most thorough knowledge of human nature, etc., etc.--Austen spends the rest of Northanger Abbey demonstrating that The Mysteries of Udolpho lacks those qualities, and laying out a very firm distinction between good novels and bad, between those in which humanity may be looked for and those in which it shouldn't--along the way placing her own novel very firmly in the former category. Austen couches her defense of novels in the terms of sisterhood--"If the heroine of one novel be not patronized by the heroine of another, from whom can we expect protection and regard? I cannot approve of it. Let us leave it to the reviewers to to abuse such effusions of fancy at their leisure, and over every new novel to talk in threadbare strains of the trash with which the press now groans. Let us not abandon one another; we are an injured body"--and both that defense and the treatment of novels in the rest of Northanger Abbey make it clear that the prejudice against novels is tied up with gender, and with the perception that the readers at whom novels are targeted (and perhaps also the majority of authors) are female. And yet one can't help but feel that this is an Isabella Thorpe sort of sisterhood, loudly proclaimed but ultimately false. Austen may call for mutual support, but the distinction she draws between Northanger Abbey and The Mysteries of Udolpho speaks louder. It says, I'm not like those other, silly girls; I'm cool.
Of course, sisterhood is not easy, especially when it's with the likes of The Mysteries of Udolpho. Reductive as her portrait of it is, I don't actually disagree with Austen's claims about Udolpho's silliness, the melodramatic turns of its plot, and the inhumanity of its characters (though I would argue that Udolpho's problem isn't that it is shlock but that it's boring shlock; The Woman in White, which borrows many of Udolpho's plot points and is no less overwrought, has a rollicking plot and interesting characters, and is a great read). Is she obliged, in the name of sisterhood, to defend a work she has so little regard for? If you're a feminist, you've probably found yourself faced with some variant of this question. Am I obliged, for example, to defend Twilight--which I actually found myself thinking of several times while reading Udolpho; Emily, who faints at the slightest provocation, who is irresistible to many of the novel's male characters, and who waits passively while the plot resolves itself around her, is a rather Bella Swan-ish character, and the book even expects us to find it romantic that before he makes his feelings for her known, Valancourt stands outside her window while she sleeps--when it is attacked, as it often is, in misogynistic terms, or simply for being a work that appeals primarily to girls?
It's a question that crops up again and again, whenever art by, for, or about women is discussed. You see it whenever chick-lit--the term, the publishing category, and the question of who gets classed into it--is discussed, and especially when an author of literary fiction--usually a female one--comments disparagingly on it. These discussions, if they acknowledge that chick-lit is rooted in some deeply problematic assumptions (and that it is equally problematic that women writing about the domestic, such as Austen herself, are assumed to be writing chick-lit, or at least less worthy work than male writers who write about it), will usually fail to admit that the perception of chick-lit as frivolous and shallow is rooted in misogyny, and vice versa. During the discussion of the dwindling ranks of women writing SF, there were several surprisingly negative responses from female bloggers, which were partially explained by their argument that women haven't been driven out of SF but have left it for fantasy and paranormal romance, and that the prioritization of SF is just the flipside of the tendency to discount these genres. But all is not well even within those fields: witness, on the one hand, Stina Leicht complaining about the expectation that a female fantasy writer must be writing paranormal romance, and on the other hand, M.K. Hobson's creation of a moniker for a female-oriented subset of steampunk which she dubs "bustlepunk." And then there's the fact that what is meant by literature for women is often literature for white, middle class, heterosexual, cisnormal women, as discussed in the comments to Kyra Smith's review of a romance novel at Ferretbrain.
The truth is, there isn't really a good answer. It's one of the traps laid for us by the patriarchy, which teaches us, on the one hand, that women must be feminine, and on the other hand, that femininity is bad, or at least trivial and shallow. Even leaving aside the question of how femininity is defined, and what women are left out of that definition whether they want to or not, it's almost impossible to defy one part of that formula without validating the other.
One possible answer to this quandry can be found in the vengeance that time has delivered on Radcliffe's behalf. For all of Austen's attempts to set the two novels in opposition, there's still a relatively large circle of readership that genuinely does not see the difference between Northanger Abbey and The Mysteries of Udolpho, and decries Austen's novels as the same sentimental, unrealistic, lovey-dovey fluff that she excoriates Radcliffe for. The older I get, the harder it is for me to understand this perception of Austen, which leaves out her caustic wit and profound cynicism. Perhaps that's one of the things that makes her a great writer--you can read her at 15 and see only the romance, then come back at 30 and find the bitterness that lies just beneath the surface (if Northanger Abbey has a core flaw, it is that it doesn't quite manage this amalgam). The problem, of course, is that so many people don't bother to read Austen at all before passing judgement on her, based on her gender, her chosen subjects, and maybe a few movie adaptations. Two hundred years after her spirited defense of the novel and equally spirited attempt to distance herself from the perceived girliness of the form, she is still subject to the same accusations, the same dismissal, the same condescension the fear of which causes the heroine of the novel Austen swore never to write to set aside her reading saying "Oh! It is nothing! ... It is only a novel." I don't know whether it's reasonable or right to always be guided by sisterhood, to refrain from criticizing the work of women just because those women are also being criticized by misogynists--and I can't say that I always have, or always will, live up to that exacting standard. But seeing the way that our culture, despite her own best efforts, continues to misapprehend Jane Austen, it feels important to try.


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WASHINGTON | The National Archives plans to release about 4,000 pages of previously confidential documents involving former President Bill Clinton's administration. Some of the topics include the president's health care task force and the 9/11 Commission Report.
The papers could shed light on Clinton's presidency and provide insight into a future presidential candidate: former first lady Hillary Rodham Clinton.
Other topics include national security and Rwanda. There also are records from Clinton speechwriters.
The records are being made available through the Clinton Presidential Library.
The documents are expected to include confidential communications between the former president and his advisers.
They also are expected to include communications involving the former first lady, who was heavily involved in her husband's unsuccessful health care reform and is considering a 2016 presidential campaign.
Copyright 2014 The Associated Press. All rights reserved. This material may not be published, broadcast, rewritten or redistributed.


