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|list James E. Hopkins <espero9@...>
|Saturday, January 16, 1999, 16:42
Re: Bizarre happenings in Washington (Sheri: ta brinkiulkin dini Vashingtonan): I am NOT interested! (Ida zhoyese dzaniit onyara RA!) 1) Dinitalemyavu ra! (I did not inhale!) 2) Valayit korun zhoyit shtinuramos onyara. (My infidelity is a different matter.) 3) Dini ta zhotese ta tsigaru mishyaren. NOTES: infidelity in Druni can be applied to many matters other than marriage. There is a specific word "Shtinuramos" which means "mis-relating intimately" Smoking (the inhaling of the burnt ash of any substance into the lungs) is unknown to the Druni, it would make them very sick. So cigars are also unknown. They have borrowed the Terran word "tsigar" for this purpose. May the peoples of the Earth straighten out their political affairs! (Ta ebonu Tera savutit nalyunit korunenovon ardralafyaten!) Varem' vey Parem' Jim H ta Druntan

subset: commoncrawl


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Author: Lizzie K. Foley
Year published: 2012
Publisher: Dial Books for Young Readers, Penguin Group
Number of pages: 325
Recommended age: 8+
Child Rating: ★★★★★
Grown-up Rating: ★★★★★
Reviewed by: Renee and Danielle (Mother and Daughter)
Summary (from the back cover): In the mountain town of Remarkable, everyone is extraordinarily talented, extraordinarily gifted, or just plain extraordinary. Everyone, that is, except Jane Doe, the most average ten-year-old who ever lived and the only student not admitted to Remarkable's School for the Remarkably Gifted. But everything changes when the mischievous, downright criminal Grimlet twins enroll in Jane's school and a strange sweet-toothed pirate captain appears in town.
Thus begins a series of adventures that put some of Remarkable's most infamous inhabitants and their long-held secrets in danger. It's up to Jane, in her own modest style, to come to the rescue and prove that she, too, is capable of some rather exceptional things.
What it's about: This book is about a town named Remarkable where everybody in town is positively remarkable, except Jane. Jane is a ten-year old girl who is completely unremarkable and nobody really notices her.
What I liked and disliked about it: I liked that some people weren't really who they were and they were actually somebody else. That made the story more interesting. I liked the Lake Monster named Lucky because she was cute and it was cool that only some people could see her. I wouldn't like to be in Jane's family because everybody was always too busy and they all pretty much ignore her.
Even if it was a long book, it was not too hard to read it. I didn't like that Jane's Grandpa had to go to jail – that part of the story made me sad.
My bottom line: I loved, loved, loved this book. I think girls and boys my age and older would also love, love, love this book.
What it's about: This story centres around the experience of a ten-year old girl, Jane, who feels she is completely unremarkable compared to the rest of her community where everyone is extraordinary in some way. In fact, she is the only child in school not enrolled in the school for gifted children until the Grimlet twins (the town hoodlums) are expelled and must now also attend the regular public school with Jane. Jane's life, as well as everyone else's in Remarkable, is about to be turned upside down when pirates and lake monsters collide with the remarkable citizens of Remarkable. It will be up to Jane and her equally unremarkable Grandfather to save the day!
What I liked and disliked about it: I knew once I read the preface to the book, that I was going to really enjoy reading it. In fact, I would say that the preface is necessary in setting the tone for the book: wry, quirky, and whimsical. Foley's descriptions of the people in Remarkable, their inner thought processes, and the dialogue between characters had me laughing out loud.
Outside of Jane who is largely ordinary, each of the characters is so over-the-top outrageous but Foley describes them in such a way that you can imagine the people in your life having those same characteristics in real life – only in this book, it would multiplied by 100. For example, her busy architect Mom writes family-related action items as reminders to herself: Action Item #27: Demonstrate interest in Jane's life by asking her about school.
Even the way that the characters boast about their remarkableness is hilarious. Here is Jane's Dad offering to drive the parrot to Grandmama's house: "I could take a little break as a reward for all of the brilliant writing I've been doing on my novel today." They all talk in a similar way and talk down to Jane: Jane's sister Penelope Hope to Jane: "Maybe…you could convince Mom and Dad that you're gifted at being unremarkable. Maybe they'd let you go to the gifted school then."
But the real beauty of the book is watching the debacles of the "remarkable" citizens of Remarkable and seeing the triumph of the ordinary citizens, Jane and her Grandfather. You'll find yourself shaking your head and rolling your eyes at the "remarkables" and rooting for Jane and her Grandfather throughout.
My bottom line: This book was such a delight to read – loved it. It is aimed at 8+ (I believe). My daughter read it just after she turned 9 and really enjoyed it. It is quite lengthy and challenging for an 8/9 year old but such a great read!
** Remarkable by L. Foley was provided to us free-of-charge by the author through the Goodreads, First Reads program. **
Want to Submit Your Own Review?
If you want to submit a children's book review of this or another children's book, please click on Guest Reviewers above in the Navigation bar.
Where to Buy?
In Canada In U.S.


