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Google touts the Chrome OS as being free from traditional security concerns like malware, but it's still vulnerable to entirely different kinds of attacks, two researchers from the firm WhiteHat Security told Black Hat attendees here today.
The Chrome OS is unlike any other desktop system currently available, said Matt Johansen, WhiteHat Security's team lead. "It's more similar to mobile devices and apps, where to get more out of the device you're going to need to install extensions," he said. "Mobile bugs are being sold for 20 to 30 percent more than desktop bugs because if you own somebody's phone you own their life."
Unlike Apple, though, there's no review process, which in turn increases the security risk, said Kyle Osborn, an application security specialist focusing on offensive security for WhiteHat Security.
"We actually saw an extension in the Chrome Web Store called Cookie Stealer that did precisely that. But hey, it had the checkmark next to it that it was verified safe and secure," Johansen quipped.
When the Cr-48 demo laptop running Chrome OS first came out in December 2010, Google approached WhiteHat Security to find security risks in the OS. They quickly found a hole in the ScratchPad note-taking app, which could affect all Chrome OS users since it's one of the few apps that comes pre-installed.
When you take notes with ScratchPad, it syncs the note to your Google Docs account. What most people didn't realize about Google Docs is that the person you share a document or folder with doesn't have to approve receiving it. It just automatically appears in your Docs. This lack of structured permissions massively increased the risk of running an exploit, said Johansen, because it affects everybody, it has access to your Google log-in and there's no permissions wall to break through.
The risk is even worse than that, said Osborn. "Because it has access to all sub-domains under Google.com, this could include your contacts or Voice account. An exploit could export your entire contact list as a CSV," he said, simply because you were using a Google-written app.
"This is a zero-click, or at max a one-click worm," said Johansen. He said that Google was quick to fix the exploit once his company notified them, but the larger point of open permissions left Chrome OS users vulnerable. Along with permissions, he said that the very API list which allowed extension writers to create powerful tools also led to serious security risks. In the list of APIs that extensions have access to is the one for Tabs, which means that an exploit could easily gain access to your entire browsing session.
"Of course, your note-taking extension is going to have to talk to your Google Docs account, or your banking extension will have to talk to your bank," Johansen said, and Osborn added that he's found extensions that have access to all Chrome APIs, including bookmarks, cookies, history, windows, and tabs. "There's no need to inject code into google.com if you have access to these APIs," he said.
"This affects mobile, too. A new feature of the Android Market is that you can log in with your Google account and install apps [from the desktop to the phone]. We can now force the download and install of any application that we want," said Osborn.
In a statement, a Google spokesperson responded: "This conversation is about the Web, not Chrome OS. Chromebooks raise security protections on computing hardware to new levels. They are also better equipped to handle the Web attacks that can affect browsers on any computing device, thanks in part to a carefully designed extensions model and the advanced security available through Chrome that many users and experts have embraced."
When it comes to Chrome app-based threats, Osborn and Johansen are not looking for usual suspects, such as Microsoft Office exploits or buffer overflows. They're looking at things like e-mail notifiers, note-taking apps, and RSS readers, which have to have wide-open permissions to run properly. Basically, they said, they're looking at any extension that talks to a database, or any extension that takes input from somewhere and displays it to the user.
"Why worry about native code execution when cross-site scripting [attacks] gives hackers access to all. Exploit development is hard. JavaScript is easy," Johansen said, eliciting chuckles from the audience.
However, they also had good things to say about Chrome as an operating system. Osborn noted a recent blog post by Google on how to write extensions for Chrome more securely, and Johansen said certain features in Chrome OS did make the computer safer. These included better-known protections such as sandboxing tabs so they didn't "talk" to each other and removing nearly all local storage, but he also pointed out that the operating system handles its own plug-ins, restricts the "attack surface" to client-side browser exploits, and eliminates most modern virus and malware threats. Also, he said, the Chrome Web Store is segregated from everything else, which means that it's hard to launch an attack through the store itself.
The issue of permissions is complicated because it basically turns the end user into a firewall. Although the program, app, or extension tells you when you install it which permissions it requires, the act of blocking those falls to the user. "Whose problem is it with these permissions? Is it Google's? The developer's?" Johansen asked the crowd.
He added that Google has been responsive and open in talking with his company about these problems. "We would like to see more restrictive APIs in the future," he concluded.
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text: Super bunny by kells copy Posted by mackenziechester on March 7, 2016 Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window)Like this:Like Loading... Published by mackenziechester Hello! It's so nice to meet you here. My name is Mackenzie Chester, and I am a writer and homeschooling mother of seven children. My passion in life is finding meaning in the everyday and building a family culture around being creative and making things. I hope you will find some inspiration on these pages if you feel the same. View all posts by mackenziechester

subset: commoncrawl


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This is a simple essay on packaging for small food businesses in West Africa that helps broaden ones picture of packaging which is often a real constraint on business.
click the image to visit the website
The essay focusses on the potential of the cardboard box in areas where packaging suppliers are limited. It gives a few examples of real experiences and is enjoyable to read.


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Vilas High School, a tiny school of just 55, took on and beat some of the largest schools in the Colorado School State Weightlifting Championships recently held at the Olympic Training Center in Colorado Springs, Colo.
Headlining the Vilas lineup was 16 year-old Shelby Wait, who just took up the sport three months ago.
Her state record lift totaled 110kg (or 242.5 lbs) in the 75kg (166-pounds) class.
Shelby not only qualified for the National Championships but attracted the eye of Olympic Training Center Development Coach and two-time Olympian, Oscar Chaplin III, who invited her to work out at the Olympic Training Center later this year.
Shelby's state champion lifts rank her 7th in the nation headed into the National Championships, and puts her on course to represent the United States on the international stage in the future.
Triniti Redfern, age 14, also competed and picked up a Junior Varsity State Championship and qualifying for the National Championship – ranking 7th amongst 15 year-old girls and younger in the nation.
Also very new to the sport, Triniti showed promise to follow in the footsteps of her older teammate in the future as she lifted 71kgs (157 pounds) to challenge experienced weightlifting athlete Sheridan Lintz.
Rounding out the Vilas team was Travis Brats, also new to the sport under the tutelage of former National Level Weightlifter and current Vilas Athletic Director, Brandon Walzer.
Uunfortunately Barts did not place a total, having failed at three attempts in the clean and jerk.
However a promising snatch performance will see Barts back in the fall to attempt to qualify for the Junior (Under 20) Championships in Oklahoma City, Okla. next February.
Wait and Redfern will battle it out with the best in the nation in the National Championship for school age athletes and the Youth Olympi Games trials in Daytona Beach, Fla. in June in the hope of bringing National Gold to Southeastern Colorado.