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March 24, 2003
SPOKANE, Wash. -- If playing a West Coast Conference doubleheader on Sunday afternoon wasn't enough, Gonzaga (10-11-1, 2-4 WCC) and Santa Clara (10-18, 2-3) had to use extra innings on Monday afternoon to decide matters in the rubber game of the series. After tying the game with a run in the ninth, Gonzaga scored the game winner with two outs in the bottom of the 11th as Chris Sinner hit a roller up the middle that allowed Jeff Culpepper to score from second.
After falling behind 4-1 in the top of the fourth inning on a three-run home run by Santa Clara's Will Thompson, the Bulldogs chipped away at the lead with two runs in the bottom of the sixth. Sam Hess collected an RBI as he beat out a double play ball with bases loaded and watched the ball escape from the Broncos first baseman allowing Brad Welker to race home for Gonzaga's third run.
After a strong performance by Broncos starters Kellan McConnell and Anthony Rea, Gonzaga managed to break through for the tying run in the bottom of the ninth as Sam Hess reached on a walk and Danny Evans collected an infield single. Eric Rodland then drew a walk to load the bases after the Bulldogs failed to move runners to second and third on a sacrifice bunt. Evans would come across to score the crucial run on a wild pitch by Santa Clara reliever Patrick Overholt. Overholt (2-3) pitched 4.2 innings of relief and was saddled with the loss despite allowing only two Bulldogs hits, the last Sinner's game winner.
Gonzaga pitcher Sean Lichter went 10 innings allowing the four Broncos runs in the top of the fourth. Santa Clara had seven hits in the game collecting three of them in the fourth inning. A.J. LaBarbera reached on an error to start the frame and was followed by back-to-back singles by Jason Matteucci and Scott Shapiro, Shapiro's scoring LaBarbera. Thompson then cleared the bases with shot to left.
Scott Dierks was the only player to collect multiple hits as he went 2-for-4 for Santa Clara. Will Thompson had three RBI.


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GOP sees payback chance in Hagel
As the tactical skirmishing begins over Chuck Hagel's nomination to be secretary of defense, the short-term political calculus from 30,000 feet clearly favors Republicans: Hagel's confirmation hearings are a potential boon for the GOP and a source of queasiness for pro-Israel Democrats, despite the historically long odds of blunting a presidential pick.
( PHOTOS: Chuck Hagel's career)
Story Continued Below
Republicans, smarting after the debacle in the House GOP caucus in the lead-up to the fiscal cliff mini-deal, are looking to notch a win on the scoreboard, while mindful of the politics of holding up presidential prerogative on Cabinet appointees. For foreign policy wonks, it is a pivot point for a debate about the post-Bush doctrine of the Republican party.
For Democrats, there's a peril of crossing a reelected president — but also the risk of backing someone with whom their pro-Israel and gay supporters, along with some donors, aren't entirely comfortable. At minimum, senators will be under pressure to extract as much from Hagel as they can before saying they'll support him.
( Also on POLITICO: Why Obama picked Hagel)
For the White House, the choice of Hagel gives the president a post-Susan Rice opportunity to show he'll stick to his principles as well as offer proof that White House aides have learned the lesson of leaving appointees undefined in the current political climate. But it also embroils the president, who had capital to spend after a lopsided electoral win in November, in a potentially ugly and, some Senate Democratic aides say privately, unnecessary fight given other elements of his agenda.
And across Washington, while the conventional wisdom seems to slightly favor Hagel's confirmation, many in both parties are hedging their bets to see how the next few weeks play out.
( Also on POLITICO: 5 groups that could hamstring Hagel)
"It's going to be a classic Beltway fight where the opponents on both sides are waging a classic [publicity] war against him," said one Republican operative.
There are few other recent examples of a former senator — and member of an exclusive club — facing stiff opposition in confirmation hearings. One exception to the rule: John Ashcroft, who was appointed attorney general by George W. Bush in 2000 after losing his Missouri Senate race.
"The president's determined to have the nominee he wants in the position he wants and not … get caught up in trivial politics that don't amount to a hill of beans," said Democratic strategist Jonathan Prince.
But the hill of beans facing Hagel could be unusually steep. Given Hagel's status as a former senator with no natural constituency in either party, each senator has parochial political concerns to consider in weighing a confirmation vote. Many senators didn't like Hagel personally, not just politically, two Republican operatives pointed out.
( PHOTOS: What they're saying about Chuck Hagel)
The White House knows "this is an in-your-face pick," said Republicans strategist Curt Anderson. "To Republicans, he's not just a moderate Republican. … It's that he's an apostate Republican."
One Republican operative put it more bluntly: "Republicans are looking for a fight. … It's a rare gift."
Another said, "It's bound to help people in 2014 if they're seen as being aggressive."


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Age: 93
Address: Fort Mill Highway
Family: Children, W.C. McGinn III, 64; Sally McGinn Cooper, 62; and George Banks McGinn, 60
Job: Retired home economics teacher
Church: Pleasant Hill United Methodist Church
Hobbies: Sewing, crocheting, fingerwork
Favorite food: Salad
Favorite food: The Bible
Favorite getaway: The mountains
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Ballfields of PA – Wylie Park, Elizabeth PA
With the 2011 ballhawking season basically over for me, I have nothing to blog about, so I decided to do a series of entries about ballfields around western PA.
The first of which is Wylie Park in Elizabeth PA.
Wylie Park is the home of the Elizabeth Forward High School baseball team, and wasn't that hard to find, its just off of Route 51 in a sort of run down neighborhood.
When Amy, Olivia and I pulled up to the field, I noticed that it appeared to be completely surrounded by a fence, and I thought that we might not get access to the field, but there was a fence that was open, so in we went.
The field obviously hadn't been used in awhile, since baseball season has been over for several months. The grass was high.
This is the view of the field from right field:
Looking across the outfield from right field towards center field:
Behind the outfield fence was a run down playground that was overgrown, an empty basketball court, and a dilapidated tennis court.
As I approached the infield, things looked a little better. A baseball field is a baseball field after all. The fencing looked like it was in good shape, and the backstop had an overhang so that foul balls wouldn't get repeatedly lost.
The dugouts looked a bit crappy:
And then there was this:
And overgrown bleachers:
I brought a bag of baseballs and decided to step into the box and take about 15 swings. This was the view looking out to left field:
And center field:
There is a six foot high fence in left field and a twelve foot high fence from left center all the way around to right field. Unfortunately, with my 15 swings, I failed to go yard, but it's been awhile since I hit and I was at the gym earlier pushing heavy weight which really seemed to slow my swing down.
So, the field does present somewhat of a challenge to hit a home run.
The dimensions are 308 feet to left field,
a deep 422 feet to center field,
and 316 to right field.
In summary, the field is not in great condition, but would be a plausible place to take batting practice at or hold a home run derby. Some fields are ridiculously hard to hit home runs, and others are way to easy, and I would rate this in the middle.
My ratings:
Condition: D
Dimensions: A-
Location/Surrounding Area: C
Parking/Access: B (park on street by right field fence)
Check back for more reviews of local baseball fields as Amy, Olivia and I come to a field near you…