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Why do I have a picture of Ross Granley flying formation on this page? Why a takeoff picture? So he's formating with a Piper Pacer (half the weight, 1/3 the power), so what? What does formation flying have to do with pitch and power? What's a Snowbird? (They're the Canadian version of the Blue Angels or Thunderbirds. What's this pitch and power stuff all about anyway, and why am I making such a fuss about it?
Well, fact is there's lots of bad training going on out there, well intentioned, with a long history, but bad training nonetheless. Most folks are taught
to control airspeed with pitch and altitude with power, and lots of text books say that's the way to do it--and it almost works! EXCEPT that when you're cruising, well, then the airplane flies a little different, see, so then we'll pitch to altitude and won't worry about airspeed at all! What? But if you ever fly airplanes with a little more power, that go faster, that can generate lots of induced drag--and high sink rates at low speed--or weigh more, or if you try to fly formation that way you're going to find out that what you were told and read just doesn't work, at least not very well. So you'll become schizophrenic for a while trying to figure it out! Maybe you'll stay schizophrenic! And lots of people never do quite figure it out, regardless of what they're told or read. How come? Why can't we get this stuff straight? What's going on here?
Let's get our minds right on this, folks, and start talking the way we really fly.
Formation flying demonstrates in no uncertain terms the problems you'll have if you try to control altitude with power and airspeed with pitch. In fact, its so fundamenatally counterintuitive, you probably won't even think of trying to fly that way. Its just plain obvious: hold station with pitch, roll and yaw (stick and rudder), power to the airspeed. You don't pitch down to speed up, you add power. You don't reduce power to descend, you put the nose down (and maybe reduce power, too, depending on speed requirements). Got that?
But most of us never fly formation, so what about regular flying? Isn't it different? We're civilians! What do we care about formation flying?! Crikey!!!
OK, we're civilians (mostly). But the airplane still flies the same. Consider this:
You're cruising along, thousands of feet above your destination and several miles out--time to descend. How do you initiate the descent? Adjust pitch or power? How do you fly your desired descent profile? Pitch or power? At the speed you want? Pitch or power?
Now you're nearing your destination on a straight-in approach. How do you maintain your desired descent profile while you simultaneously reduce speed so you can extend the gear and flaps? Pitch or power?
You're on final approach. The gear and flaps are down. You want to stay on profile while you slow to final approach speed. Pitch or power? What if you find yourself slow or fast or above or below profile? What do you do then? Pitch or power?
Your destination isn't an airport--you want to fly through a barn, under a bridge or through the hole in a doughnut-shaped cloud, or make an inverted ribbon cut. Just kidding. But just how would do you do it, exactly?
Why am I asking such dumb questions? You just do it, you say?
Really? Just exactly how do you "just do it?"
Well, if any of these questions have ever entered your mind, you are not alone. We were all student pilots once and had to solve these problems--what did you decide was the proper technique? What did your instructor say? How do you do it now, now that you're a real pilot?
Next time you're in the airport bar just ask some of your pilot friends for their opinions and the argument won't just last all night, it'll go on forever!
I bring this up because the simple task of descending (and proper rudder use) seems to cause more problems and confusion than any other. There's an old saying that you can pretty well judge the skill of a pilot by just watching how she starts and taxis an airplane. Better yet, watch how she descends, either during cruise or on approach. Does she have a plan? Is the descent smooth and at a particular speed? Or does the descent proceed as a series of pitch, power and speed changes that just don't seem to have any particular point?
I've been going to FAA Flight Instructor Clinics for more than thirty-five years. At every clinic I've attended, at some point one of the Clinic Instructors will ask: "What controls airspeed? Pitch or power? Who says pitch?" About one-third of the hands go up. The next question is, "OK, what controls altitude? Pitch or power? Who says power?" Again, about one-third of the hands go up. The remaining one-third who didn't raise their hands in response to either question are hedging their bets or just don't know. In both cases at least one-third are wrong! Two-thirds are wrong or just don't know! These people are all flight instructors, the folks we rely on to teach us how to fly, to check us out in new airplanes and give us Biennial Flight Reviews. They're supposed to know how to control airspeed and altitude, how changing pitch or power affects the flight path and/or airspeed. Yet fully one-third don't even want to hazard a guess and another one-third give the wrong answer, assuming there is a correct answer. Can two-thirds of the flight instructor community be so mistaken and/or confused?
Unfortunately, the answer is "yes." Unbelievable! How can this be? Stupid, student pilot questions, you say? Then why so many different answers from people who are supposed to know what they're talking about? How did this sorry state of affairs come to pass?
As we look back on just over one-hundred years of controlled, powered flight, a couple of facts stand out, to me anyway. First, the great discovery the Wrights made was that airplanes are not boats and the rudder doesn't make the airplane turn (at least not very well). More on that , later. The other outstanding fact is that most privately owned and flown airplanes—like the ones you and I fly—have made major advances in handling qualities and engine reliability, especially since World War I. Yes, you got that right: World War ONE. That was a long, long time ago. But people still want to fly like its still 1917 and nobody really knew how this stuff worked, at least not very many did, and they didn't get much attention--and still haven't! Not much has changed with airplanes in a long, long time. That was the whole point of Lindbergh's 1927 Atlantic crossing: airplanes are safe, the engines are reliable, flying is a science, not black magic only mastered by a few initiates. Good Grief!
The Wright brothers had it figured out! So what went wrong? What changed between the Wright brothers and WWI, then and now? Or did they?
Some things haven't changed, not even since before the Wrights. Folks still confuse airplanes with boats. To this day, most pilots still try to use the rudder to "turn" the airplane. They won't tell you that, but that's how theyfly. And they still say they have to fly as though the engine might quit at any minute—emergency field in sight! Just ask 'em! Of course, we don't reallyfly that way! And we still think we can make airplanes levitate by using a little Body English (pulling back on the stick) to make them clear the trees at the end of the runway on climbout or approach.
Sadly, the FAA started requiring BFR's back in the 70's because we weren't flying as well as we talked. We talk a good line (or think we do), but we don't fly so well. Those of us who are CFI's (who get to give you those Biennial Flight Reviews) know there are lots of pilots lacking basic proficiency, regardless of experience. The rudder is still a big bugaboo. The interplay of pitch and power, altitude and airspeed is another serious problem. A high percentage of us talk one way, fly another and can't discuss it rationally at all. Just like those CFI's who don't know what controls altitude or airspeed!
Sometimes on a BFR or checkout I'll say, just for fun and to break the monotony of basic maneuvers, something like, "Hey! Let's fly through that barn door down there!" Or, "Hey! Let's fly under that bridge!" At first, of course, they're shocked. Shocked! Am I serious? Do I really want them to do something crazy and probably illegal? "Yes!" I say, "Just make like you're really gonna do it, and we'll break off at a reasonable altitude, so it'll be OK, nothing dangerous or illegal. And, just to make it interesting, when you go through the barn door or under the bridge, let's be at cruise airspeed or maybe approach speed. Just for fun."
And I am serious. So we try to do it. And try...and try...
They never have a clue how to do it. Not a clue. Not with both hands! Amazing! All you have to do is do it, right? Isn't that what you said? Go back to the opening paragraphs above. Just exactly, how do you do it?
One of my favorite and probably one of the best known "how to fly" books is Stick and Rudder, by Wolfgang Langewiesche. First published as a series of magazine articles in the late 1930's and then as a book in 1944, it's been in continuous publication ever since, more than sixty years. I read it when I was a student pilot and I've recommended it to friends and students for years. Written on the cusp of the change from biplanes to Piper Cubs, Taylorcrafts and WWII, it deals with questions that were problematical for pilots in the 30's and 40's and are still problems today. Yes, there have been many improvements and advances in the last sixty years, but the airplane control problem remains the same. We still have trouble with that Stick and Rudder.
Although there is a lot of attention given to new avionics and the utility of business and on-demand flying--meaning IFR--the fact is, most of us fly in VFR conditions for purely recreational purposes. We fly because it's FUN! The continuing popularity of fifty and sixty-year-old (!) airplanes, the proliferation of homebuilts and now Light Sport Aircraft should come as no surprise (and doesn't--even to the FAA--they're not stupid, either!). As we all know, the love of flying and money in the pocket don't necessarily go together. $200K "basic" new airplanes (say "172") notwithstanding, glass panels and all, almost all of the general aviation fleet is well over thirty years old, equipped and flown by pilots qualified for VFR flight only and priced at a small fraction of the cost of a new plane. New aircraft prices have risen at whole multiples greater than the rate of inflation over the last thirty years, vastly exceeding the increase in wages. No wonder they don't sell so well. So, despite rapidly dropping avionics costs and wonderful improvements for IFR flying, most of us are still flying the airplanes our fathers flew, pretty much just like Grandpa did back in the 30's--VFR, needle, speedle and airball--navigating by looking out the window. Biggest difference is we don't much have a finger on the map anymore, now we have GPS to guide our way to the $100 hamburger. Secret: A glass panel is still connected to, you guessed it! Stick and Rudder!