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This guide provides an introduction to the rich and varied blues traditions of the Lower Chattahoochee Valley. It includes original documentary footage of area musicians, including interviews and music clips.
The Lower Chattahoochee River Valley region has one of the richest traditions of blues music in America; but, apart from long-time residents of the region and a handful of blues afficianados, the blues legacy of the Lower Chattahoochee Valley is largely ignored. The region—defined here as the eighteen counties that hug the Chattahoochee River along the Georgia/Alabama border, along with three additional counties in Georgia that have traditionally been a hotbed for blues music—doesn't have a revered blues reputation like the Mississippi Delta. That's probably due to the fact that virtually no 78's of country blues emerged from the Lower Chattahoochee Valley from the twenties through the forties and only a small number of Lower Chattahoochee blues 45's, LP's, and CD's have been issued since the fifties. The material that has been released mostly consists of field recordings and live performances put out by small record labels and various historical societies.
One person has been largely responsible for documenting the rich blues tradition of the Lower Chattahoochee Valley: George Mitchell. From the late sixties through the eighties, Mitchell recorded dozens of nonprofessional blues artists, many of whom were old enough to have recorded before World War II. More than just an amazing portrait of talent and creativity, Mitchell's recordings demonstrate that the region has developed a unique blues sound. Of course, a wide range of external influences can be heard in Lower Chattahoochee blues including Delta blues, Piedmont blues, Chicago blues, rock 'n' roll, and various threads of pop music; but Lower Chattahoochee blues artists, through their original songwriting and adaptations of blues standards, have collectively created a blues sound that is all their own.
This site has been designed to be modular, dynamic and media-rich. Rather than develop a linear narrative about the history of Lower Chattahoochee blues, I will present a series of interconnected fragments that will allow the user to piece together their own narrative of the region's blues legacy. The web-based approach also allows for content to be continually added and edited, and I invite users to contact me if they have material that they feel might be useful for the site or if they have any comments about what's already up. Images and sounds are as important as text within this site, and I will do my best to continually add more audio, video, maps, and photographs to round out this portrait of Lower Chattahoochee blues.
The Region
This section provides geographical, sociological, and historical information about the Lower Chattahoochee Valley.
Geographical Definition of the Region
Historian Fred Fussell offers a precise geographical definition of the region:
The Lower Chattahoochee River Valley region . . . is marked at its northern end by the point at which the Chattahoochee River, as it flows through the Georgia Piedmont, first touches Alabama. The southern end of the region is designated by the point where it connects with the Flint River at the Florida border. There the two joined rivers become the Appalachicola and flow on southward to the Gulf. East to west the Chattahoochee River's sphere of influence is defined by its watershed—with its thousands of tributaries—the creeks, streams, brooks, and branches which feed it. So defined, the lower Chattahoochee River valley region is, in essence, the geographical center of the Deep South. There are a total of eighteen counties that lie within the nucleus of the Lower Chattahoochee Valley region—seven in Alabama, eleven in Georgia. The Chattahoochee region begins, in the north, at Troup County in Georgia and Chambers County in Alabama and then runs southward through Lee, Russell, Barbour, Henry, and Dale Counties in Alabama and through Harris, Muscogee, Chattahoochee, Stewart, Quitman, Randolph, Clay, Early, and Decatur Counties in Georgia to end up in Houston County in Alabama and Seminole County in Georgia, both of which border the Florida state line.1Fussell, Fred. A Chattahoochee Album: Images of Traditional People and Folksy Places Around the Lower Chattahoochee Valley (Eufala, AL: Historic Chattahoochee Comission, 2000), page 1.
Fussell's definition of the region is extremely helpful, but there are a number of great blues artists who are from towns just outside the main eighteen Lower Chattahoochee counties
Cecil Barfield from Bronwood, GA (in Terrell County, approximately twelve miles east of Randolph County)
Cliff Scott and Dixon Hunt from Draneville, GA (in Marion County, approximately ten miles east of Stewart County)
Jim Bunkley and Golden Bailey from Geneva, GA (in Talbot County, approximately eight miles east of Muscogee County)
Albert Macon and Robert Thomas from Society Hill, AL (in Macon County, one mile outside the intersection of Lee and Russell Counties)
Green Paschal from Talbotton, GA (in Talbot County approximately eight miles east of Muscogee County)
Jessie Clarence Gorman and Bud Grant from Thomaston, GA (five miles east of Talbot County)
Because these artists are integral parts of the regional blues sound, I have stretched the boundaries of the region to include them. In addition to the eighteen counties that Fussell lists, I have expanded the region to include Marion, Talbot, and Terrell Counties in Georgia; the town of Thomaston, Georgia; and the tiny town of Society Hill in Alabama.
(all figures taken from the 2000 US Census)
Total population of all 21 counties in Lower Chattahoochee Valley: 761,915
Population on Georgia side: 377,220
% White/% Black on Georgia side: 54.7/40.8 (206,490/153,960)
Population on Alabama side: 384,695
% White/% Black on Alabama side: 68.3/28.8 (262,842/110,940)
% White/% Black in region: 61.6/34.8 (469,332/264,900)
% White/% Black in state of Georgia: 65.1/28.7 (5,329,381/2, 349,512)
% White/% Black in state of Alabama: 71.1/26.0 (3,161,888/1,156,246)
% White/% Black in all of United States: 75.1/12.3 (211,347,900/34,614890)
These figures show that there is a higher percentage of African Americans living in the Lower Chattahoochee Valley as compared to the overall percentages for Georgia, Alabama, and the United States. The percentage of black to white in Georgia is notably higher than in Alabama. For more information, please visit a racial breakdown of the population of the fourteen Georgia counties in the Lower Chattahoochee Valley.
Mitchell discusses the racial problems he observed in the lower Chattahoochee Valley, including a story about how he was chased off a plantation owner's land while recording Cecil Barfield.
The percentage of people living below the poverty line in the United States is 12.4%, and the per capita income of an American adult is $21,587.
In comparison, the percentage of people living below the poverty line in Georgia is 13%, and the per capita income of an adult in Georgia is $21,154; (See Table) while the percentage of people living below the poverty line in Alabama is 16.1%, and the per capita income of an adult in Alabama is $18,189 (See Table). With the exception of Houston (in the southeast corner of the state on the Florida border, containing the town of Dothan) and Dale (just northwest of Houston County), all the Alabama counties in the Chattahoochee Region are poorer than the state average.
Geographical/Historical Notes
(taken primarily from A Chattahoochee Album by Fred Fussell)
It is believed that Native Americans lived in and around the region for ten thousand years before the invading Spaniards came in the late 17th century.
The very first European settlement in the Chattahoochee Valley came in 1689 by Spanish monks who built the mission and fort of Apalachicola, approximately 15 miles south of Columbus in Russell County, Alabama.
The 1825 Treaty of Indian Springs opened the way for the forced removal of the native people from the region. Cotton plantations, textile mills, and riverboat operations quickly sprouted up after this point.
Georgians and not Alabamians have controlled the industry on the river. In the past, the river was the main transportation route between rural communities but today that is no longer the case.
In 1900, 75.3 percent of all black farmers were tenants or sharecroppers in the South, and as late as 1910, 78.8 percent of all blacks in the South lived in rural areas, the majority in the Cotton Belt.
Masses of country people devastated by the Great Depression left their family farms in Southeast Alabama and made their way to the textile communities of Columbus and the other mill towns to the north. In the '30s through the '50s thousands of black families left the region to seek their fortune elsewhere in the urban centers of the Northeast and Midwest. Atlanta was the "gravitational center of the Southeast".
Columbus was the last city of its size in the US to be connected to the interstate highway system.
Immigration has increased in the region, making the area more diverse than just the black white split
In Harris County lies the western side of the ending segment of the Southern Appalachian mountains: the Pine Mountain Ridge, where the mountains, the Piedmont, and the coastal plain converge.
Flat-land agriculture and pine tree forestry are the principal, and sometimes only substantial economic activities within extensive sections of the region.
The word Chattahoochee is usually declared as originating in the Muskogean language and usually means something like "painted rock".
Topics and Terms
This section provides information about the festivals, musical customs, and radio and records of the Lower Chattahoochee Valley. It also includes links to important resources on music in this area.
Chattahoochee Folk Festival
Held in Columbus, GA between 1979 and 1984. Organized by Fred Fussell.
Georgia Grassroots Festival
Held in Columbus 1976-1977. Organized by George Mitchell. Tracks by Lower Chattahoochee artists:"Jews Harp Jump" by James 'Tip' Neal and "The Dog" by Golden Bailey.
Fort Valley State College Folk Festival
Fort Valley State College in Perry County held a Ham and Egg show beginning in 1915. By 1937 an arts festival had begun, and, in 1940, a folk music festival was launched. As Bruce Bastin notes, the magnitude of this event is hard to appreciate: there has never been a comparable example of a black folk music festival run entirely by blacks. W.C. Handy attended the festival in 1944, praising the musicians for "making a new form of music in their own tradition without the influence of radio or records" (Source: Bruce Bastin's Red River Blues, page 74). Gradually, the coordinators allowed for more modern secular numbers to filter into festivals, including songs by Lightning Hopkins and Little Walter, but, in the early fifties, Fort Valley students began to ridicule the folk musicians, so much so that some of the musicians refused to attend. The festival was shut down in 1954. (Note: This festival was held in Perry County, slightly outside the Lower Chattahoochee Valley, but it's likely that some Lower Chattahoochee musicians performed at it. Even if no Lower Chattahoochee musicians performed at it, the Fort Valley Festival is still incredibly important because it was the first festival in the South to feature blues music and was organized entirely by African Americans.)
National Downhome Blues Festival
Held at the Moonshadow in Atlanta, Georgia 1984; Festival Coordinator: George Mitchell; Associate Coordinator: David Evans.
Musical Customs
Buck Dancing
"The term 'buck' is traceable to the West Indies, where Africans used the words 'po bockarau', or 'buccaneer,' to refer to rowdy sailors. Eventually the term came to describe Irish immigrant sailors whose jig dance was known as 'the buck.'" (Source: www.dance-teacher.com)
Buck dancing was popularized in America by minstrel performers in the nineteenth century.
"The old-style African-American buck dance consists essentially of a stamp and slip of the weight-bearing foot backward, often with an incidental toe bounce, with the body leaning forward." (from The International Encyclopedia of Dance)
George Mitchell discusses the buck dancing tradition of the Lower Chattahoochee Valley.
(Clip courtesy of George Mitchell and Fat Possum Records).
Other resources related to buck dancing traditions
Fife and Drum Music
"...as early as the seventeenth century blacks may have 'picked up' the skills of fife and drum playing from the militia units in New England and the Middle Colonies...During the eighteenth century there are numerous reports of black fifers and drummers." (from David Evans' "Black Fife and Drum Music in Mississippi")
"Thomas Jefferson's slaves formed a fife-and-drum team as their contribution to the War of Independence...Indeed, blacks had often been assigned to play military music in early America; one document tells of a black fife-and-drum corps playing for a Confederate regiment." (from Alan Lomax's The Land Where the Blues Began)
In Red River Blues, Bruce Bastin provides some excellent information about the Georgia Fife and Drum Group: "Perhaps Mitchell's most interesting discovery was the presence of a fife-and-drum tradition in the country between Waverly Hall and Talbotton, northeast of Columbus. Until recently it was assumed that the tradition of fife-and-drum music was uniquely that of north Mississippi around Senatobia...The similarities of the music of the Senatobia and Waverly Hall groups hints that the music was probably more widespread than appreciated....The Georgia fife-and-drum group was essentially a family band comprising J.W. Jones on bamboo cane fife and his brother James on kettle drum, with the bass drum played by either a younger brother, Willie C. Jones, or a cousin, Floyd Bussey."
Radio and Records
Not surprisingly, records and radio stations influenced blues musicians in the largely rural Lower Chattahoochee region.
Bruce Bastin notes the wide influence of records in Nothing But the Blues: "The traditional folk pattern of passing on music to a younger set was to be enhanced by pure fortuity of circumstance, traditional folk music could be recorded and their records heard by thousands of others, miles away from the home of the recording artist. This enabled a rapid dissemination of music that otherwise could have come only from the slow passage of itinerant artists or the even slower projection of the music from generation to generation."
WCLS and WRBL out of Columbus, Georgia were two prominent blues radio stations from the 1950s through the 1970s that broadcast through the Lower Chatahoochee region. Today, WOKS AM is the only radio station in Columbus with a daily blues programming.
Additional Influences
Stylistically, many artists in the lower Chattahoochee were and influenced by the Piedmont Blues, a musical style played a few hundred miles northeast of the lower Chattahoochee region.
Lower Chattahoochee Blues Artists
Golden Bailey
Golden Bailey lived in a little house just west of Geneva, Georgia, on the edge of an area which could (and still can) boast of an inordinate population of traditional musicians.
Barfield, Cecil (a/k/a William Robertson)
"Born in 1922, William Robertson was a farmer all his life until he had to retire because of a back injury. Robertson began playing blues when he was five years old on a cooking oil can he had rigged up with a neck and one string. 'Well, I left the cooking oil can off and put a wire upside of the house,' he said, 'and I played that with a bottleneck.' Robertson began playing guitar when he was 12, and 'started off ragging it, playing them rag pieces,' which were traditional to the Chattahoochee Valley" (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley). In Jim Pettigrew's article on Georgia blues entitled "Can' Cha Hear Me Cryin' Ooo-hooo," Barfield states: "I was listenin' to Bo Miller and some o' them--they were the best around here then--and then I took up the guitar myself. I don't know how many I've worn out since then. There wasn't any radio around here then. We only had record players, you know, the kind that you fold up like a suitcase. It was a long time before there was any radio in these parts....Oh, I used to play a lot. I played for both whites and colored, dances, parties, just about any occasion. There was a few of us and we'd go around all over the country. People were always calling on us. They'd never let me alone...."
View liner notes for William Robertson's LP South Georgia Blues
Bryant, Precious
Precious Bryant was born Precious Bussey on January 4, 1942 in Talbot County, Georgia, just east of Columbus. The third child of nine, with seven sisters and a brother, was born into a family of traditional musicians who lived in a close-knit community, surrounded by many fine players and singers of traditional blues and gospel.
Precious recalls a childhood filled with many different kinds of homemade music. Her mother was a piano player and an avid singer of church songs. Her father, Lonnie James Bussey, was a traditional blues player. Her uncle, George Henry Bussey, served as her principal mentor and taught her to play bottleneck guitar and to sing the old blues tunes. Several of her male cousins were members of a "fife and drum" group, a rare type of folk band which, with snare drums and homemade "reeds," often paraded and serenaded at community celebrations, fish frys and on holidays around Talbot and Harris counties.
The first instrument Precious Bryant ever attempted to play was her father's old "home guitar," which was so big that the six-year-old Precious could not lift it by herself. She fondly recalls her father placing the guitar in her lap and encouraging his daughter to "take it up" and learn to play. At age nine she had advanced in her playing skills to the point that he bought her an instrument of her own - a Silvertone guitar from Sears & Roebuck.
Precious' early performances were in the Baptist Church. She and her siblings sang spiritual songs together as The Bussey Sisters, with Precious and one of her older sisters accompanying on guitar. Outside of church, Precious was asked to play at parties and talent shows in and around Talbot County.
Her emerging repertoire was rooted in the traditional sounds of the lower Chattahoochee River Valley, but it also began to reflect the influence of the rhythm and blues and early rock 'n' roll that Precious heard on the radio. Precious explains, "I listened to Jimmy Reed, Muddy Waters and all them. Elmore James and blues like that. I would listen to a song on the radio and write the words down and I wouldn't worry about the music 'cause I could get the music. All I wanted to know was the words."