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If you are serious about your hair … you've probably heard about the Sally Hershberger Salons where movie stars such as Tom Cruise, Meg Ryan, Sandra Bullock and Julia Roberts all flock to take their locks. There are 3 salons - two in New York and one in Los Angeles. The LA salon is just off Melrose Place and unlike most salons is not located on street level. You have to know where it is … to get there. You take the elevator up to the penthouse … and WOW! There you are … in what looks more like a high tech laboratory on the set of the new CSI - WeHo than a hair salon. All pristine white, with a highly polished mahogany runway, and breathtaking views of the Hollywood Hills. Several stylists buzz around, with their assistants, dressed in black, closely following behind, pre-anticipating their mentor's needs … all offering excellent customer service …
And for the next few hours you are treated like a movie star!
So, which stylist do you choose? The smart choice here is Derek Smart.
When Sally is not in town you'll find him at station number 1.
Derek's love of people and nuturing nature, combined with his smart witticisms will make you feel so comfortable in his chair. Together with his with his ergonomic assistant Jessica, they make sure you are the only focus. You will not leave his station unless your hair is sexy, playful, fun, moveable and drop-dead gorgeous. His goal is to connect each person to his or her innate beauty and will create a style that is just right for YOU.
Derek Smart has styled several celebrities and stars of film and television most notably Elizabeth Banks, T.R. Knight, Elizabeth Perkins, Neil Patrick Harris, Melissa Rosenberg (screen writer of Twilight films), Sarah Clarke, Gil Bellows, Hugh Fitzgerald, Paul Sarkis and several of the stars from the hit television show "Bachelors".
Derek was born in England, and at 13 years old first cut his father's hair. Shortly thereafter, his older sister was diagnosed with alopecia, so Smart began styling her wigs and had found his inspiration … pursuing his dream of becoming a hair stylist. Smart began his professional training under the teaching of notable British stylist, Stephen Wake. Derek then moved to California to expand his knowledge of his craft. He spent the next 17 years at salons like the Bungalow on Melrose, developing a diverse clientele from the worlds of entertainment, business, fitness and fashion. Hairstylist Smart's distinct work, reflects his belief that in each and every person there is potential for transformation. Creating hair that is otherwise described as "pure beauty" - Derek is known for bringing forth each client's individual sense of style.
Believe you me, you will leave feeling fabulous and beautiful – because if you don't look good Derek Smart doesn't look good – so do yourself a favor and make the SMART choice!
For an appointment with Derek Smart call: 310. 852. 4922
More information at www.sallyhershberger.com/salons.html
Your trusted girlfriend,
Charlotte Pehnmore