Airplanes today still fly pretty much the same way those Langewiesche wrote about all those years ago did, and we still crash and get killed and kill family and friends just like they did then, mostly approaching and departing the airport.
Because we still use the rudder to turn and can't figure out how to keep the airspeed or descent path where we want them to be. Basic Stick and Rudder stuff.
Not much new you can say about that other big killer, uncontrolled flight into bad weather and the rocks therein, or mechanical failure, either, except that mechanical failure almost never happens any more.
So, what's noteworthy about Stick and Rudder that makes it such a perennial favorite? First, it's about flying, not about rules, weather, navigation or the latest avionics. Second, and most important, Langewiesche got it right.
But, I have a bone to pick. My complaint isn't about the book's content, it's about emphasis and over-simplification. It's about the change in the flying mindset since he wrote the book and the mind-set pilots had then and the mind-set we have today. And I have a complaint about the FAA's misleading questions about pitch and power.
OK, so what's in Stick and Rudder and countless other "learn to fly" books that's problematic. If he "got it right," what's wrong?
Langewiesche makes two major points, whole chapters worth, that have been misleading pilots for generations. The first: pitch to airspeed. The second: power to altitude. Sound familiar? Was he wrong? No. But it's only true in some situations.
Plus, you don't fly a 172 or Cherokee or a 747 the same way you would fly a 1920's Waco or Travelair, or even a J-3. We've come a long way since biplanes, A-65's, Hisso's, Liberty's and OX-5's, romantic nostalgia notwithstanding. Even if the basic principles are the same, we've learned a lot about how to fly safely in the last sixty years.
Not many of us have flown pre-WW II biplanes, or pre-WW II monoplanes, either. Too bad you didn't fly my 1939 Fairchild F24R9 with that sweet running Ranger inverted inline 6-cylinder engine when you had the chance, partner! Now she's gone, gone, gone! Oh, well. Yes, there are still lots of Fairchilds, Waco's, Travelairs, J-3's and Aeronca Champs around, but most of us are flying Cessna 172's, 182's and Piper Cherokees. There is a big difference between an old biplane and a J-3, both with no flaps, and a 172 or Cherokee.
Langewiesche was writing for pilots whose mental concept of an airplane was a biplane that had the glide ratio of a manhole cover, had no flaps and was powered by a genuinely unreliable engine. If not a biplane it was one of them newfangled little J-3's or T-Crafts that glided pretty well..."but you never can trust that engine!" Really? When was the last time you had an engine quit? Maybe they were thinking about those Rotary engines that had two throttle positions: off and on. To make it even more interesting, Langewiesche was a test pilot for ERCO, manufacturer of the Ercoupe, the airplane with a brake pedal where the rudder pedals usually reside, so he had an even different take on this stuff. You sure don't fly an Ercoupe (or Aircoupe) like you fly a Curtiss Jenny or like you fly a 172 or 747...
A few other things: some that haven't changed and others that have that are the real reason for the emphasis and over-simplification. Ever read your Pilot's Operating Handbook? Do you have a copy in your airplane or flight bag? Good for you. Sixty years ago there was no requirement for a POH, so not all airplanes had them--and they were pretty basic, at best. I've flown old airplanes with a single sheet of paper called the "Flight Manual." Even my old B-17 and B-29 flight manuals are only about the size of 172 POH. That didn't change (for us civilians) until the 70's! Another thing that hasn't changed: Ever try to go to some short, narrow, one-way in and one-way out, high elevation runway in a canyon in the mountains on a hot, windy day, without mountain flying training? Try to take off from a short runway loaded way over gross or out of CG? Use Body English (pull back on the stick) to get your 40hp (or 300hp) airplane to clear those trees at the end of the runway? Of course not! But people did/do and the results are the same now as sixty years ago.
Look: 99 and 44/100% of accidents are the result of Pilot Error, Dumb Pilot Tricks. Basic Stick and Rudder stuff. Mechanical failure almost never happens any more.
So, let's put Langewiesche's book in context: In the 1930's and 40's there were still a lot of pilots around who had been flying airplanes with genuinely unreliable engines and had received what can only be described as haphazard flight instruction. And they just loved Dumb Pilot Tricks! Not like today? Really? We've still got the same old favorites. Classics "jokes" like: "Wanna go up? Pitch up (but don't add power). Wanna go down? Pitch up some more!" Ha ha ha! Even during WW II, the military had lots of misconceptions about how to fly. I guess that's why more pilots were killed in training than in combat! Then, as now, most fatal accidents were the result of an inadvertent stall and subsequent spin to the ground while departing or arriving at the airport. It was such a big problem (and still is) that it caused the design, operation and maintenance of aircraft to change, by law. That's why we have the FAA, BFR's, FAR's, licensed pilots and mechanics and "certificated" airplanes. It led to "rudderless" airplanes like Ercoupes, interconnected rudders and ailerons, wings with "washout" and much more reliable engines. Nosewheels, too. All Good Stuff. Waldo Pepper had to get a license to fly! That's why Langewiesche wrote his book.
To give him proper credit, he notes that those techniques only apply to certain situations (mostly only on takeoff and emergency landings) and don't usually usually apply to higher powered, "modern airplanes" ("Army pursuit ships") or to situations where power is available and variable, especially on approach. But that's in the fine print. The bold statement is power to altitude, pitch to airspeed. Sometimes that's right, especially when the power is voluntarily fixed at full throttle like on takeoff. But he doesn't distinguish between takeoff and approach. And then he goes on to say that you can pitch UP to descend to the glide path! Yes, it works, in some circumstances, and is a fun little exercise in flight path control, but it's a crazy idea if you're trying to make a stabilized, power-on approach in an airplane with flaps, like you normally would in a 172 or Cherokee or a 747. And he says as much in the fine print. You don't fly a takeoff like you do an approach, most of the time.
He's talking about 1) making approaches while flying biplanes or J-3's with no flaps; and 2) assuming that everyone adheres to the crazy old notion (like lots of pilots did then--and even now) that every approach should be the same as for an emergency landing, namely, POWER OFF, because that OX-5 might just quit when you need it most!
We aren't flying those kinds of airplanes or engines much any more. And we don't usually do power off landing approaches, either. Not even in J-3's or old biplanes. Langewiesche was a test pilot who enjoyed and got paid to explore the flight envelope (me, too). He wasn't suggesting you should fly that way all the time!
He's trying to correct some old notions about flying and show you that variations in airspeed have a serious effect on airplane performance, especially at LOW airspeeds like takeoff and approach, and trying to keep you from having a stall-spin accident on takeoff or short final. Spot ON! But let's put things in perspective--we just don't fly like that most of the time, especially on approach.
So what about the FAA's question? What's the correct answer? And what's misleading about it? Here's what the FAA tells us CFI's at those clinics:
"When power is available and variable, pitch controls altitude and power controls airspeed." If that comes as a surprise, you and/or your instructor were one of those two-thirds who didn't read the fine print in Stick and Rudder and/or just doesn't believe what the FAA (and Langewiesche) has been preaching for many, many years.
Just like Langewiesche, they're over-emphasizing a simplistic point to drill home a basic concept. Fortunately, the Feds aren't stupid and have gotten it right at the CFI Clinics. And they've almost got it right in their latest "how to fly" book, the Airplane Flying Manual, but in print they still emphasize controlling airspeed with pitch--the opposite of what they tell us CFI's! That's only correct part of the time. Like Langewiesche, they'e trying to make a point and keep you from having a stall-spin accident on climbout or the turn from base leg to final approach.
They're rhetorical questions (and answers) intended to make us think!
Here's the actual, complete facts, acknowledged by both Langewiesche and the FAA in their books and at CFI Clinics, and the military and the airlines, too:
You can't change pitch OR power without affecting BOTH altitude AND airspeed!
But most of us still have it backwards because we don't read the fine print! And old dogs just won't die!
Here's a few more little situations for examples:
If you're cruising along and notice you are fifty feet below (or above) your cruise altitude, do you pitch to the desired altitude or adjust power? I'll bet 99% of you will answer, "pitch to the altitude." Of course. You won't even think about changing power. Just like the FAA says, you'll pitch to the altitude. Works pretty well, too. Maybe a skosh of power adjustment just to speed up the process and keep the airspeed from dropping while you climb.
Here's another one: If you're close-in on approach and get a little slow, will you pitch down or add power to accelerate back to your target speed? I can just see it--a bunch of you will hem and haw, squirm around and qualify your answer because close-in you're pretty low, but then say "pitch down." And then defiantly add that you have to add POWER to get back on the vertical profile!
Well, you got that partly right--but you got it BACKWARDS!! You'd better add POWER, partner, to speed up, and simultaneously pitch down to stay on profile!