George Mitchell on Precious: "Precious Bryant is a Georgia musical treasure. She is one of the last of the living exponents, and certainly still the most active, of a truly wonderful blues tradition that is unique to the southwest region of Georgia. But, unusually, not only is she one of the last — she is no doubt one of the best who ever sang and played this spirited style of blues...whether in nearby Columbus, or in Europe, or in Canada, or in New York or Atlanta, Precious Bryant has gotten thousands and thousands of feet tapping... to her infectious blend of the old and the new, of the songs of her father and uncle, and of her own compositions, most of which are keeping alive the great and truly unique blues tradition of the lower Chattahoochee River Valley.
Folklorist George Mitchell first recorded Precious in 1969. Over a decade later, at Mitchell's coaxing, she reluctantly agreed to play at the Columbus, Georgia Chattahoochee Folk Festival. Precious was an instant hit. Her naturally warm stage presence and lively guitar style, combined with her excellent voice, quickly won her a devoted audience. Since her debut in Columbus, Precious Bryant has performed for scores of audiences in the United States and abroad. In addition to the Chattahoochee Folk Festival, notable venues include the Blues to Bop Festival in Lugano, Switzerland, the North Georgia Folk Festival in Athens, the Canadian Folk Festival, and the Alabama Folk Festival in Montgomery.
These days Precious plays mainly at home, with an occasional show in Columbus or Atlanta. To see Precious play live is a treat. She entices the audience, telling them, "Pat your hands together, ain't nobody sick, ain't nobody dead." Along with Precious' own witty standards, any song she chooses to play is instantly transformed into a moving arrangement stamped with the attitude and assuredness of the true performer she has become.
Precious Bryant is a rarity. Truly traditional female blues players, especially those as vocally powerful and technically skilled as Precious, have always been few. In the 1930s, Columbus, Georgia's Gertrude "Ma" Rainey became known as the "Mother of the Blues." Now, as we enter a new century, Talbot County's Precious Bryant has secured her place in the world of traditional American music as Georgia's "Daughter of the Blues." (Press bio and photo courtesy of Terminus Records.)
Bunkley, Jim
"This album, sadly, is a memorial to Bunkley. He was killed in a head-on collision on a rainy day in October, 1970. I learned of his death about a month later when I visited his home to tell him his recordings were going to be issued. Bunkley lived in a small tar-papered house he bragged was his own, in Geneva, his birthplace. He was eight years old when they took the census in 1920. It was about that time he made friends with the guitar. 'When I was about eight, my brother had one, and me and my nine-year-old sister used to play it. Us couldn't hold it. Had it hangin' up 'side of the wall and we'd get up on the chair and play it. Everyone in my family could play — we had five boys and four girls. We could play fiddles too.' When he got up in age, Bunkley was about the best known musician in Talbot County. He recalled the many times he walked away with prizes offered at the theater in nearby Junction City. 'I was rough then,' he said. 'I had a great big ole cowboy hat and I got up there on stage and cracked a whole lot of jokes and then played. I win all that money too. Lottie Kate Buckley, Jim's wife, was born October 22, 1918. She sang only two songs for us, but both were superb.'"
Bussey, George Henry
From George Mitchell's liner notes for the Revival Records LP George Henry Bussey and Jim Bunkley:
"George Henry Bussey, a woodworker, lives near Waverly Hall, about 15 miles from Geneva. He was born in nearby Harris County in 1925. Bussey learned how to play guitar at the age of 18. Although he came from a very musical family, he says no one taught him. 'I just always went around to a lot of friend's houses that had gramaphones and listen to different records and catch the sound myself. I listened to a lot of Blind Boy Fuller's records, but I wouldn't try to play it where I learnt the chords.' Until we found him, it had been 12 years since he had played guitar. 'I just got tired of fooling with it,' he said. 'Mine got busted up, wouldn't sound worth nothing, so I just quit fooling with it.' Bussey — a quiet, reserved man — was hesitant to play for us when we asked. But he consented, and some of the pieces of this record were recorded without any practice! But after that first night (we lent him a guitar) he refused to play song for us until he had it just the way he wanted. 'Blues is a feeling,' Bussey says. 'Well, sometimes you get the blues, get 'em on your mind, and you'll feel better when you sing about 'em and just let 'em go on off and let you won't have to worry with 'em no more.'"
Coleman, Bob
Bob Coleman was originally from the Columbus area but moved to Cincinnati in the 1920's, where he helped form The Cincinnati Jug Band. The Cincinnati Jug Band's track "The Newport Blues" is featured on Harry Smith's Anthology of American Folk Music.
Daniel, George
Fred Fussell's article in the Fall 2003 Chattahoochee Folkways newsletter (page 5) provides an account of George Daniel's life and music.
Davis, Cliff
"Cliff Davis was born [in 1913] in Alabama, moving to Stewart County, Georgia...as a small child. A farmer, he used to sing field hollers to relieve the tedium of his work." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Darby, Tom, and Jimmie Tarlton
Jimmie Tarlton was born into a sharecropping family in Chesterfield, SC. As a young boy, he learned to play the slide guitar from black musicians, and, as a young man, he busked his way across America. He met famed Hawaiian guitarist Frank Ferera in California in the early twenties, and Ferera helped develop Tarlton's slide guitar technique. Tarlton eventually settled down in native who had developed his vocal approach from listening to black singers in Columbus. Darby and Tarlton two began to play together and were signed to Columbia Records in 1927. Their second record —with "Birmingham Jail" on one side and "Columbus Stockade Blues" on the other—was a hit, selling nearly 200,000 copies. Their recording career petered out in 1930, and they both gave up the music business in 1935. They were rediscovered during the folk revival and played a handful of reunion concerts together.
Georgia Fife and Drum Band
Bruce Bastin provides some excellent information about this group: "Perhaps Mitchell's most interesting discovery was the presence of a fife-and-drum tradition in the country between Waverly Hall and Talbotton, northeast of Columbus. Until recently it was assumed that the tradition of fife-and-drum music was uniquely that of north Mississippi around Senatobia...The similarities of the music of the Senatobia and Waverly Hall groups hints that the music was probably more widespread than appreciated....The Georgia fife-and-drum group was essentially a family band comprising J.W. Jones on bamboo cane fife and his brother James on kettle drum, with the bass drum played by either a younger brother, Willie C. Jones, or a cousin, Floyd Bussey."
Grant, Bud
Grant made his first guitar from a poplar tree. As a young boy, he played "frolicking" dance music at neighborhood parties (even before he was twelve years old). His uncle bought him a mail-order guitar from Sears Roebuck for $4.95, and he started playing blues in 1940, " learning to play from listening to records." He mentioned in an interview: "I can play a little rock 'n' roll myself now, but I always fancy blues the most."
Grant, William
"William Grant, [born in 1908], was born near Pittsview, Alabama...He was given a harmonica one Christmas, and he says he learned how to play it while sitting on a plow in the fields. 'I played at parties in the countries,' he said. 'I used to pick guitar, but I come to religion and I put the guitar down. I promised the Lord I wouldn't fool with a guitar no more, but I didn't promise Him I wouldn't fool with a harp. I always keep a harp." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Harris, Jimmy Lee and Eddie
Jimmy Lee Harris was born in 1935 in Seale, Alabama. He later moved 10 miles away to Phenix City, Alabama. '"The first instrument he played was the mouthbow, which he made himself when he was nine. His parents bought him a guitar three years later, and he learned to play from a woman named Seesa Vaughn." Jimmy Lee's brother Eddie is also a blues musician. (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley)
Hunt, Dixon
According to Bruce Bastin, the parochial nature of Hunt's performing territory--little more than sixty miles end to end--was typical of Southeast blues musicians. Dixon Hunt was taught to play by Cliff Scott.
Macon, Albert
Albert Macon "lived in Macon County, Alabama, where he was born in 1920. He started blowing the harp when he was 10, learning to play the guitar from his father several years later. He played 'set frolics' (couples paid 10 cents a set to round dance) and at houseparties and schoolhouses. Macon and Robert Thomas played together for over four decades until Macon's death in 1993." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley.)
Paschal, Green
Born around 1927 in Talbotton, Georgia, Paschal started playing music relatively late in life, sometime in the 1950s. "I used to play nothing but the blues before I joined the church," he says, "I joined the chuch about fifteen years [ago] and I quit playing blues...Good old church songs, these old-fashioned songs, I likes 'em...I don't like these jumped up songs that people sing now...I believe in the old way, I just like old songs, the spirit of those old songs. Now those songs that they sing now, they're all right, them that want to sing 'em, they good, I like to hear 'em singing, but it ain't for me..."
George Mitchell discusses Paschal and the tension between blues and religious music.
Rainey, "Ma"
Born Gertrude Pridgett on April 26, 1886 in Columbus, Georgia, "Ma" Rainey is the most celebrated of the early "classic" blues singers. She performed for twenty years in minstrel shows, circuses, and tent shows before her recording debut in 1923. Her recording career lasted only six years, but, during that time, she cut more than a hundred sides, some which eventually went on to become blues standards, including the classic "C.C. Rider." She recorded with a variety of different backing bands, including jug bands, guitar duos, solo bluesman like Blind Blake, and jazz ensembles including such luminaries as Louis Armstrong and Fletcher Henderson. Her intense vocal delivery and open attitude about sexuality made her very popular amongst black working class audiences, particularly in the South. After retiring from performing in 1933, she settled in Columbus and later died of a heart attack in 1939.
Thomas, Lonzie
"'I watched my daddy's fingers on the guitar and I caught it,' remembered Lonzie Thomas, who was born in Lee County, Alabama in 1921. He was shot in the face and blinded at the age of 22. 'After I got blind, I got more interested in playing and singing,' he said. 'It was something to keep my mind off worrying.' It was also one of the few ways a blind man could make a living, and he began playing on the streets of Opelika and Columbus for tips and at parties." (George Mitchell, from In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley.)
Warren, J.W.
The following excerpt is from George Mitchell, In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley. Follow the link to The Musicmaker Foundation's recording of J. W. Warren.
J.W. Warren was born in 1921 in Enterprise, Alabama. In a family of eleven children, he was the only one to take up music, starting at the age of fifteen or sixteen. He entered the military as a young adult and served for 14 years. While stationed overseas with the military in 1947, he won first prize in a music contest. After his stint in the military, he farmed and began to play blues at barbeques and house parties in southeast Alabama. Like many lower Chattahoochee blues artists, he cites Blind Boy Fuller as a key influence. J.W. died on August, 5, 2003.
White, Bud
White learned to play the song "Sixteen Snow White Horses" from a traveling bluesman from Florida.
Lower Chattahoochee Songs
From 1969 until the early eighties, George Mitchell recorded over two dozen lower Chattahoochee blues artists. The list below represents the songs that were recorded by more than one artist.
Baby, Please Don't Go
Blues Around My Bed
Careless Love
Catfish Blues
Crawling King Snake
The Dog
Freight Train Blues
Going Up the Country
I Love Jesus
Jack of Diamonds
John Henry
Key to the Highway
Lay My Burden Down
Mean Ole Frisco
My Babe
Oh, Red
Rabbit on a Log
Rock Me
Someday Baby
So Sweet
Step it Up and Go
That's All Right Mama
What's the Matter with the Mill?
The blues artists that Mitchell recorded are listed below. The date in parentheses after the musician's name indicates when the recordings were made.
Bailey, Golden (1976)
Barfield, Cecil aka William Robertson (1976, 1977, 1980, 1981)
Bryant, Precious (1969, early 1980s)
Bunkley, Jim (1969)
Bussey, George Henry (1969)
Carter, Ella Mae and A.K. (1976)
Daniel, George (1979)
Davis, Cliff (early 1980s)
Georgia Fife and Drum Band (1969)
Gorman, Jessie Clarence (1969)
Grant, Bud (1969)
Grant, William (early 1980s)
Harris, Jimmy Lee and/or Eddie Harris (early 1980s)
Hodge, Eddie B. (early 1980s)
Hubbard, Buddy (1969)
Hunt, Dixon (1969)
Macon, Albert and/or Robert Thomas (early 1980s)
Paschal, Green (1969)
Scott, Cliff (1969)
Thomas, Lonzie (early 1980s)
Warren, J.W. (1981, 1982)
White, Bud (1969)
For information on songs recorded by specific lower Chattahoochee artists consult the artist repertoire index.
Bryant, Daniel and Mitchell
This section provides original video and audio footage from interviews with Precious Bryant, George Daniel, and George Mitchell, as well as several music clips and audio interview clips from other sources.
Precious Bryant: Video/Audio Clips
George Daniel: Video/Audio Clips
George Mitchell: Video Clips
George Mitchell Audio Interview Excerpts
Warren was born in 1921 in Enterprise, Alabama. In a family of eleven children, he was the only one to take up music, starting at the age of fifteen or sixteen. He entered the military as a young adult and served for 14 years. While stationed overseas with the military in 1947, he won first prize in a music contest. After serving, he entered farming and began to play blues at barbeques and house parties in southeast Alabama. He notes, "I came up the hard way, I hadn't had no break whatsoever...I was born in the wrong part of the world and, then again, I didn't go no place to do any better...I got stuck here, and so, this is my home, seeming I can make it better here than I can any place elsewhere." Like many lower Chattahoochee blues artists, he cites Blind Boy Fuller as a key influence.
Born in 1911 in Talbot County, Jim Bunkley started playing music when he was eight years old. He had four brothers and four sisters, all of whom played some form of music. An early influence on Bunkley was Blind Lemon Jefferson.
Paschal was born around 1927 in Talbotton, Georgia and started playing music sometime in the 1950s. He "used to play for the white people at the frolic". He comments: "I used to play nothing but the blues before I joined the church...I joined the church about fifteen years [ago] and I quit playing blues...Good old church songs, these old-fashioned songs, I likes 'em...I don't like these jumped up songs that people sing now...I believe in the old way, I just like old songs, the spirit of those old songs. Now those songs that they sing now, they're all right, them that want to sing 'em, they good, I like to hear 'em singing, but it ain't for me..."
Robert Thomas was born in 1929, Albert Macon in 1920. Both grew up in Macon County, Alabama. Thomas began playing blues guitar when he was nineteen or twenty, learning under Albert Macon. The two played together consistently until Macon died in 1993.
Grant discusses making his first guitar from a poplar tree and playing "frolicking" dance music at neighborhood parties. He started playing blues in 1940," learning to play from listening to records." Grant also notes, "I can play a little rock 'n' roll myself now, but I always fancy blues the most."
Although the identity of this artist remains unknown, his story contributes to the musical history of the region. He was born in 1928 and grew up in Talbotton, GA. He started playing guitar when he was nine years old; some of the early blues tunes that he learned "came from Blind Boy Fuller." At the end of the clip, he demonstrates "The Buck", an instrumental tune that was played at neighborhood parties. "The Buck" sounds similar to Precious Bryant's "Georgia Buck".
Assorted Performances
George Daniel, date unknown. Photo by Axel Kustner.
Publication Update
During the spring of 2019, Southern Spaces updated this publication as part of the journal's redesign and migration to Drupal 7. Updates included audio, image, slideshow, and text link adjustments, as well as revised recommended resources and related publications. For access to the original layout, paste this publication's URL into the Internet Archive: Wayback Machine and view any version of the piece that predates January 2019.
Recommended Resources
Print Resources
Bastin, Bruce. "Truckin' My Blues Away : East Coast Piedmont Styles." In Nothin' But the Blues : The Music and the Musicians. New York: Abbeville Press, 1993.
Bastin, Bruce. Red River Blues: The Blues Tradition in the Southeast. Urbana: University of Illinois Press, 1986.
Evans, David. "Black Fife and Drum Music in Mississippi." In Afro-American Folk Art and Crafts. Jackson: University Press of Mississippi, 1983.
Fussell, Fred. A Chattahoochee Album: Images of Traditional People and Folksy Places Around the Lower Chattahoochee Valley. Eufala, Alabama: Historic Chattahoochee Comission, 2000.
Lomax, Alan. The Land Where the Blues Began. New York: Pantheon Books, 1993.
Mitchell, George. In Celebration of a Legacy: The Traditional Arts of the Lower Chattahoochee Valley. Columbus, Georgia: Columbus Museum of Arts and Sciences, 1981.
Pettigrew, Jim. "Do They Sing the Georgia Blues Anymore?" Brown's Guide to Georgia. 4, No. 4 (July/August 1976): 40-47.
Alabama State Council on the Arts
Georgia Statistics System
Historic Chattahoochee Commission
University of Alabama Geography Department
Similar Publications
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|Fussell, Fred. A Chattahoochee Album: Images of Traditional People and Folksy Places Around the Lower Chattahoochee Valley (Eufala, AL: Historic Chattahoochee Comission, 2000), page 1.