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Why I Prefer to Create My Own PCB Symbols
In the aftermath of the Yom Kippur War of 1973, university studies in Israel were suspended, since most of the staff and students had been called up. During the hiatus, I found a job at a company called Elbit Computers, a subsidiary of Control Data Corp., a supercomputer giant at that time.
I worked in the drafting department, mainly checking that a schematic matched its associated PCB trace for trace. Even with CAD systems, I still do this today. At any rate, Control Data standards were that every IC was portrayed as at least two parts, with the first always being just the power supplies to the device. Power supplies and decoupling are vital for a circuit, but their representation on a schematic always gets in the way of the other signals, so I prefer to place them away from the rest of the schematic by perpetuating this technique.
When I produced my own schematics after that, it was by hand. I would use a logic template where I could, but anything more complex was left to my own imagination. It was difficult to replicate my own symbols, because they had been created freehand. If I wanted someone to redraw the schematic neatly, that person would have to transcribe what I had drawn -- often with mistakes.
Manual methods evolved into CAD, and I started laying out boards using a scripting language based in Autocad. A symbol involved using the graphics features and creating a table where the connections would be made. These connections would later be used to create the netlist. The collection of graphics would be combined into an entity known as an Autocad block. It was much easier to create the block as a script, because this facilitated the maintenance and copying of the symbol.
In the end, I could create such a script in my head. The package I was using (Autorouter II from the Great Softwestern Company) came with some basic symbols that were limited in number, so I was pretty much obliged to create a symbol for each part I used. During that period, I also began to appreciate the information communicated by the IC manufacturer by using symbols and pin names within the symbol. This information added to the understanding and debugging of the circuit. Because I could, I started trying to approximate the circuit representation from the data sheets. This has influenced me ever since.
As CAD improved, I moved to PCAD over several iterations -- DOS-based PCAD, then Accel (renamed PCAD), then Windows-based PCAD (back to its original name), and finally to Altium. Each version always boasted many symbols, which were either very simplistic or not to my taste. Also, I have a tendency to select parts that are not quite mainstream, and even though I consider my work to be trailing edge, I often select components that are new to the market. More often than not, the symbol is not in the library provided. Since I inevitably have to create a symbol, every time I evaluate a package, I look to see whether the symbol can be translated and how easy it will be to recreate.
At Control Data, the schematic drawing had letters along one dimension of the sheet and numbers along the other, so it was possible to localize a zone of the sheet using its matrix coordinates. (The same technique was used to locate roads, towns, and other entities on maps -- remember the days before GPS?) When a net was split on a sheet, an arrow would point to the other side of the net, and a matching arrow would point back. When the net went off the sheet, the sheet number and matrix co-ordinates were written next to the off-sheet symbol. Similar approaches were used widely throughout the industry. I remember Intel used an off-sheet convention on its SBC (Multibus) schematics. Unfortunately, this no longer seems to be practiced, and I know of no current CAD system that provides this option.
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Aliko Dangote is a renowned name in the business circle in Nigeria and outside Nigeria. He his the richest living black man in the world. Early Life Aliko Dangote was born in Kano, Northern Nigeria State on 10th of April, 1957 into a wealthy hausa – muslim family. His mother was related to the legendary […]
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Monthly Archives: August 2014
This Month in Forest Hills Real Estate: AUG 2014
This Month in East Elmhurst Real Estate: AUG 2014
This Month in Astoria Real Estate: AUG 2014
This Month in Queens Real Estate: August 2014
August 2014 Queens NY Market Update
In July, home sales dropped slightly from June when we saw a slight jump in sales. The increase in sales pace in June & July led to another substantial increase in home price which is likely a result of a decrease in the number of homes on the market in Queens. Mortgage rates are now below the previous year's level, offering an opportunity for home buyers who thought they missed their opportunity for low rates last year to secure them now. This summer's growth in the housing market is a positive sign for the overall economy after the county got off to a rough start earlier in the year.
Month's Supply: 8.4 Months (Last Month: 8.75 Months)
Interest Rates
30-year rates dropped 4 basis points from the same week of the previous month, continuing this year's streak of relatively flat and occasionally falling mortgage rates. Currently, Freddie Mac reports the following figures: 30-year fixed rate, 4.13%; 15-year fixed rate, 3.23%; 5/1-year adjustable rate, 2.97%.
Queens NY Home Sales
The seasonally adjusted annual rate of home sales dropped to 732 homes in July, a month-to-month decrease of 1.5% and a slower pace of home sales since last July. Sales were down 17.9% from last year. Residential home sales were down 13.3% compared to this time last year, while Condo sales were also down, by 51% year over year. Lastly, Coop home sales were down 14.4% from this time last year. So all in all, home sales are down across the board year-over-year.
Queens NY Home Prices
The median home price increased 2.6% in July to $385,000, up 4.1% from the same month last year. As we move into the peak months for the Queens' housing markets, we are observing home price growing at a similar rate to last year on a monthly basis. However, the year-over-year price increase in July was less than half of that seen last year. This slower rate of annual appreciation is more consistent with sustainable growth. Median home prices for residential homes were up 4.8% while the median home prices for Condos were up a significant 16.4%, and finally, median Coop sale prices were also up by 6.2% year over year.
Queens NY Housing Inventory
The number of homes available for sale decreased by 2%, the second month in a row of decrease in homes on the market. That translates to 8.4 months of supply. In general, the market is still slightly in favor of sellers across the county, especially if you are the seller of a residential home or Condo. However, there are still neighborhoods with more supply than there is demand, and in these areas, the buyers still have an advantage. Inventory is down 8% from last year, so buyers still have very limited options available to them.
Courtesy of George & Abigail Herrera w/the Queens Home Team at Keller Williams Realty Landmark II.
BUY: www.exclusivequeenshomes.com | SELL: www.queenshomeselling.com


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In an effort to retain and attract quality staff members, the University of Wisconsin Board of Regents voted Thursday to ask for domestic partner benefits for university faculty members....A key source for the narrow interpretation, of course, will be the proponents of the amendment:
UW System President Kevin Reilly ... pleaded with the governor and state Legislature to amend state statutes to provide for domestic partner benefits, calling it an issue of basic human fairness and the ability to stay globally effective....
The regents briefly addressed concerns about the state's gay-marriage amendment, which voters affirmed in November banning gay marriage and the recognition of similar partnerships.
The amendment's author, Rep. Mark Gundrum, R-New Berlin, said in a previous interview with The Badger Herald that the ban does not necessarily prevent domestic partner benefits.
"If done correctly, the amendment would not preclude those benefits," Gundrum said.
What did you expect?


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This GIF, brought to you by the near-perfect Tim Gunn, pretty much sums up how I feel after this week's "Project Runway."
So much happening in this episode. Confusion. Shock. Annoyance. Eyerolls. Staredowns.
And plaid. So much plaid.
The designers know they're being faked out when Heidi Klum tells them they have the "morning off" for a "Southern style brunch." This is PR code for really tough challenge. They must create a look for a modern, southern woman.
Ken, who is from Alabama, thinks he has it in the bag because he's from the south. Dom says she's inspired by water because her mom is from New Orleans, which makes no sense unless it's a reference to swamps. And because this is "Project Runway," we know they will both fare terribly based on this not-so-subtle foreshadowing.
Most of the designers toy with easy stereotypes: plaid and big hair and picnics. Alexandria just piles prints and plaids and frazzled nerves on top of each other. Ken decides to use a solid color, which mostly seems like his just being contrary and obstinate more than anything else.
He does, however, utter quite possibly the shadiest of shady lines in "Runway" history in reference to Bradon's design: It looks like the dress Harriet Tubman wore after she received her freedom."
Bradon's plaid dress, Alexander's plaid dress and Kate's flouncy flower print earn high marks — though there are problems with all three in proportion and design. Bradon takes the win and will have his dress sold by Belk.
In the safe zone are Helen's yellow and floral lace, Justin's woefully basic look and Alexandria's napkin dress. I'd argue that Helen should have been high, Alexandria should have been in the bottom and Justin should have never been saved. Nothing he's ever done has been memorable.
But really, none of these designs really scream modern southern woman. When I hear that phrase, the only thing that comes to mind is, well, this:
Dom chucked her original print and lands in the bottom for mixing blue and aqua and flat-out ugly. Jeremy's dress is pure Kmart stewardess. Absolutely nothing about it works, from the jacket to the flower print.
Ken, much to his own shock, is also in the bottom for his ill-fitting purple gown.
There are eyerolls. And slight neck snaps. He also gets into an awkward, LOLtastic staredown with Heidi. It's priceless and someone please GIF this ASAP.
Twist! The bottom three are sent back to the workroom for a redo. They have 60 minutes and one helper each to create a new look. Dom and Helen create a flowy, truly wow dress with gorgeous movement and the original print. The old look is completely trashed. Mr. Belk Guy is so impressed that he also wants to sell her look in stores. Yay Dom! Finally some respect.
Ken and Kate cut a far sexier version of his original purple gown that looks club-ready. I like it, in a 3 a.m. Lindsay Lohan-hangover sort of way. Jeremy and Alexander work up a new dress with some nice asymmetry. But it's ultimately too simple. Jeremy is out, which seems a bit arbitrary and unfair. But he's been inconsistent throughout the season. This was never really his game.
Ken remains, and the drama erupts, again, next week. Oh boy.
"Project Runway" airs at 8 p.m. Thursdays on Lifetime.