Why do I agree you need to "pitch down"? Because when you ADD POWER to speed up, the airplane is going to PITCH UP all by itself. So you push forward on the stick to pitch down (actually, to keep the airplane from automatically pitching up) to stay on your desired flight path. I think maybe you and/or your instructor read Stick and Rudder and didn't notice the fine print!
Did your instructor keep telling you to add power if you were low and to pitch down if you were slow? Wrong! Even if it seems to work most of the time! You just haven't been paying attention! You got it backwards!
Here's another situation: You're on an ILS approach and a little above the glide slope. Will you reduce power or pitch down? A lot of you will say "reduce power." OK. Reduce power—here's what's really going to happen: The pitch is going to change, too, all by itself, while you're not looking. The airplane will pitch down, all by itself, so you descend, because your power reduction caused the airspeed to drop, resulting in the trim trying to maintain equilibriun (by maintaining trim speed), so the airplane pitches down and you descend to the glide slope! You got it backwards, again! But only in your mind, because your power change caused the airplane to pitch down SIMULTANEOUSLY, all by itself, causing you to descend to the glide slope. Got that?
Here's the magic part you forgot about: When you reduce power the airplane will pitch down all by itself! The airplane is maintaining designed and riveted-in trim equilibrium. Voila! You descend! You think it was because you reduced power, but it was really because the airplane pitched down all by itself in response to your power reduction! The FAA requires airplanes to fly that way! If you ADD power the airplane will automatically pitch UP to maintain trim. That's why you find yourself pushing forward on the stick when you add power on short final--to keep from pitching up too much!
Here's the exception the FAA and Langewiesche were writing about and trying to drill into you so you don't get yourself killed: When you're CLIMBING with FULL POWER and want a particular climb speed (like Vy--best rate of climb--or Vx, best angle of climb), or have an engine failure--NO POWER AVAILABLE--and are trying to maintain proper approach speed on short final to that farmer's field, YOU HAVE NO CHOICE but to pitch to the airspeed. Those are the times the power's not available--no power if the engine has quit--or its not variable because you're already at full power and want a particular performance speed! Of course, you probabaly have drag and lift devices you could use, like flaps, that affect airspeed, too, and you could even slip to add drag to slow down on approach or to prevent acceleration on a steep approach. But they're trying to keep it simple. Of course, we know better--we've got lots of options.
As long as the engine is running, climbout at full throttle is the ONLY time you really have no choice but to pitch to the airspeed. At cruise you pitch to the altitude, set the power and take whatever speed you get. Yes, I know the airlines and military will sometimes adjust speed (by adjusting power and pitch) to make schedule, especially flying Air Force One, and gliders, especially when racing, are sometimes flown at particular performance speeds while "cruising" by adjusting pitch (no power to adjust--only gravity!) But those are exceptions that don't apply to most of us, most of the time.
Can you pitch to the airspeed? Yes, but it'll affect your altitude, too. Can you power to the altitude? Yes, but pitch will automatically change, too--the real cause of the altitude change--it's imprecise and doesn't necessarily provide immediate results and will likely lead to Pilot Induced Oscillation as you fight the power to set the altitude. That's why it has never enetered your mind to power to altitude or pitch to airspeed at cruise.
But when it comes to making a descent or an approach we become confused and tell ourselves we need to pitch to the airspeed, like we did on initial climb-out, and power to the altitude. Wrong!
In fact, we use both. We pitch to the altitude and power to the airspeed, SIMULTANEOUSLY! You can't change one without affecting the other!
If you pitch up to climb without increasing power, your speed will go down. If you add power without adjusting pitch (down), you will climb because of the increase in airspeed and the airplane's built in trim equilibrium that causes it to pitch up. If you extend the landing gear or add flaps you will increase drag, the opposite of adding power, reducing your speed, the airplane will automatically pitch down and you'll descend unless you pitch up to compensate.
Of course, there are always what seem to be exceptions. Every airplane requires a slightly different technique, for a variety of reasons not related to the basic principles we're talking about. For instance, just to make it interesting and confuse you, lots of airplanes, high-wings especially, will give an initial un-commanded pitch up and/or climb ("balloon") with flap extension, giving you a further reduction in speed and putting you above your intended vertical profile unless you pitch down to compensate. That's because the flap extension temporarily added lift (hence the climb) until the increased drag could slow you down.
Regardless, HERE'S THE MAIN THING: If you get low and slow with gear and flaps extended you'd better pitch up to get back on profile AND add power to maintain or accelerate to your desired speed.
Pitch OR power? It's a rhetorical question designed to stimulate thought. It's almost never just one or the other, except on initial climb-out and during cruise, when the power is usually fixed, voluntarily. "When power is available and variable, pitch controls altitude and power controls airspeed." That's right, but usually it's done simultaneously, not just one or the other. If you're low or slow or high or fast, you pitch to the altitude and power to the airspeed at the same time. Fly the descent profile at the proper speed with pitch and power. Descend from cruise by pushing the nose down to the desired descent profile and adjust power to get the speed you want. To decelerate on approach, pitch to the desired descent profile and reduce power to slow to the desired airspeed. You also use the flaps and landing gear to add drag and reduce speed. Need to slow some more? When the gear is down and flaps fully extended, pitch to the altitude and simultaneously power to the airspeed.
It's usually not an "either-or," it's a "both-and." Even in gliders, on descent and landing you automatically pitch to the vertical profile and extend or retract drag devices (landing gear, spoilers, dive brakes, flaps) to control airspeed, simultaneously. Even if you're telling yourself it works the other way.
So... Next time you're flying along and think you want to fly through a barn or under a bridge, or want to make an inverted ribbon pick-up, simultaneouslypitch to the altitude and power to the airspeed. Nothing to it, really. Piece of cake.
One last thing. You think this pitch and power stuff is just nit-picking? Details? Then why are there so many stall-spin accidents? One of my high school science teachers was killed, and his whole family, too, in a takeoff stall-spin accident. Pretty important detail!
There's one more detail: What about that rudder?
Aerobatics are fun--in the right place at the right altitude. Remember this: you can't do spins or snap rolls with the ball in the center, no matter how hard you try. Repeat: you can't spin with the ball in the center. Let me put it this way: No matter how much you want to really impress your friends by making that low altitude turn to final with lots of rudder and opposite aileron so you can do that quick little snap roll into the dirt, it just ain't gonna happen if you keep the ball in the center! NO WAY!!! Which just means don't use lots of rudder and opposite aileron on that turn to final--keep the ball in the center which means NO UNEXPECTED SPINS!!! There are better ways to impress your friends. And you won't spin if you stall on climbout either. Keep the ball in the cage!!!
Spins and snap rolls are lots of fun, but not if you're not expecting them and you're too low to recover.
Langewiesche knew all about the rudder and that its misuse can be deadly and gives it plenty of ink in Stick and Rudder. He wasn't a test pilot for nothing. But sometimes you need to read the fine print to pick up on the point being made. Pitch to altitude, power to the airspeed, TOGETHER.
One more thing. Did your instructor tell you to clear the area before you started any maneuver? Tell you to look before you turn? It's right in the Practical Test Standards—don't do clearing turns and you'll fail the check ride. Yes, it's a good idea to look before you leap.
But while and after you look, you'd better pay attention to what else you're doing. Any time you're transitioning from straight flight to a turn or vice versa, bring your eyes back inside the cockpit and notice where the ball is and what you're doing with pitch, altitude and airspeed. Get the ball in the middle! Check the airspeed, too! Watch that rate of climb and the altitmeter! Make a smooth roll into the bank, ease back on the stick to keep from losing altitude (remember, that G-load you feel in the turn is the extra lift needed to both turn and maintain altitude). Then you can concentrate on bank angle and altitude without having to correct for that big descent or zoom you made while you were looking out the side window and not paying attention to what you were doing!
Fly a stabilized approach with the trim properly adjusted so you don't have to fight the airplane all the way to the ground! Give yourself enough room on base to get stabilized, room enough on final to make adjustments and get stabilized. Then sit back and relax! And keep that ball in the middle when you turn! If you're not comfortable, GO AROUND! Don't force it! Don't get fixated on the runway—scan the panel, too! Pitch and power, ball in the center!
And remember, the Wright brothers were right! Airplanes ain't boats! And that's about 99% of all you'll ever need to know about flying airplanes.
See you at the airport bar--next round's on me!
Best regards,
Jerry Painter
Wild Blue Aviation
Hangar 28
18228 59th Dr. NE, Arlington, WA, 98223 USA
Arlington Municipal Airport (KAWO)
phone 425-876-0865
email firstname.lastname@example.com
Ex-Canadian Snowbird Ross Granley in his Yak-18T, taking off in formation with a Piper Pacer!
Ball in the Center!
Pitch or Power? Stick and Rudder!