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A short update. Yeah, I know I have blogged about this place but good things are meant to be share. If you have a chance, do drop by Ravi for their delicious roti canai or chapati (pic below) at 3 2 square Petaling Jaya.
Currently this is my favourite breakfast hangout place.


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Central Distributor Performance Parts, Racing Supplies & Modification.
Sticky Threads
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Allows you to choose the data by which the thread list will be sorted.
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by Lou Mancinelli
Two working professionals from two different families, a mother and psychologist from Norway and a father in the insurance industry, partly raised in Italy, who met in a rock band in Philadelphia, are now also children's songwriters with a social mission creating songs featuring light inspirational, playful lyrics for kids about ordinary daily tasks.
The Cris and Lou Project is a children's duo formed by Cris Valkyria and Lou Paglione that performs at children's events, parks, cafés, hospitals and other institutions around the tri-state area.
On Sunday, May 13, they performed at the Mother's Day Breast Cancer Walk at the Art Museum. They'll perform in Chestnut Hill at The Little Treehouse Café, 10 W. Gravers Lane, on Saturday, June 9, 6 p.m., and will begin a weekly residency there each month thereafter.
Cris and Lou, who asked that their ages not be mentioned, play the kind of music heard on WXPN's Kid's Corner program, a program on which they've been featured. Their songs are more like pop rock songs reminding kids to tidy up, brush their teeth and such, and without the variety of squeaky voices or giggles and other gimmicks often found in the genre.
"Every day when I get up, I need to brush my teeth, brush my teeth real well," sings Paglione in the song "Brush Your Teeth." "When I brush my teeth, I brush them up and down, up and down, up and down," responds Valkyria with a honky-tonk whistle-like tone rising from low to high.
That tune is also on "Chris and Lou and The Virtues," the debut album available on iTunes that the duo recorded using home-based equipment, much the way thousands of independent bands in cities across America are now doing.
Beyond performing, the duo employs a three-pronged approach that's educational, promotes music and is charitable. They've created alliances with the Philadelphia Children's Alliance (PCA) and Musicians On Call (MOC, an WXPN and University of Pennsylvania partner), and they donate proceeds from album sales to PCA. Through MOC, Cris and Lou meander from room to room at St. Christopher's Hospital or Children's Hospital of Philadelphia twice a month to play songs for the kids in the wards.
It all started two years ago. "I decided I needed a theme song to help potty-train my boy," said Valkyria about her then-two-year-old son. But the songs she found were hard for her to like. They were too circus-like, and as one who writes songs, she needed songs that had more musical quality. So she asked Paglione if he might be interested, and their musical chemistry proceeded to create several "songs parents would appreciate."
As much as their music is about fun and spreading music, it is also about spreading healthy social and emotional behaviors like sharing. At their performances, in addition to performing original tunes, they sing traditional numbers like "Wheels on the Bus" and work to get the kids involved either through singing or contributing to the instrumentation.
And in addition to her work as a psychologist and her role as mother, wife and singer in the independent band The Valkyrians and the Cris and Lou Project, Valkyria is a co-founder of the Greater Philadelphia Councilors For Change, a group that will host a social skills group for children with autism in Mt. Airy next month.
"I guess I came for love," said Valkyria, who practices psychology at Alyson Nerenberg Psychology in Chestnut Hill, about moving to America after she finished her studies in Norway about eight years ago when her boyfriend, now-husband, was hired to be a professor at Princeton University.
Paglione was born in Bristol, Bucks County, but moved with his family to Italy and back to America when he was 15. He is the father of two sons, 15 and 11. He has played instruments since he learned to play accordion at three. He plays bass and keyboards in The Valkryians, and his ability to play a number of instruments contributed to the duo's facility with producing a first album. They're now at work on their second.
It might seem ridiculous or silly for mature bill-paying white-collar individuals who also play in a rock band to sing about potty-training. But maybe it's even more ridiculous to assume that an inner-child should disappear as we age.
"We see how it works, especially in hospitals," said Paglione about performing the songs. "A crying child that will all of a sudden stop crying … it's not embarrassing at all."
For more information about the music of Cris and Lou, visit www.crisandlou.com.