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Elevated Status
One80, the top-level indoor-outdoor nightclub at the Amway, heightens downtown's nightlife experience.
With the city's skyline and the Amway's trademark illuminated spire as backdrops, plus chic outdoor seating areas for guests, One80 Grey Goose Lounge is hard to beat for atmosphere on a balmy night.
Mike Boslet
You can get a bit confused about what kind of bar One80 Grey Goose Lounge is. Set on the top floor of the city-owned Amway Center, One80 is open to the crowd inside the arena while at the same time catering to young, well-dressed partiers who may or may not even know it's an event night at the Amway. It's not unusual to see Magic fans wearing T-shirts or team jerseys and shorts standing next to men and women elegantly dressed for a night on the town.
But on nights when the 18-month-old arena is dark and One80 is open, there is no confusion over what this nightclub is all about—beauty. It's in the stylish contemporary décor inside and out, the dress code-approved clientele and the view from the outdoor terrace, a 180-degree (One80, get it?) sightline of the city's skyline.
It's a gorgeous location on a balmy night, what with the Amway's spire glowing above a semicircular terrace bar, DJ mixed music and pyramid-style glass heat lamps adding to the ambience. But the patio is not the place to be on cold, windy or wet nights.
Still, the indoor area, a sleek, tight space with a white onyx bar, VIP couches and floor-to-ceiling windows, can hold its own as a chic nightclub.
There are two ways to do the One80: VIP and not. Not is easy—there's no cover charge and beer and standard cocktails are reasonably priced. The good stuff costs quite a bit more, though. VIP sections inside and out can be reserved for $500, which includes two bottles from a selection of premium liquors, mixers and a guaranteed private seating area.
The VIP treatment makes sense when you consider who owns the best seats at Magic games. They're the same people who want the best seats—preferably all to themselves—at One80, which begins to fill up at halftime on game nights.
There's just enough pretentiousness here to make you feel like you're part of an exclusive scene, but it's not to the point where you feel like you're out of your league. That is, unless you're over 50 and it's a non-event night at the arena. That's when the demographic is decidedly young (20s and 30s)—and hot, like the flames shooting up those glass heat lamps set among the rows of patio couches.
One80 opens at 9 p.m. on Wednesdays and Fridays and at 10 p.m. on Mondays and Saturdays. It closes at 2:30 a.m. The club also is open during event nights at the Amway. One80downtown.com


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Roughly 100 miles seaward of the beaches, boardwalks, and marinas along the Northeastern coast lie darkened canyons where corals and sponges cradle shark eggs, russet-red brittle stars wrap their arms around the white stalks of octocoral, and wide-eyed bobtail squid peer back at undersea cameras as if to say: Hey, you lookin' at me?
These are among the denizens scientists are finding during a project known as the 2013 Northeast US Canyons Expedition.
For all their proximity to some of the world's top marine research centers, the region's deep-sea canyons remain largely unexplored. The 36-day cruise, which began July 8, is designed to gathering images from 11 canyons and one seamount, as well as gather basic data on changes in seawater salinity and temperature with depth. The expedition is exploring these features at depths ranging from 500 to 2,200 meters (1,600 to 7,000 feet).
The goal is to provide an initial look at the canyons' inhabitants and form some initial ideas about how the canyons' ecosystems function, explains Tim Shank, a marine ecologist at the Woods Hole Oceanographic Institution in Woods Hole, Mass., and one of the lead scientists for the expedition.
The results would help set up a second generation of expeditions to understand these workings in greater detail – with an eye toward managing what is likely to be a vital marine resource, he says.
Expeditions exploring canyons in the western Pacific have shown that they harbor a rich mix of species and that corals and sponges in the canyons act as relatively safe nurseries for young fish, just as corals closer to the surface do. The expedition to canyons off the Northeast coast aim to find out if these undersea features play an equally important ecological role here.
In the Northeast, "we've been able to obtain the fish we need without having to go deeper, into these canyons," he says. Now, fishermen can harvest from depths as low as 2,000 meters, giving them access to areas they couldn't reach in the past – including the canyons.
The National Oceanic and Atmospheric Administration (NOAA) and other stakeholders, "are saying: Wait, before we go and open up everything for fishing, let's go see what's out there," Dr. Shank says.
In addition, researchers are looking at the potential for undersea landslides along the continental margin, events that can triggered tsunamis.
In November 1929, for instance, a powerful undersea earthquake struck some 280 kilometers south of Newfoundland, triggering an undersea landslide that involved an estimated 200 cubic kilometers (48 cubic miles) of material. The tsunami snapped undersea telegraph cables and killed 27 people in Newfoundland and one person in Nova Scotia.
"There's a lot of evidence of past, large submarine landslides," says Jason Chaytor, a marine geologist at the US Geological Survey's Woods Hole Science Center. "We're trying to understand how old those landslides are" and whether the mechanisms that triggered them are still active.
Energy resources also are on the agenda. During the first of two legs of this summer's expedition, researchers spotted the northernmost undersea methane seep yet discovered along the eastern seaboard – complete with communities of marine organisms that feed off the methane. Not only was methane bubbling out of the sea floor, but the surface sediments on the flood held ice-like mixtures of methane and water mixtures, known as methane clathrates, frozen by the combination of frigid undersea temperatures and the enormous pressure on the sea floor.
The expedition is using NOAA's research ship Okeanos Explorer and the agency's newest remotely-operated undersea vehicle, the Deep Discoverer. This is Deep Discoverer's maiden expedition after clearing its engineering trials in May.
Dozens of researchers in the US and France are participating via telecommunications links that allow them to see what the undersea rover is seeing as it takes its images, share insights into what the images may be revealing, and plan next steps for the mission. The approach allows more researchers to play an active role in the expedition than would be the case if the participants were limited to the relatively sparse bunk space on a research ship.
Going in to this expedition, Texas A&M University researcher Brendan Roark says he was not a big believer in such "telepresence" cruises. "But ultimately, it was fantastic because I learned a lot more by having conversations with anywhere from 15 to 30 scientists," he says.
Even before the expedition's end Aug. 16, he and other members of the team have marveled at the some of the unique views they've been given of these little seen and poorly understood environments.
One of the key features reef systems in these canyons seem to share is remarkable longevity. Biological processes work more slowly at 1,000 meters than they do at the surface. Deep-sea corals in canyons can live for as many as 4,500 years.
They represent potentially rich archives of information on past climate and ocean conditions in the region, says Dr. Roark.
But once destroyed, the reef communities may take decades to centuries to recover. Little is known about that process because, until now, the deep-sea reefs researchers have seen have been mature ones.
"On the second day of this cruise, we found an area that has some recent slumping, a landslide, and we saw a lot of different coral species that were very small. We haven't seen that before," says Shank. "Many, many were there and they were all six to eight inches tall. That tells us that these are relatively new."
How new, no one knows because so little is known about the growth rates and life cycles of these species, he says.
The canyons the team has explored so far have been remarkable for the diversity and amount of new life, says Andrea Quattrini, a PhD candidate in marine science at Temple University in Philadelphia and one of the expedition's lead scientists.
In addition to the new corals, "we saw several octopus guarding eggs, in one case a sponge with bobtail squid eggs – in one case we saw one hatch," she says. And in many of the canyons the Deep Discoverer sent back images showing deposits of catshark and skate eggs.
"I was surprised at the amount of new life being formed," she says.
Researchers also noted with some amazement the presence of crabs the size of quarters occupying small bottle-brush-like coral. They are unique to the coral, typically appear in male-female pairs, and some have a juvenile as well.
"It's like a family unit," says Shank of the species. A couple's hunt for a coral to occupy can be like hunting for a specific lamppost out of all the lampposts in Manhattan. "Somehow they get there, a male and a female, and they produce offspring. It's just amazing that life is sustained and maintained in this way."