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Currently browsing: Spirituality
The Fulfillment of All Desire: An Interview with Dr. Ralph Martin
Ten years ago, when Dr. Ralph Martin published The Fulfillment of All Desire (Emmaus Road Publishing, 2006), he thought he would produce a helpful guide to the Catholic spiritual tradition that perhaps a few thousand people would use. Little did he know it would become a modern spiritual classic. The book is one of the bestselling Catholic books of our … Continue reading
The Hidden Division
Today I'm over at Ignitum Today discussing the one thing all evil has in common: Tomorrow's Gospel recounts Jesus healing a demon-possessed man, and while reading it I was struck by one word: Us. In the passage a demon screams out to Christ: "What do you want with us, Jesus of Nazareth? Have you come to destroy … Continue reading
6 Ways to Create a Portable Monastery
My latest piece at Ignitum Today: I'm a husband. I'm a dad. And I'm confident in my vocation. But that doesn't mean I'm not drawn to the monastic life. The rhythms of prayer and work, silence and liturgy, study and service beckon like an enchanting voice from another world. I'm sure part of it is the whole "grass is greener … Continue reading


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Interventional Pain medicine (PM&R or Anesthesiologist)
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Creating Optimized Content for your Blog – Teaching Web Marketing to Artists
This is a schematic representation of how you should go about creating content for your blog (or website) – let me give you some insight on how to go about doing things …
Being the expert you are on your activity you'll certainly have a lot of things to say, it's only a matter of getting them organized in your head first, then on paper and finally under the form of a post (you'll be very proud of yourself once you produce your first post).
Writing for the web calls for some additional attention: normally we are used to suppressing word we believe are "unnecessary" because "it's understood" … but if a search engine is listening, things change.
Search Engines do not understand our intent – either we say them or we don't – if we don't then we probably missed an opportunity to use a keyword someone may use to query the search engines and identify websites just like yours. Thats' why it's important not to leave words to imagination.
Searching is a unique way of representing our needs and expectations. As I have recently stated during a presentation at the International Search Summit in London late last year (November 2008):
Keywords are a state of mind
You can easily anticipate just how different each and every one of us use the search engines to find what we define as relevant websites. So how can you identify which words people are using ? There are 2 different paths to follow, depending on where you are in the process of creating your blog.
Starting a new blog
Starting a new blog is challenging also in identifying appropriate keywords that best fit the search patterns of your potential users. Rest assured your readers search habits will differ significantly from yours because:
- you are the expert and master of a vocabulary typical of the expert
- you readers are not experts and struggle to identify words representing their needs
You need to rely on tools such as the Google Keyword Tool or other similar ones.
What can you do with a keyword tool analyzer ?
You can identify relevant phrases used by people interested in your products and services. You'll be surprised to see just how articulated and diversely people can search. By doing so you can focus on those keywords that are relevant to your business with less competition, and in turn increase significantly your chances of ranking well on the search engines.
This is your first go at things.
The best tool to identify great keywords for our blog is your blog itself: use your blog to do some simple research and identify which keywords are sending traffic. There are some cool tools to do this – the one I like most is hittail
Write your posts and use the keywords you identified using these tools. Remember to use them every time there is a relevant opportunity to do so.
Don't exaggerate with keywords.
Read your post once you've written it – if it doesn't sound right, don't publish, make corrections, you're writing for your readers AND the search engines.
Don't forget to write descriptive and compelling TITLE TAGS and META DESCRIPTIONS (remember I gave you all the information in my post on WordPress Plugins).
Research your keywords
Finding new keywords is a relentless effort – the more you put into this activity the more traffic (and orders) you get back. It's that simple.
Finding new business opportunities happens every day online: trial and error are your allies in this never ending keyword discovery game.