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His Attestation Papers indexed provide more detail. Full name Walter Roy Culbertson, born November 26, 1888. The front of his form has been scanned and it shows that he was born in Cornwall Ontario and is single. He's a salesman and gives his father's name as James J. Culbertson, also residing in Cornwall.
Walter enlisted on 8 October 1917 in Kingston Ontario.
See http://www.smeaton.org/Eamer_Detailed_Genealogy.pdf p. 113 for more details on the Culbertson family. Walter Roy's parents were James Culbertson and Laura Gallinger.
In November 1922 Walter married Catherine Graveley in Cornwall [Source: 019259-22 Walter Roy CULBERTSON, 33, Clerk, Cornwall, Cornwall, s/o James G. CULBERTSON & Laurie GALLINGER; married Catherine Grace GRAVELEY, 34, Cornwall, Cornwall, d/o Walter GRAVELEY & Catherine MACGILLIS; witn Walter GRAVELEY & John GRAVELEY, both Cornwall & Isabella McGILLIS, Harrison, 6 Nov 1922, Cornwall on http://homepages.rootsweb.ancestry.com/~maryc/sdg1922.htm]
What happened to Walter?


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Quick information about the structure of the whole system & useful
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Complete guide on everything nymea connected. From initial setup to
writing your own plugins for your devices!
Detailed documentation of nymea daemon - classes, types, functions and
what do they do.
Access to our CLA and contribution guidelines.
Have any questions? Want to chat with other enthusiasts? Ask a question
to the developers of nymea directly? That's the place to do it!
Smart Irrigation is not only about saving water or having healthier plants. It is mostly convenience that convinces the consumer to buy a smart irrigation system. Most people don't want to have to worry about their garden. They just want it to be a place to relax.
Read More
There are various channels were you can find the nymea team and the nymea community.
Check the forum out here
nymea Telegram Group
Developer Documentation


text: Print Nouvo Homeschooling By Deganit Perez Embed code Copy and paste the embed code above. This content was published on June 15, 2017 5:13 PM Jun 15, 2017 - 17:13 Close to 1,000 children are taught at home instead of going to regular school. Why? Find out here. Tags Education Nouvo Neuer Inhalt Horizontal Line SWI swissinfo.ch on Instagram SWI swissinfo.ch on Instagram subscription form Form for signing up for free newsletter. Sign up for our free newsletters and get the top stories delivered to your inbox. Email address Top stories (weekly) Latest news (daily) Business (weekly) Politics (weekly) Society (weekly) Fintech (biweekly) Letter from the Alps (biweekly) Multinationals (biweekly) Click here to see more newsletters