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The Torq Mod Funboard crossover range caters to all levels of surfers in virtually every condition. From waist high mush to overhead and hollow. The versatility of the Mod Fun makes them an excellent choice if you need one board to handle all the conditions where you live and travel.
Featuring a medium full nose and shallow mid-entry there is enough volume for smaller days and weaker surf. As the surf jumps up, step back and the board transforms. You'll find a board that feels shorter than it's length, delivering predictable handling and performance. Tri-fin set-up.
Torq Surfboards represent a revolution in Epoxy surfboard technology. Built using the latest in EPS/Epoxy materials; the Torq technology combines a lightweight EPS core with Biaxial fiberglass cloth, Epoxy resin and our unique Shield Skin. The high tech Torq composite is constructed in the most advanced molds on the planet, precision CNC cut from a single aluminium block creating the most perfect reproduction every time. Torq's unique combination of advanced materials and high tech construction creates a board that performs at a high level offering lightweight shapes with responsive flex but also offers extraordinary durability and strength; ensuring your new Torq surfboard will keep you stoked from your first wave to your last.
Torq Surfboards are supplied with a full set of fins. Torq's fin system is designed by Futures Fins of California - one of the most respected fin systems on the planet. The ModFish, ModFun and Mini-Long shapes are all supplied with the Futures F6 template; a Thruster set up offering an even balance of drive and release for all round surfing. The Torq Longboard comes with a 2+1 set up, offering all round performance with the option of single fin only.
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Difference in long or short oven steam time?
Why do some bakeries steam their loaves longer or some steam them shorter?
What happens with the bread or crust?
Why do some bakeries steam their loaves longer or some steam them shorter?
What happens with the bread or crust?
Hi, I've found that the longer I leave my loaf in steam, the thinner and softer my crust.
I believe that it depends on the type of dough that is to baked. Whole wheat, and whole rye breads do not require more than 10-15 minutes steam, as the crust will thicken and be leathery quickly. White doughs can be steamed for upto 20 minutes, depending on dough size.
I don't know... but I am only baking white bread at the moment... focussing on one thing at a time, but I have been baking mine in steam for 30mins or more...basically until the water runs out. I started by accident as I used to remove the steam pan after 10 mins. Now I do it because it works for me.
a little steam will slow the crusting of the bread. this is supposed to help oven rise as things can expand more before the crust sets. you also get that nice blistering with steam during the first 10-15 minutes of the bake. why do some steam longer or shorter than others - I can't say for sure, but it can be just a bakers preference. some like a crisper crust, some don't. some breads are better with a crisper crust, some aren't (compare say bagels to white sandwich bread). stream as much, or as little, as you like to get loaves the way you like them. since you're doing the baking, you're the boss and can have it any way you like!
size of the loaf or bread. Bagels 7-8 minutes and 16 min total. 900-1000 g loaves 15 minutes of steam and 30 minutes total baking time 1,400 g loaves 20 - 25 minutes steam and 40-50 minutes total baking, I shoot for half steam and not to get the best crust. Why blisters form sometimes and other times not is a good question too.
Pumpernickel's are under steam the whole time and some high % rye breads will have longer steam too.
Questions about steaming ovens for bread baking are asked pretty often on TFL. Most of them pertain to steaming methods for home ovens. Sometimes, other questions are asked the answers to which pertain to steaming, for example, "Why is my bread's crust so dull?" Questions regarding how long to steam usually get answered in terms of anecdotal experience, and, given the variability among home ovens, maybe that is the best we can do. Yet, it seems to me, some attention to the actual functions of oven steaming may provide each of us with some basis on which to objectively determine how much is enough for our ovens.
The effects of oven steaming on bread
The most important effect of steaming the oven is to delay crust formation. When bread is loaded into a humid oven, and the moisture is retained for the first part of the bake, a thin film of moisture forms on the surface of the loaves. This delays the surface drying out and becoming rigid. This allows maximal expansion of the loaves during oven spring, because they are not constrained by a stiff outer surface. Thus, a greater loaf volume is achieved. When the loaf surface is expanding as the crust starts to form, the result is a thinner, crispy crust. Eventually, the crust does form, even in a moist environment. After this starts, more moisture is not helpful and, in fact, may lead to a thicker, tougher crust.
This surface moisture has a couple more beneficial effects. At the start of the bake, as the dough begins to heat up, there is an increase in enzymatic activity. The surface moisture, by delaying drying out and through evaporative cooling, prolongs the period of increased enzymatic activity. This frees more sugars from the starch in the dough, and these increase the Maillard reaction and, thus, contribute to a pleasing crust coloration and improved aroma and flavor. When exposed to water as it heats up, the starch granules on the surface of the loaf burst, and the starch gelatinizes. This gelatinized starch forms a film which reflects light. We see this as a shiny crust.
All of these beneficial effects result from a moist oven at the start of the bake. Ideally, the oven is humidified before loading the bread and humidity is maintained until crust starts to form, usually indicated by the start of visible browning. Generally this begins 12-15 minutes into the bake. Steaming for longer than this is of no benefit, and, under some circumstances, can be harmful. Most home ovens don't retain steam very well, so over-steaming is usually not a concern. However, if the steam is trapped, for example by baking in a covered container, one can easily overdo it. The usual result is a loaf that is overly shiny. However, if the loaf is somewhat over-proofed, while a little steam can enhance oven spring as described above, too much steam can delay formation of a crust that is needed to support the expanded dough and result in loaf deflation and decreased loaf volume. Similarly, the right amount of steaming is necessary for good bloom and ear formation. Excessive steam can promote collapse of the elevating flap of dough with decreased bloom and a flat surface without good ear formation.
Factors that influence how much oven steaming is enough
1. In general, under-proofed bread may benefit from longer steam exposure. Over-proofed breads need earlier crust formation to support their fragile structure, so a shorter steaming period is needed.
2. Breads (or rolls) that have been egg washed are generally not steamed at all.
3. Sourdough breads without added bakers' yeast need longer steaming. Sourdough breads, compared to breads leavened with commercial yeast, have slower, more prolonged oven spring. Therefore, they benefit more from having the oven humidified before the loaves are loaded and from more prolonged steaming to keep the crust flexible longer to achieve optimal loaf volume.
This information was abstracted from Bread, by Jeffrey Hamelman and from Advanced Bread and Pastry, by Michel Suas. Any errors in the above are mine.
I hope this helps.
Happy baking!
This information is very helpful. Thanks David.