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Linking to anchor tags
I'm building my first CD project and haven't been able to find a way to link to an anchor tag on an internal site page.
Carmen Carter
It's do-able. Read Marktaw's method on this topic:
What's wrong with this? -
John Topley (www.johntopley.com)
The standard HTML way of doing it works; there are no UI niceties to help you. In HTML view, create an anchor  then link to it like this  from the same document or like this  from another document.
David Burch
Carmen Carter
Carmen Carter
The only additional suggestion I have is to define a variable as , but for unique anchors the user would have to edit the "foo" in HTML View. But if it's a generic sort of anchor tag, like "top" or "newcontent" multiple anchor variables could be defined.
I wish that all valid possibilities for each supported HTML tag were offered by the CityDesk UI. I have also run into this problem with the image tag, wanting to add a CSS class or change border=0 to border=1.
David Burch
Fog Creek Home


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Nipuju dating dating tips for women from a man
Bush's choice of Trek is hardly surprising, given that the company is one of the world's biggest manufacturers of quality bikes and its president, John Burke, is a member of the President's Council on Physical Fitness. "=20 The Chicago Sun-Times then reported that Chicago's Democratic mayor, Richard M. Daley's remarks and sent them out as an attack e-mail under the headline "They said it! Kerry took his own fall from a bike on May 2 after he hit a patch of sand on a two-lane road in Concord, Mass. Finally, let's look at bike-riding performance.=20 Mr. Bush typically mountain-bikes 15 to 20 miles for an hour or an hour and a half at a time, either at his ranch or at Camp David. Bush also rode the course at a Secret Service training facility near Beltsville, Md., where he could be seen at a distance in a group of up to 10 helmeted cyclists, trailed by a van and an ambulance. Kerry, meanwhile, has covered up to 100 miles a day on his road bike in some charity rides.Trek's sponsored athlete is Lance Armstrong, the five-time Tour de France winner from Austin, Tex., who presented his friend the president with a Trek bike at the White House in 2001. Burke is a Republican, since he declined repeated requests for an interview. Kerry won the election, he said, "we certainly would not be disappointed." Mr. Daley - who ripped the skin off his kneecap in a bicycle accident a few years ago - had scolded Mr. So far that is the only public sighting of the president astride a bike, making it hard to gauge his proficiency. Bush in his -mile days are now busily training on stationary bikes in the Eisenhower Executive Office Building gym, and complaining of sore muscles after their intense workouts with Mr. "John's a very fit rider for someone 60 years of age," said Clint Paige, the president of Wheelworks, a company of Boston-area bike shops where Mr. Of course, comparing road biking to mountain biking is like comparing Democrats to Republicans.But it could be determined that Ben Serotta, the maker of John Kerry's road bikes, is politically compatible with one of his most famous customers. Serotta said in a telephone interview from the headquarters of Serotta Competition Bicycles in Saratoga Springs, N. Kerry owns two road bikes from Serotta, a niche manufacturer that serves a high-end market. "It's a much different type of exercise," said Stephen Madden, the editor of Bicycling and Mountain Bike magazines.
First, look at the candidates' choice of bikes.=20 Mr.
Bush keeps a Trek Fuel 90 at his Texas ranch, the site of his tumble on May 22.
The Fuel 90, one of the snazzier of Trek's mountain bikes, retails for more than $1,500. Bush also rides a Trek, but picks it out from the fleet of more ordinary $250 models available to guests.=20 Mr. Kerry's reaction rapidly coursed through political cyberspace. Kerry said to reporters in what he believed was an off-the-record remark, "Did the training wheels fall off? The Republican National Committee then seized on Mr. Bush had no reaction, at least none that we know of.
What it did not know was that over the past three months the = 57-year-old=20 chief executive, sidelined from the fast track with runner's knee, has = become so=20 consumed by mountain biking that he now rides at least an hour a day on = most=20 weekends, and monitors his heart rate with a wrist strap during = workouts. Bush typically mountain-bikes 15 to 20 = miles for=20 an hour or an hour and a half at a time, either at his ranch or at Camp = David.=20 This past Saturday, Mr.
(Mr.=20 Bush reported through his press secretary, Scott Mc Clellan, that he = sometimes=20 gets above a chest-thumping 160 beats per minute.) As it happens, a certain 60-year-old Democratic presidential = candidate is a=20 serious biker, too, although more often road bikes. Kerry=20 sometimes takes his bike on his campaign plane, and during days off = takes=20 two-hour jaunts along the Charles River in Boston. Bush also rode the course at a Secret Service = training=20 facility near Beltsville, Md., where he could be seen at a distance in a = group=20 of up to 10 helmeted cyclists, trailed by a van and an ambulance.


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Aside from my imminent graduation date, another thing that I can reflect on is how I've managed to get to this point in time without having to give up eating out; the occasional new outfit; concerts; theatre and ballet; or travel… That is, without the need to sell my body on the streets, get a sugar daddy, or auction off my non-vital organs on the Black Market (I'm not knocking it, I just wouldn't personally try it). There are times where I've wanted to just bite the bullet and not spend any money in order to avoid working while going to school — and I actually did do that during my third year — but it just doesn't work out very well. Thus, I came to the conclusion that I simply would have to find a balance between working enough to have the money to do the things I wanted to do while also leaving enough time for classes; readings; and studying. Sounds simple enough, right?
Well, it's true. It is simple enough: it's not very difficult to manage your money for your own personal spending (and still save a decent amount of your earnings), so long as you have OSAP to keep you going in regards to your tuition and in some cases, rent. I'll admit that it's significantly easier for me because I don't have to pay rent (I live at home) or tuition for my undergrad (my parents are splitting that). I also know that reality is going to hit a bit harder next year when I'll be paying for both of those things in addition to my "extra curricular" Emily-prescribed necessities.
That being said, I'm still going to discuss my ability to balance work and school stresses. First and foremost, school has to remain the most important, the main focus, otherwise all that money you're saving up is going to be pointless; you won't have a degree to show for your effort in the end if you fail out of your program.
One thing I can say now, is that I love my part-time job and I also love school (almost entirely because I'm so close to graduating, if I'm being completely honest), so that makes the work/school balance infinitely easier. I'm not hating my current situation in the slightest. I'm lucky to be in this position now, but up until the 2016/17 school year, I was working part-time jobs I didn't exactly love during the school year, waiting until I could get back to my summer student position in the corporate world for the four month summer break. Because I'm currently a weekend receptionist, this means that most weeks I'll not be scheduled Monday to Friday, unless covering a vacation or sick day of the weekday receptionist, or as guest services on the floor during the busier times of year. This actually works out for me, because both the busier times and vacation times typically fall on weeks when I'm on break from my classes.
While at my current job, I read my textbooks and study for quizzes and exams in between answering emails and phone calls. It helps me get even more ahead of my classes than I did in previous jobs, where I was constantly on the floor interacting with customers for my entire shift. Whether or not I am able to steal some time to have that extra bit of studying or not, I still allocate the same amount of time for it outside of work/class time: at lest three hours per course that I'm taking in a given term, plus an extra hour per course because I get easily distracted. Any spare time I get beyond that to study is just a bonus for my GPA.
Ultimately, if you feel like you're genuinely struggling with your grades and can't work many shifts without your grades significantly suffering, don't be afraid to ask your manager to cut down the number of days that you come in to work. Like I said before, while you're in school, your grades come before your job.
How do you balance your work and school life? Let me know in the comments!