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PSELLC necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 60 diseños de 21 diseñadores freelance.
Paradigm Shift Enterprises, LLC
We are a broad spectrum internet marketing company. We deal with products in various niches (from solar panels to stock market courses and range from SEO services to affiliate marketing). Tag line = Changing the way you think. Our vision is to challenge commonly held beliefs about Business Leadership, Internet Marketing, and Entrepreneurship to help people achieve their Lifestyle Design.
Business as well as individual entrepreneurs. 25-50 years old. Male and Female. Well educated. People that value competition, strategy, significance, and forward thinking.
We looking for a logo for our Enterprise that will capture the essence of all our businesses. Each of our business represents a different way of thinking about something in that industry.
1. No Cartoons - we want it to be exciting but not cheap or childlike
2. Nothing too elegant - we do not want to come across as being fancy. We want to be bold and commanding.
3. The typeface should be clear, simple and bold. We want something that stands out.
Use of the letters PSE is ok.
Feel free to experiment with color, however please note that shades of red and black are preferred.
The files we will require are:
Print file format - .ai (CMYK)
Web file format - .jpg and layered .psd (RGB)
Please do not use any stock images or clip art in the logo
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Here we go. It's exciting to bring a second contribution to the Moda Bake Shop using Moda's new line of Kapalaa Batiks. If you ever have a chance to visit Kapalua (Northwest side of Maui)… GO!!! It's beautiful (total understatement) just like this new fabric. This project is easy. Make just two pineapple blocks using a Charm Pack and fat quarters. Create one strip block for the center to separate the pineapples. Pineapple leaves are fused and appliquéd. Hope you enjoy making this one.
1 Pk. 5" x 5" squares – Kapalaa Batiks
1/2 Yd. Leaf Green for background 4320 11
1 Fat Qtr. Jungle Green for leaves 4320 13
1 Fat Qtr. Jungle Green for leaves 4320 14
1/2 Yd. Midnight 4320 24 for quilt border
1 Yd. Hibiscus 4320 36 for backing and binding
1/2 Yd. Paper-backed, fusible webbing for leaves
Low-loft batting approx. 18" x 54"
Step 1 – Cut 2, 8-1/2" x 12-1/2" rectangles from background fabric.
Step 2 – Audition charm squares for the body of the pineapples on a design wall or the floor (follow the layout diagram or picture below). There is extra background fabric in case you want to try different colors in the half-square triangles. Trim 5" squares for pineapple body to 4-1/2" square.
Step 3 – Make half-square triangles. Place 2, 5" squares on top of one another, right sides together. Draw a diagonal line down center of lighter batik squares.
Step 5 – Cut the squares apart on the drawn line and press seam towards darker fabric.
Step 6 – Trim to 4-1/2" square. A 4-1/2" ruler is helpful for this.
Step 7 – Sew the squares and half-square triangles together in vertical rows – then sew the rows together forming the body of the pineapple.
Step 8 – Sew the background rectangle to top of pineapple body.
Step 9 – Make the pineapple leaves. Trace and number 2 of each leaf using reversed templates and paper-backed fusible. Overlapping edges of leaves get fused together to make one large appliqué piece. Trace extra (dotted lines) on leaves that slide under others.
Step 10 – Cut out the paper shapes leaving at least ¼" around outside edge of drawn line.
Step 11 – Optional – Cut out the centers of each shape leaving 1/4" on inside of the line.
Step 12 – Fuse shapes to varying shades of leaf fabrics following manufacturers directions.
Step 13 – Let cool and cut out each shape on the drawn line. Remove paper backing.
Step 14 – Lay Placement Guide under an appliqué, pressing sheet.
Step 15 – Place leaves on top of the pressing sheet following the template underneath.
Step 16 – Lightly fuse just the overlapping edges as you build the appliqué.
Step 17 – Carefully peel layered leaves from pressing sheet.
Step 18 – Place leaves at the top of each pineapple and fuse to background following manufacturers directions.
Step 19 – Machine appliqué leaves to quilt top. I used the blanket stitch that comes with my machine and black thread to help define the individual leaves.
Step 20 – Make the center block. Cut 2" wide strips from the remaining dark fabrics. Sew strips end to end. Use varied lengths to get a random pattern. Make 3 strips and sew together to form a rectangle. Press and trim rectangle to 8-1/2" x 12-1/2". Photo below shows my mistake using a couple of light strips (lighter fabrics confused the separation between the pineapple blocks).
Step 21 – Sew center strip block to the bottom of each pineapple. Press.
Step 22 – Cut 4, 2" wide strips for side borders and 1 for runner end borders.
Step 23. Measure down center length of runner. This is the length of the side borders you will need. Piece strips to get length.
Step 24 – Mark center of each side of quilt. Sew borders to each side from the centers out to the ends. Press seams out.
Step 25 – Measure across center width of quilt and repeat steps above for end borders.
Step 26 – Cut the one yard piece of backing in half lengthwise.
Step 27 – Sew together at narrow ends to make one long backing piece. Press seam to one side.
Step 28 – Make quilt sandwich, layering batting on top of backing and quilt top on batting.
Step 29 – Quilting suggestions. You could stitch in the ditch for all. Or… Stitch in the ditch around the pineapple leaves and around strips in center block. Quilt diagonal rays out from
pineapple leaves to edge of quilt. Try a twist motif in the squares of the pineapple body. Sally Terry makes a great one.
Step 30 – Bind quilt.
One festive island table runner approx. 15" x 55".
Robin Nelson


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Pizza Girl: Scary Delivery Situations
Every week, Pizza Girl (Diary of a Pizza Girl) stops by with insights and a behind-the-scenes look into the world of pizza-delivery drivers. Take it away, PG! —AK
I am lucky enough to never have been involved in a robbery, but I'm acutely aware of the vulnerable position I put myself in every time I go to a stranger's house.
Not only am I guaranteed to have cash and food, but I have very little way of knowing if I'm getting into a bad situation beforehand (most robberies are setups), and even when I get there it's a tough trade-off between safety and time (when I'm out on four deliveries, every minute I spend doing something other than driving or transacting on the earlier deliveries makes that last delivery more and more likely to be late).
- Do I go up to the house that has a car in the street but no lights on? (Or do I call them and make them turn a light on to prove someone's home?)
- Do I approach the man sitting on the porch? (Or do I call to make sure that I'm at the right house and ask him to go inside to prove he belongs there?)
- Do I go through the shrubs that cut off my view of my car? (Or do I call and ask them to come pick up their pizza in the driveway?)
- If it's cold and rainy, do I step inside the door? (Or do I politely decline and continue freezing my butt off and soaking their entryway?)
The easy answer is no (and with the last one it is the ONLY answer), nothing is worth giving up my safety, but at the same time I wouldn't have a job if I was afraid to go to strangers' houses.
Every time I run up against a situation I'm uncomfortable in, I ask myself, "What if they don't answer the phone? Is the situation bad enough to warrant calling my manager to refuse the delivery? Is it bad enough that he'll be OK with giving those people free pizza when they call back mad that the pizza never got there?"
I've only felt truly in danger three times:
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- The first, I was delivering to a mobile home out in the country and a man was standing in the driveway smoking a cigarette. He followed me up to the door and stood on the stairway while I completed the transaction with a woman at the door. I had my pepper spray ready underneath the hot-bag because I do not like being penned in. Chances are that he didn't even realize he was penning me in, but I was still running through escape scenarios in my head.
- The second was when I walked into a domestic dispute. It sounded like it was going to get violent. Through the door, even before I rang the doorbell, I heard a man yell, "I'm going to f*@!$% kill you!" to the woman. I hightailed it back to my car and called the police. All I could think was, "What if I got the order wrong or don't have exact change? What if he has a gun out?" My manager actually scolded me for this incident, which horrified me. He was upset that we probably lost a customer. I was upset that I could have lost my life (and so could the woman in the house, though it turned out once the cops got there to be a non-physically-violent situation).
- The third, I was delivering to a quiet house in a typical suburban neighborhood. A man answered the door and seemed a little off; right at the beginning he invited me inside, though it was a nice day out. I politely declined and proceeded to tell him his total. He pointed at the dining room table that was maybe four or five feet inside the door where he had set the money. I quoted the rule about not being allowed by my employer to go inside a customer's home, and only after a minute did he retrieve the money. Something about this situation is the most disturbing to me. I can just imagine someone less paranoid stepping inside and never coming back out. It doesn't fall into one of the categories where the lack of cars/lights/openness creates potential hazards.
I know that these stories are mild compared to many that are out there (besides searching the news I follow two other bloggers who have foiled robbery (or scam) attempts: Kevin over at Pizza Delivery Stories and one over at Memoirs of a Pizza Delivery Guy), but I know that my only chances of staying safe are to stay vigilant and to wonder how each delivery could be a setup and being prepared for that situation.
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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Camping & Caravans Dumbarton
There is an excellent range of Loch Lomond and Clyde Sea Lochs campsites, caravan parks and holiday parks. These include larger holiday parks as well as smaller sites, sometimes on farms or in secluded woodland settings around the loch and also by the Clyde sea-lochs. For something different, why not try a Loch Lomond campervan holiday and travel at your own pace?
We have found (0) properties for you to view.
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Adoption Agency in North Newton Kansas 866-222-9284
CALL 866-BABY-BUG. Open Adoption YOU select the household. Unplanned being pregnant ? Overwhelmed ? Open adoption. YOU select and meet the household that adopts your child. FREE legal professional session. FREE housing and residing bills obtainable. Completely confidential. Discrete nonjudgmental employees. Attorney licensed in North Newton Kansas will give free session. If you might be searching for an adoption company in North Newton Kansas that you would be able to be snug with, contact us. We may help.