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WASHINGTON - The CIA conducts lethal drone strikes against al-Qaida militants inside Yemen from a remote base in Saudi Arabia, including the strike that killed the U.S.-born al-Qaida operative Anwar al-Awlaki.
The location of the base was first disclosed by The New York Times online Tuesday night.
The Associated Press first reported the construction of the base in June 2011 but withheld the exact location at the request of senior administration officials. The officials spoke on condition of anonymity because portions of the military and CIA missions in Yemen are classified.
Any operation by U.S. military or intelligence officials inside Saudi Arabia is politically and religiously sensitive. Al-Qaida and other militant groups have used the Gulf kingdom's close working relationship with U.S. counterterrorism officials to stir internal dissent against the Saudi regime.


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Releasable Cable Ties Black 370mm x 7.6mm Pack of 600
- Product Code: RCT37076B-600
- Availability: In Stock
£78.08 Incl Vat
£65.07 Excl Vat
In Stock
Pack Size:
Same day dispatch if ordered before 3pm
High Quality, Black & Natural Releasable Cable Ties
These cable ties are manufactured to a high standard so you can be sure of their quality and strength. We offer a huge range of sizes which can be selected in the drop down menu above. Some of these cable ties are manufactured in the UK with the majority of them being manufactured in the EU.
This listing offers discounts the more you buy.
- Same day dispatch before 3pm
- Release tab for quick release operation
- Highly discounted bundle packs
- Free UK post
- One piece molded from nylon 6/6
- Suitable for indoor and outdoor use
- UV Stable
- Zero Halogen
Tensile Strength Information
A cable tie is stronger the wider it is. Please see below the maximum loop strength of our cable ties for each thickness
- 7.6mm - 54.5kg
|370mm x 7.6mm
|Pack Size
At GB DIY Store we understand that when you've placed an order you want your goods as soon as possible. Any orders which are placed before 3pm will be despatched the very same day, Monday - Friday. Any orders made after that time will be despatched the following day. Orders placed on a weekend or bank holiday will be despatched the next working day.
More information about deliveries can be Found here.