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Human rights activists say an Iranian former child bride, whose execution was delayed while she was pregnant, could be executed in the coming days.
Zeinab Sekaanvand, a 22-year-old Iranian-Kurdish woman, was convicted of killing her husband, whom she says beat her for months.
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The Upstream Theater at the Kranzberg Center, Grand and Olive, St. Louis
Sweet Revenge
Ran Oct 6 – 22, 2017
Reviewed by Joan Leyden
From the celebrated 19th century Polish playwright Aleksander Fredro comes his most popular work, Zemsta, a comedy in verse. Now titled Sweet Revenge, this sophisticated comedy reappears in a sparkling translation by Philip Boehm, who also directed this production. He calls it "a sympathetic satire" and, indeed, it is brimming with wit and warmth in his hands.
Adding an additional conceit to the evening, we are to pretend that this is a production of the Slowacki Dramatic Circle in the 1930's, a real St. Louis company. At the outset, we are prompted to stand for the Polish national anthem while company members peer out at us from under the curtain! It gets better. It turns out that the most thoroughly engaging performance of the evening is that by John Bratkowski, whose family was active in the Slowacki group. (More about him later.)
The plot of the play concerns the long-standing dispute between the aging owners of a castle's two halves, Czesnik (the volcanic old soldier), and Milczek (the hypocritical notary). These sworn enemies, fallen on hard times, are presently busy warring over a wall and concocting schemes to outdo the other. Czesnik desires a marriage with the wealthy widow Podstolina and sends the impoverished nobleman Papkin to plead his case. The wedding is arranged, but meanwhile the crafty Milzcek plots to wed his son Waclaw to the widow instead. The lusty Podstolina agrees to his plan as she has set her sights on Waclaw. Poor Waclaw, who passionately loves Klara, Czesnik's ward, is consumed with anguish, while the jilted Czesnik works himself into such an extraordinary state of apoplexy that it seems as if he might unscrew his own head.
All is in chaos -- the young lovers at risk of separation, Papkin convinced that he has been poisoned by Milzcek, and Czesnik about to implode. But at the last moment the old fellow has a stroke of imagination instead, and generously saves the day for everyone. This short version of the plot only hints at the hilarious emotional encounters of these characters – gleeful spite, ardent wooing, outrageous posturing, unbridled lust and violent swordplay – all enacted in a farcical style that will set you weeping with laughter.
In the role of Czesnik, Whit Reichert is at one moment a general vainly trying to summon his "troops," a man trapped in agonized frustration, and someone's dear old uncle. His apoplectic fit near the end of the play is one of the funniest pieces of acting I've ever seen.
Meanwhile his nemesis, Milczek, as underplayed by John Contini, seems an exact opposite. The tall, slender Contini is a comic Machiavelli, an unscrupulous schemer working to undo Czesnik. The scene in which he attempts to construct an assault and battery case against his enemy out of the wounded little finger of his mason could be right out of Moliere.
As his naïve young son with a surprising past, Pete Windrey is ardent and charming in his attempts to capture the hand of Czesnik's pretty ward Klara. In a passage of lyrical beauty Winfrey suggests a real talent for such material and has a natural gift for comedy. He is very effective in this role. Klara, is played by the striking Caitlin Mickey, who displays flashes of real temperament and considerable wit and feminine cunning.
In the role of the lusty widow Podstolina, Jane Paradise is all one could hope for. With her dark good looks and her awareness of her womanly charms, she moves through the play with great style and subtlety. Her unabashed seduction of young Waclaw is extremely funny, a kind of impromptu Apache dance, from which the young man struggles to escape. Ms. Paradise is an accomplished comedienne and sounds all the notes in her character's repertoire, especially those in her siren song with Waclaw.
Supporting all the developments in this onrushing plot is the talented Eric J. Conners in three small roles (the majordomo, the cook and the mason), a small stock company of one!
Which brings me to the outstanding characterization in this consistently pleasurable evening – John Bratkowski's Papkin. Looking a bit like a battered Nutcracker in his ill-fitting, overly large military coat, long, long sword at his side, he stands before us, the braggart courtier, down at the heels, but head erect, having shed all the unpleasant qualities of his Roman/Italian literary ancestors (the Milos Gloriosus and Il Capitano). This is a character to love. The wildly extravagant stories he spins in which he is always the hero are his gift to us, his colorful, imaginative take on the world as it could be, and when it is discovered that his tales are untrue, he seems almost surprised! It takes little to make him happy -- a decent glass of wine, a few coins, a smile from a pretty girl. Playing the go-between with great esprit and generosity, he involves himself in everyone's intrigues, only to be convinced by evening's end that he has been fatally poisoned by Milzcek. In the last few minutes of the play while the plot spins to a conclusion around him, he struggles to write his Last Will and Testament, even as the desk on which he is composing it is constantly snatched from under him. In a beautifully realized performance, Mr. Bratkowski captures the vulnerability, the sweetness of this romantic soul, and his appreciation for high adventure. A survivor on constantly shifting ground, an amiable buffoon with a beating heart. The actor's portrayal of this would-be Cyrano is perceptive, sympathetic, and extremely funny.
And then there is the talented director/translator of this inspired comedy, Philip Boehm, with his many gifts, including the gathering of such high quality talent for this production. Given his lively, supple translation with its flexible, witty language and delicious innuendo, it would seem that his excellent actors have been conversing in rhyming schemes from their cradles. There is a hint of the commedia here as they cavort throughout the evening, giving full physical expression to their unruly passions. (I am still laughing.) Mr. Boehm is a rare talent and how lucky we are to have him.
Adding to our pleasure were the physical elements of the production: Patrick Huber's amusing backdrop and side sets suggesting the remnants of a moldering castle; Laura Hanson's imaginative, handsome costumes; and Steve Carmichael's appropriate lighting.
Thank you, Philip Boehm, and your staff and the talented artists with whom you work for the wonderful production.


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Ooo.....i just love the realism of this wallpaper. nice incorporation of the image. it's a breath taking picture. great work, it's absolutely stunning.
1024x768 Wallpaper
Artist Comment
W.o.w, I'm still alive.
Well, my hands got itchy and have to go photoshopping again D:
time: few hours
stocks: rock from comp (I'm sure you all can recognise it :D) and mountains from my photos
pic: it's Haruka from Tactics crossover to Bleach lol
hm...just something for fun, don't take it too seriously :P
where's the rules again? I couldn't find it! @-@
what did i miss?
oh ya..I wanted to do a girl but always ended up with guys instead haha..
More Tactics Wallpapers
Browse Tactics Gallery: Recent | Popular.
Lady-Lotus Apr 21, 2008
Hanazaki Apr 22, 2008
You almost fooled me with this. I thought it's Byakuya. :)
Thanks for sharing. You haven't lost your touch.
enchantressinthedark Apr 26, 2008
Haha yay you're back with your walls! Your love for Haruka is really timeless, isn't it? XD I love the perspective, and the background too <3 Pretty!
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text:
Jan 21: VISIT FROM LOTHIAN POSTCARD CLUB
The first display was by Gareth Burgess with topographical postcards by Scottish publishers (A – G). Rosemary Helder followed with postcards depicting scenes of clothes washing, etc in Scotland. Brian Chilton opened the second round with a selection of postcards depicting lighthouses in the British Isles. The final display was by Fiona Gebbie with a coastal tour of East Lothian.
Vote of thanks – Alan Watson
Posted in: 2009-10