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Joined: 30 Sep 2004
Posts: 1855
Location: Ottawa, Ontario, Canada
Posted: Mon Nov 29, 2004 6:02 pm
Post subject:
And I shall be writing it down!!
Vivant Linguae Mortuae!!
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Joined: 29 Nov 2004
Posts: 32
Location: Salt Lake City, UT
Posted: Tue Nov 30, 2004 2:34 am
Post subject: Re: Comfort Foods
yum, any of all these suggestions sound delicious.
i have to agree with E. when it comes to Kim Chi soup. it's awfully easy to make and so invigorating (in every way imaginable) with the glutinous rice. other korean dishes, mainly soups are my comfort food (probably b/c mom made them so much) like Oxtail soup -- the best broth with vermicelli and studded with chopped green onions and slow-boiled beef. eat that with turnip kim chi and that's the korean culinary equivalent of a hug (growing up as one, never thought korean calvinists were into the actual physical thing). the other soup i rely on is posole served with shredded cabbage and lots of lime and cilantro.
otherwise, eggs with warm runny yolks reign supreme -- eggs benedict (when i'm wallowing and eating out), coddled eggs served atop buttered crumbs, uove affogate (eggs "poached" in a simpe tomato sauce and served with hot bruschetta).
anything braised for a LONG TIME in my creuset pot, like the balsamic chicken with polenta (great recipe from Cook's Illustrated).
post work comfort food favorites are take-out condusive...enmoladas from a local mexican joint (corn tortilla pouches holding refried beans slathered with mole negro and topped with queso fresco and pickeled onions) or piping hot chicken briyani straight from the container.
wow. i must be sad alot if i have had this many comfort meals...
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Joined: 18 Oct 2004
Posts: 1654
Location: Within view of Elliot Bay, The Olympics and every ship in the Sound
Posted: Tue Nov 30, 2004 6:48 pm
Post subject:
Macaroni and Cheese! I hope you guys love it as much as I do!
1 stick of butter plus more for dish
6 slices good white bread torn into small pieces
5 1/2 cups milk
1/2 cup all purpose flour
2 tsp salt
1/4 tsp fresh nutmeg- I use a bit more
1/4 tsp fresh black pepper
1/4 tsp cayenne pepper- I use more
4 1/2 cups shredded white cheddar
2 cups grated gruyere or 1 1/4 cup pecorino- I use both and play with the amounts.
1 pound macaroni cooked al dente
Heat oven to 375. Butter 3 quart casserole, set aside. Melt 2 Tbs butter and toss with bread.
Heat milk in medium sauce pan over medium heat. In large high sided skillet melt remaining butter. When it bubbles add flour, whisking constantly for 1 minute.
Slowly add hot milk, while still whisking. Cook untill it becomes thick and bubbles. Remove and add everything except bread and 1/2 cup of the grated cheese. Toss well and pour into casserole dish. Top with bread and remaining cheese. Bake until brown on top, about 30 minutes.
"It's watery....and yet there's a smack of ham."
"It's hot ham water."
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Joined: 08 Oct 2004
Posts: 87
Location: in the kitchen with a large bar of chocolate
Posted: Tue Nov 30, 2004 6:59 pm
Post subject:
oh! thank you so much. i am moved to pen a haiku!
my tastebuds await
your macaroni and cheese!
cheesy ambrosia!
nothing brings primates together like a good snack!
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Joined: 18 Oct 2004
Posts: 1654
Location: Within view of Elliot Bay, The Olympics and every ship in the Sound
Posted: Tue Nov 30, 2004 7:05 pm
Post subject:
I was hoping for my own haiku!
"It's watery....and yet there's a smack of ham."
"It's hot ham water."
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Joined: 30 Sep 2004
Posts: 1855
Location: Ottawa, Ontario, Canada
Posted: Tue Nov 30, 2004 10:11 pm
Post subject:
Recipe noted and copied Erin, thanks so much.
And, uh, thanks for the poetry monkey!
Vivant Linguae Mortuae!!
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Joined: 29 Sep 2004
Posts: 1196
Location: buried under a pile of books somewhere in Adelaide, South Australia
Posted: Tue Nov 30, 2004 10:30 pm
Post subject:
Lovely recipe, Erin, I think we'll have it for dinner tonight.
Just one question about quantity and measurement - what is a "stick" of butter? Is there an equivalent measure in either ounces or grams, please?
By the way, you asked where I visited while I was in WA .....
I stayed with my brother and his wife who were doing a teacher exchange for a year. They swapped houses and a teaching job with a family who lived at Big Lake near Mt Vernon and my sister-in-law taught at Mt Vernon Elementary School ( I think it was called). My brother worked at a restaurant at Anacortes.
We spent a weekend camping around Mt St Helens, went to the Puyallup (hope I spelt it right!) State Fair, visited Widbey Island, I flew to San Francisco for a weekend and went to the fantastic Farmers' Market at Fishermans Wharf and did a day trip to Yosemite, visited lots of other places I have forgotten the names of - Bellingham and Mt Rainier just popped into my mind - and spent a weekend camping on Vancouver Island. We also did HEAPS of shopping, visiting outlet malls and good old Walmart.
We are still very good friends with the family who did the exchange - they have returned to Oz 3 times since they were here in 1995, but so far I haven't been back to the US - hopefully soon!
You're from Seattle, aren't you?
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Joined: 01 Dec 2004
Posts: 77
Location: near a pan of spanakopita
Posted: Wed Dec 01, 2004 1:41 am
Post subject: Comfort Foods
Erin, that mac & cheese recipe looks wonderful. That dish is one of my favorite comfort foods. My own recipe calls for extra sharp cheddar, garlic, onion and paprika stirred into a bechamel (and a bay leaf, which I obviously remove before folding the pasta into the sauce), more of the cheddar between each layer of pasta and a topping of buttered bread crumbs. One of the Moosewood Collective's cookbooks has a recipe for mac & cheese that calls for shredded cabbage, cottage cheese, dill, and caraway seeds in the casserole and a topping of sunflower seeds. It's quite good too. My other comfort foods are spanakopita-anything to do with feta, really--meatloaf and mashed potatoes, sweet potato fries, butternut squash soup (perfect this time of year), chocolate chip cookies, fruit pie (especially rhubarb, and it always has to be a two-crust pie for me), and a big glass of milk to top it all off. Milk is the ultimate comfort drink for me.
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Joined: 18 Oct 2004
Posts: 1654
Location: Within view of Elliot Bay, The Olympics and every ship in the Sound
Posted: Wed Dec 01, 2004 4:06 pm
Post subject:
Sorry, I forgot that not all sticks of butter measure out the same! It is 4oz. or 113g.
Yes, I am from Seattle and just recently moved away in June. It sounds like you had quite the tour of the northwest, Mt. Vernon is a lovley area. My sister went to university just north of there in Bellingham. Let me know if you ever go back, I will tell you about some great restaurants. Did you visit Seattle at all? We have a fabulous farmers market, where I did my weekly shopping. I would go early so it wouldn't be crowded and I am not a morning person, the vendors picked up on that and always teased me mercilessly. Oh! Homesick!
Did you know about Mt. St. Helens?
I hope you love the recipe!
"It's watery....and yet there's a smack of ham."
"It's hot ham water."
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Joined: 01 Dec 2004
Posts: 1
Location: near the cookie jar
Posted: Wed Dec 01, 2004 6:57 pm
Post subject:
I find that I lean towards warm or room temperature foods for comfort. Lasagne, goulash, chowders (corn, clam), creamy soups (mushroom, chicken), bread pudding, cake, oatmeal, fruit cobblers. I lean towards flaky desserts as well - danishes, strudels, etc.
And now I'm hungry - off to find some lunch!
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Joined: 01 Dec 2004
Posts: 5
Location: New York City
Posted: Wed Dec 01, 2004 9:33 pm
Post subject:
I love creamy somewhat bland foods for comfort -- potatoes, mashed or baked with butter and creme fraiche, or potato gratin with leeks and cream, and sometimes cheese; pasta in cream and/or cheese sauces, or baked in casserole; good bread, toasted and thickly buttered, eaten hot; homemade chocolate pudding with real whipped cream -- as a matter of fact, chocolate in almost any form -- good dark chocolates from La Maison du Chocolat or ZChocolat, delicious chocolate cake, chocolate cookies...
I think stews are very comforting too...chicken in casserole with lots of yummy pan gravy to eat over rice or couscous or potatoes, beef daube or short ribs, again with gravy. Maybe it's the sauces I find comforting.
I have to agree with most of the posters here, though. Macaroni and cheese might just top the list for all-time comfort food. I particularly love the version that Erin posted, which I first discovered on Martha Stewart's website. I too like to make it with all the different kinds of cheese, since it gives it wonderful flavor. If you make it, don't overcook the pasta -- leave it with plenty of "spine" -- and don't bake it for too long, since that sometimes makes the sauce separate. It's VERY creamy and comforting -- definitely one of the best mac 'n' cheese recipes ever!
...and yes I said yes I will Yes.
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Joined: 30 Sep 2004
Posts: 1855
Location: Ottawa, Ontario, Canada
Posted: Sat Dec 11, 2004 8:28 pm
Post subject:
Just an update---last night we got our first real snow fall of the season, about 25 cms.. So this morning I had my first pot of oatmeal for the winter, sigh, and it was lovely!
Vivant Linguae Mortuae!!
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Joined: 29 Sep 2004
Posts: 2498
Location: Los Angeles, California, USA
Posted: Sun Dec 12, 2004 7:34 pm
Post subject:
Nothing better on a cold morning! Do you like rolled oats or steel-cut? I've recently discovered steel-cut and I don't think I'd ever go back.
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Joined: 01 Oct 2004
Posts: 256
Location: Richmond, VA, usa
Posted: Sun Dec 12, 2004 11:42 pm
Post subject:
I second the vote from Rainey for steel-cut oats...much more body to them
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Joined: 18 Oct 2004
Posts: 1654
Location: Within view of Elliot Bay, The Olympics and every ship in the Sound
Posted: Mon Dec 13, 2004 3:16 pm
Post subject:
Steel Cut get my vote!
"It's watery....and yet there's a smack of ham."
"It's hot ham water."
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Monday September 29, 2008
Heinz Field - 8:30 PM EST
Looking at these two teams on paper one would think this is a match up of two sucky offenses vs. two really good defenses which will result in a 3-0 win by one of them. The Ravens numbers are slightly skewed though having played only 2 games this season against mediocre teams in the Bengals and Browns. Not to take anything away from the Ravens because they had to play those games, but they did what they had to do with a young inexperienced QB... they ran the ball to burn up the clock (averaging 37 minutes a game) and kept their defense off the field. Given the Ravens defense is old, keeping them off the field is the best thing for the Ravens to do!
The Ravens have asked their young QB to manage the game and keep it close. To date he hasn't had to face a ferocious defense like the Pittsburgh Steelers. Come Monday night Flacco will get his "official" welcoming to the NFL, especially when the Steelers shut down their running game and force him to put the ball in the air. The Ravens will not be able to control the clock this game as they have done thus far because the running game will be non existent from the Ravens and their defense will be forced to play more than the 20 some minutes they have been playing. This should be the first game the Ravens defense is finally exposed!
The Steelers are lining up a stellar line-up! They have big names on both sides of the ball, along with veteran leadership and guys who are still getting their feet wet. The starting line up for the offense looks like they could put up 30+ points in a hurry but that hasn't been the case yet this season. Despite the low offensive statistics from the Steelers, they have done what they needed to for their two wins this season and the defense has been flat out awesome! They are getting to the QB (tied for 3rd in the league with 10 sacks) and when the QB gets rid of the ball they are usually picking it off (2nd in the league with 7 INT's).
This Monday night marks the first glimpse of rookie RB Mendenhall, due to Parker missing the game. This is going to be Steeler Nations first real glimpse into the future! The Steelers have a lot going for them this game, they are coming off a bad performance and loss last weekend and they are playing at home. Tomlin hasn't lost very much at home since taking over the Steelers last year, he is 8-1 (1-0 2008) at home during the regular season. For the Steelers to come out on top they need to do the following:
- O-Line needs to Protect Ben
- O-Line needs to Protect Ben
- O-Line needs to open up some holes for Mendenhall and protect Ben!
Join us this Monday night in the gameday thread as we talk about the game and cheer the Steelers to a victory!!!!