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Michelle Obama's visit to Dakota Ridge High School on Nov. 3 was memorable for many reasons. But the Benson family will recall the day mainly for their battle with the Jeffco school district over free speech.
If you currently subscribe or have subscribed in the past to the Columbine Courier, then simply find your account number on your mailing label and enter it below.
Click the question mark below to see where your account ID appears on your mailing label.
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Allison Arieff
Allison Arieff writes a column about design and architecture for The New York Times and is editorial director of SPUR.
At the new Record Store in Seattle, you can't buy anything. But you can listen to any of the thousands of vinyl records on display there. Visitors are encouraged to engage in the lost art of music foraging in a bricks and mortar store.
There's nothing virtual about it, no Pandora or Spotify to curate, though there will be guest DJs. Presented by Seattle Art Museum, in collaboration with Olson Kundig Architects, Record Store aims to remove the barrier between artist and audience, encouraging community participation and an intriguing alternative way of listening to music sans ear buds.
The project is "one of those projects where the final outcome is unknown. It's a genuine experiment," explains Alan Maskin, Principal at Olson Kundig. The collaborators were intrigued by the "idea that vinyl records can be a catalyst and tool that people work with in order to understand other narratives and perspectives."
Christian Swenson and Haruko Nishimura, of Degenerate Art Ensemble, perform "Skirmish" at [storefront].
But [storefront] isn't just about records: It's an experimental work place for Olson Kundig Architects' pro-bono design work and a cool place to develop new design ideas. The installation is the latest in a series of collaborations that have included K-12 art programs, an experimental dance piece with the Degenerate Art Ensemble, and an artist-in-residence program with Mary Ann Peters and Jim Olson.
The Washington Shoe building, 1904, which is now home to both Olson Kundig Architects and [storefront]. Photo: University of Washington Libraries, Special Collections Division.
Designed as a traveling installation, Record Store is currently located at 406 Occidental Avenue just off of South Jackson Street - a zone American soldiers were forbidden to enter during the World War II era because it was perceived to be dive-y and dangerous. In reality, it was home to black clubs and hangouts where a music scene thrived.
The Record Store brings to mind a recent blog post by librarian/inner-city gardener/amateur cook Hugh Rundle. "At a time when many are questioning the relevance of libraries (thinking in terms of the 'storehouse' model), might we develop libraries further as idea factories? The place you go to generate ideas in the first place," he asked.
Rundle discusses the concept of liquid networks, which, in other contexts might be called cosmopolitanism or multiculturalism. "Someone with liquid networks mixes with lots of different types of people, picking up ideas and practices they would not encounter in a mono-cultural, small network," he wrote.
The communal practice of browsing, listening and discussing at Record Store follows that logic. Who knows what creative ideas might result?
Looking at the population and job growth of large cities proper, rather than their metro areas, uncovers some surprises.
The largest transit agency in the U.S. is building a mixed-use development next to a commuter rail station north of Manhattan.
Uber drivers in Europe and the U.S. are fighting for access to their personal data. Whoever wins the lawsuit could get to reframe the terms of the gig economy.
Indianapolis is set to unveil a potentially transformative all-electric bus rapid transit line, along with a host of major public transportation upgrades.
The argument over whether electric scooters belong in Old Town Alexandria reflects an age-old rationalization against change.


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analogWrite may sound like a nice intuitive name but its not really very helpful because its behaviour appears odd to people that don't understand why only certain pins can be used, and only if some other library is not using them, and with values that have a different range from analogRead.I have seen many non-technical people come unstuck when introduced to analogWrite because they expect it to be similar to analogRead - in the same way as digitalWrite is similar to digitalRead.
The simplification would be less troublesome if analogWrite did not have significant differences from the way analogRead is used.
analogWrite stays...
To the rest of the people I can only say this : analogWrite stays... move on to something else


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How to Setup Google Authorship in 6 Minutes
How to Setup Google Authorship in 6 Minutes is simple, clear, focused design from Brafton.
Google Authorship helps brand publishers personalize the custom content they post to their websites. Studies show that including an author's byline and headshot in search engine results pages (SERPs) increases clicks and may eventually improve PageRank.
Brafton's "Content marketing, meet Authorship" resource outlines everything a savvy marketer must know to benefit from Google technology, and our accompanying infographic makes it even easier to setup Authorship on a given site. (Our downloadable resource includes a print-friendly version of this graphic!) Follow these six steps (in about six minutes) to be on your way to publishing online content using Google Authorship. Don't forget to read our related blog: Why It's Time to Embrace Authorship, and download our free resource.
This infographic design keeps it simple for readers by telling one short story really well.
Knowing that the PNG image file of the infographic will be shared on other sites, the design should have included the Brafton logo, a copyright statement, and the URL for readers to follow to find the original, full-size version of the infographic. Not all bloggers are good about linking back to the original landing page.


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Although some parents may be frightened to give some of these substances to their infant or child, the exceedingly small doses used in homeopathic medicine are known not only to be safe but to be effective in treating many common ailments.
For numerous infant and childhood conditions it may often be more appropriate to treat the parent's anxiety than the pediatric complaint. The fever-phobia that parents have and the fear that any symptom requires immediate treatment is a common, though "curable," state of mind. Although there are certainly conditions that require medical attention, the vast majority of infant and childhood symptoms are nothing to worry about. Pediatrician Robert Mendelsohn has noted that 95% of pediatric ailments heal themselves and do not require medical care. One important recommendation for parents who want to try to treat their children is to remember to avoid treatments that suppress symptoms. Treatments that try to counteract the body's natural defensive tendencies are generally suppressive. One example of a common home treatment for infants' colic (or sometimes for children's digestive problems, too) is the use of baking soda. Although baking soda may neutralize the stomach acids, it causes what is called a "rebound effect," in which the body reacts to the baking soda by secreting even more stomach acids.
The homeopathic alternative to treating infants' colic and children's digestive problems is an individually chosen homeopathic medicine. Chamomilla is one of the common medicines for colic when the infant has the typically hyperirritable state that is normally associated with this medicine, as described earlier. Pulsatilla is another common medicine for colic, but the infants for whom it is prescribed are generally very affectionate and desirous of attention and sympathy; although they may be irritable from the pain they experience, they are still basically friendly. Some of the other commonly used homeopathic medicines for colicky infants are Arsenicum, Nux vomica, Natrum sulphuricum, Bryonia, Magnesia phosphorica, Colocynthis, Lycopodium, and Sulphur. There are numerous other homeopathic medicines (too many to list here) that are occasionally given to colicky infants.
Some people theorize that the reason for colic is that the infant is allergic to milk or to some other food. The homeopathic view of food allergies is basically that the food is not "the problem." Rather, it is the individual's underlying state of health. The disease process produces poor assimilation and utilization of the food, which then ultimately creates symptoms. Homeopaths have found that the homeopathic medicines are effective in reestablishing health and thereby reducing food allergies.
Homeopathic medicines have wide applications for pediatric complaints. Since conventional medications, taken singlularly or in combination with other drugs, have known and unknown complications in infants and children, it is generally worthwhile to seek safe, effective alternatives to pediatric problems first. Homeopathic medicines may not only help to improve the health of infants and children, but will probably also help them to become healthy adults.
In addition to the various individual homeopathic medicines, there are numerous homeopathic formulas readily available in health food stores. The Medicine From Nature line of homeopathic products include a special line of children's products, including Teething, Colic, Child Fever and Earache. There are also 15 homeopathic formulas available, including four for women, four for sports injuries, and 20 for common ailments of anyone.


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Please contact us at (02) 8308814 | email@example.com for more details
Email: firstname.lastname@example.com
Help Line: (02) 8308814 | Globe: 0995 4596750 | Smart: 0921 5935550
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