text: Seller: iconsgr (2,315) 95.4%, Location: Volos,Magnisia, Ships to: Worldwide, Item: 132095219946 Ancient Greek Bronze Museum Statue Replica Of Athena On Chariot Of The Sun Holding A Spear Code: 1110 Dimensions: 13x11cm 5,11in x 4,33in Weight: 300gr Material: BRONZE Color: MUSEUM OXIDIGATITION This is a handmade Museum Statue Replica Of Athena On Carriage Of The Sun made in Greece, from 100% bronze using the traditional "lost wax" technique. This is the same technique used by the ancient Greeks to create bronze sculptures and arsenal. The prototype which it was made by is a museum exhibit. The museum color is given through the process of oxidization Description: Normal 0 false false false EN-US X-NONE X-NONE In Greek religion and mythology, Athena or Athene, also referred to as Pallas Athena/Athene, is the goddess of wisdom, courage, inspiration, civilization, law and justice, just warfare, mathematics, strength, strategy, the arts, crafts, and skill. Minerva is the Roman goddess identified with Athena. Athena is also a shrewd companion of heroes and is the goddess of heroic endeavour. She is the virgin patroness of Athens. The Athenians founded the Parthenon on the Acropolis of her namesake city, Athens (Athena Parthenos), in her honour. Athena's veneration as the patron of Athens seems to have existed from the earliest times, and was so persistent that archaic myths about her were recast to adapt to cultural changes. In her role as a protector of the city (polis), many people throughout the Greek world worshiped Athena as Athena Polias. The city of Athens and the goddess Athena essentially bear the same name,"Athenai" meaning "[many] Athenas". Shipping: Handling time may take up to 10 days because the item is made after it is purchased. Shape and size may vary up to 0,5 cm because it is a handmade product. Shipping takes from 7 (European countries) to 25 working days (rest of the world) . Please understand that the above is only the estimated delivery time, it may delay due to strike actions, severe weather, custom reasons or peak seasons, such as Christmas / New Year Holidays. Payments: We only accept payment with PayPal. 5***** star feedbacks are greatly appreciated. If for some reason you feel that you are unable to leave 5 star feedbacks please contact with me and we will try solving the issue. Please note: Import taxes and other charges are not included in the item price or shipping cost. Please check with your country's customs office to determine what or if there are additional costs prior to your purchase. Condition: Handmade - New, Material: Bronze


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Welcome to Freebie Friday! Is this exciting week really over? Say it isn't so! While all good things must come to an end, we hope you've been inspired by the amazing sketches and projects we've featured this week. If anything, maybe it's jump-started your creative battery and you've found yourself viewing sketches in a whole new light. Because let's face it…the possibilities are endless!
Like Jennifer mentioned yesterday, we do often get caught up in "magazine" time, which is usually 6-7 months ahead of "real" time. Being able to read your comments and see the blog traffic (thank you, by the way!) is thrilling for us because we get to relive the fun of putting together Go-to Sketches. And as you've seen from some of the behind-the-scenes photos this week, a good great time was definitely had by all!
Speaking of "all"…we must thank our fabulous Go-to Gals for all their hard work this week. Someone referred to them as the "Go-to Geniuses" and I think this is an accurate description. (And if we ever get tired of the Go-to Gal title, we've got a something else to consider!) We're gathering for another editorial board meeting in a couple of weeks, and I can't wait to see my sweet GTGs!
Okay, I've rambled long enough…you know it's Friday, you know it's coming…"What's Kelly giving away today," you ask? Well, I've got a special treat for all my Paper Crafts Connection peeps. On Moxie Fab World this week, Cath mentioned our exclusive Go-to Sketches sponsor: Doodlebug Design. In addition to creating some adorable ads for this special issue (in which they used their product to create projects from our sketches!), they took it one step further and are now offering the Go-to Sketches Card Companion Kit. This kit allows you to make ALL 18 Doodlebug cards that are featured in Go-to Sketches. And I've got three kits to give away to three lucky winners! PLUS, each winner will receive TWO copies of Go-to Sketches! One to keep and one to give to a friend! All you have to do is leave a comment naming a new blog you discovered from this week's blog hop. All comments must be received by midnight (MDT) on Sunday, April 11.
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P.S. The sketch fun continues on Monday when we spotlight the winners from our first ever Go-to Sketch Challenge! We picked two winners per sketch, so stay tuned to see which four projects really impressed us! And if you feel like participating in Cath's Go-to Sketches Week Challenge, she's accepting entries until midnight (MDT) on Monday, April 26. Click HERE for more details!


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I re-potted several plants including this monster aloe. All of these came from one plant (the one in the back)
I mentioned that I would like to build two window boxes and Michael ran with the idea. He started off strong by going to Lowes and getting lumber, Kilz primer, and paint.
This is how the boxes look now...hahaha
Work always seems to get in the way.
I decided to put Pinterest to good use again.
I bought a couple of bags of small stones from Dollar General, (only used a small amount)
E 6000 from Hobby Lobby,
and glued them onto a rubber placemat found at IKEA (cut into two smaller circles)
I originally had a trivet in mind for this project, but it looks interesting as a centerpiece
I haven't really crocheted much. I did make two squares for the patchwork. I've been wanting to post about a pair of fingerless mitts I made a few weeks ago. I know it's practically spring so I'm not sure if I'll post that pattern or not. Let me know what you think;)
Oh, I almost forgot...I also tried a Pinterest recipe. I made crock pot chicken and dumplings and they were yummy.
For now, I think I'll finally try to get caught up with my blog reading.
I hope everyone has a peaceful upcoming week.


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Eh? Which cat nine? This one? http://cat-nine.net/
VeryCuddlyCornpone wrote:I think this place is so dead that no one is going to even see this post.
VeryCuddlyCornpone wrote:Grad school has been pretty much kicking my butt in terms of productivity at life and comics. I'm only taking two night classes but the homework for those combined with my job makes it much more difficult for me to settle down enough to draw stuff. Depressing. I really miss the days where I could make pages faster but I know at the same time that those pages were really shitty especially in comparison to what I'm now able to do. I think the best thing I can do is just have a lot of my locale/setting research done ahead of time so that when it comes time to draw a scene I already have references at hand and don't have to go searching every time I get to a new place.
Terotrous wrote:I've now finished the first draft of my second book, though it'll likely take months to edit.
JSConner800 wrote:I think it's funny how quickly the activity around here picked up as soon as someone new posted. It's like none of us want to give up on this forum, so we all just go into lurker mode periodically until something new entices us out of our burrows
So, Steel Salvation traffic is going up. We've now got likes, comments, subscriptions. We have an RSS feed and a mobile-friendly Tapastic version that's gradually catching up to the main comic. Our first antagonist has trampled onto the scene. And now, of course, we run completely out of strips and have no choice but to either take a hiatus or switch to one update every two weeks. We've all agreed that a slower update schedule is preferable to a hiatus or a "whenever it's done" approach, so hopefully this doesn't kill our momentum entirely. Steel Salvation is better read in chunks than on a page-by-page basis anyway, so I don't think our readers will mind too much.
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