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Heldrich, Philipp, M.D., was born in Bavaria, Germany, May 10, 1851, and is a son of a gentleman who was many
years forester and consulting member of the Treasury Department of Bavaria, and who is now retired on full pay
with the orders of St. Ludwig and St. Michaels, first class, conferred upon him for merit by the Emperor. A brother
of the doctor is successor to his father in the office of forester and another brother is the master mechanic of
the Royal Railway. The Heldrichs in Germany are all in government employ and have been for several generations.
From the gymnasium Philipp entered the University Wuzburg and from there joined the Bavarian army as a member of
the First Bavarian Corps in the Franco Prussian war, taking part in the memorable battles of Wessinburg, Woerthm
Sedan, Orleans, Columbia, etc., and for bravery at Grande Ormes was honorably mentioned by ministerial rescript
of War No. 4, December 4, 1870. He was honorably discharged, with the right to wear the uniform, from the army
in 1873 with the rank of second lieutenant Eleventh Bavarian Infantry and returned to the pursuit of his education.
Coming to America in 1880 he soon afterward entered the University of Maryland and was graduated therefrom in 1883.
He began practice at once in Elmira and has since remained in this city. The doctor is a member of the local medical
societies and the surgeon of the Thirtieth Separate Company N. G. S. N. Y. He was married, in Baltimore, in 1883,
to a Miss Somerfeld.
Our County and its people
A History of the Valley and County of Chemung
BY: Ausburn Towner
D. Mason & Co., Publishers
Syracuse, N. Y. 1892
Privacy Policy for
Chemung County, NY
Names A to F
Names G to O
Names P to S
Names T to Z
New York
New York
For all your genealogy needs visit Linkpendium


text:
WH sends prayers to family of American killed in London
White House spokesman Sean Spicer says the administration sends its prayers to the family of Kurt Cochran, who was killed on Wednesday in the London attacks. Rough Cut (no reporter narration).
ROUGH CUT (NO REPORTER NARRATION) The White House on Thursday (March 23) acknowledged the death of a Utah man who was killed and his wife who was badly injured during Wednesday's attacck near Britain's Parliament in London, a spokesman said. "Our prayers are with his family and friends," Sean Spicer said of Kurt Cochran, 54. Cochran and his wife, Melissa, were in Europe to celebrate their 25th wedding anniversary and had been due to return to the United States on Thursday, according to his brother-in-law, Clinton Payne. The couple were struck by a sports utility vehicle that ploughed into pedestrians on Westminster Bridge, Payne said in a statement. Three people were killed in the attack, including Kurt Cochran and a policeman who was stabbed to death. Cochran's wife was among about 40 others who were injured.


text:
Amidst broadcasting messages on my WhatsApp messenger, responding to friends asking about this and that, talking to loved ones and Famiglia. A friend said; you should be busy, let me leave you to it.
The first thought that came to mind was a post I read about questioning the cult of BUSY written by Lisa Jakub. I searched my WordPress site to see if I Reblogged it, but it wasn't here. So I took to facebook, typed the words 'guilty of being busy' and baaam the post I shared from WP popped out. Re-visited her page but couldn't find the Reblog button. Hence I created this post to share with you all.
Its pretty convenient and almost an auto-response to say, we are busy, to almost every question, it gives the feeling, heck yeah I'm a superwoman or superman, I'm so busy, even Barack Obama can't get an appointment. (We know that's false 😂😂).
No matter how occupied or engaged we are, we can always make time for people except we choose not to, or we have been stretched pretty thin and need a break.
Which ever way it is, do read up Lisa's post here, and lets come up with creative ways to describe being busy. I had sent my friend a link as a response and he read up noting that, the term may mean different things to different people. But here's what I think Lisa meant;
It shouldn't be appropriate for anyone to get initiated into the 'Busy Cult', we should come up with better ways to communicate what we are doing, rather than just falling back on 'being busy'
. #MyOpinion, will be glad to listen to yours 👍.
So lets get creative getting out of the busy cult, I will go first:
1. I was occupied with writing this post using my WordPress phone app.
2. I am engrossed with reading tweets on Twitter.
3. ………………………………………(Your Turn – How have you been doing?).


text:
Michelle Bridges body shock: The picture everyone's talking about
Wow - what a body of work! Not one to let motherhood get in the way of her stringent fitness routine, Michelle Bridges is looking more ripped than ever!
Almost nine months after welcoming son Axel into the world, the former Biggest Loser trainer has posted this photo on Instagram showing off her incredibly ripped and defined physique.
Detailing her daily workout, the supermum says her routine consists of 7 km of running, 75 dumbbell lunges, 75 burpees and 10 minutes of active mobility!
Back in June the star wrote an emotional Facebook post saying she doubted her fitness and 'doubt[ed] wether [sic] I can pull myself back'.
'My training has been inconsistent. Period. And that's ok. I'm here. I'm pushing. It might not be pretty, but that's ok too!' she wrote.


text:
The Thriving Artist™ podcast
Business Insights for Working Artists
ABOUT THE SHOW: The Thriving Artist TM podcast features insightful interviews with artists, collectors, gallerists, and other leading experts on visual art as a business and the business of visual artists with host Daniel DiGriz. The series employs a highly digestible podcast format to provide an informal business learning course built around each guest's knowledge and experiences. A production of The Clark Hulings Fund for Visual Artists, the show is available here and on your favorite audio platforms:
- All
- Technology
- Career Blueprint
- Brand Story & Marketing
- Sales & Selling
- Project Management
- Networks & Collaboration
- Financial
- Legal
- Logistics
Best Practices to Engage With Curators – Dr. Catherine Futter
They're not separate at all—the market and museum—there are galleries now where there's very little work in the exhibition that's for sale. They're publishing books and 'competing' with museums. The lines are becoming blurrier and some of that is positive."
How to Meet Stakeholder Demands – Holly Van Hart
"I don't mind letting people see the process and where I go wrong, that's part of the creative process and what people are interested in."
Find the Best Representation for Your Art – Stephanie Birdsall
"I see a lack of confidence standing in people's way, they don't trust what they're thinking, they don't trust what they're painting, and as soon as they get a little confident I see a huge change."
Translate Social Media to Sales – Gregg Chadwick
"Every day something new happens in the world and art is really primed to look at those global changes and shifts."
On Selling Tools of the (Art) Trade – Ron Whitmore
"An artist recently said this to me about success: 'You really just keep doing what you feel you need to be doing and if you do it long enough people believe it too'."
Control How Your Art Business is Perceived – Maria Brophy
"When you're younger, it's fun to get that pat on the back, but you learn quickly that a pat on the back doesn't pay the mortgage."
Creating Your Own Success – Dean Mitchell
"I'm no Salvador Dalí, but I have built enough of a market that now I can start to work on leaving a legacy."
How to Find Your Audience – Mary Ann Weems
"Average people were very afraid to walk into galleries. Affordability became the key. You didn't feel the intimidation."
Beyond Arts Education: Why Artists Need Business Training – Betsy Ehrenberg
"Sometimes they [artists] think earning money, charging for their work, is not something they want to do. They feel embarrassed to do so. It's an attitude, I have no idea where it begins, but a lot of artists just look at the word 'money' and see a four letter word."
Managing a Successful Art Career – Dan Anthony
"As an artist, you need to be as prolific as you can because you will need a body of work to solidify your situation."
Art Collections Management: Caring for Your Collection – Maura Kehoe Collins
"Documentation is a very important part of the object and the care of collections."
Student Curated Art Collections: A New Way to Experience Art – James Kitchen
"Young people need to have that experience and the effects can be dramatic over a lifetime. Experiencing an artwork in person is so much different than seeing it on a phone."
Recognizing the Legacies of Overlooked Artists – Peter Trippi
"I think living artists should be very optimistic that there's still a healthy appetite for art… It's just occurring in different ways."
Between Creativity and Commerce: Art Thinking – Amy Whitaker
"Many of the things that people approach in business – when they're talking about a business plan or return on investment – they're really talking about similar things to what happens in art."
Balancing Art, Life, and Business – Aletta de Wal
Artists need to ask themselves, "What do I need to support myself and my family and my art business in the way that I'm accustomed to or want to and what it's going to take for me to get that?"
Economics of the Art Market – Neil Ramsay
"Business has a hard time understanding the arts, so… I'm advocating for the professionalizing, that within the organization, the artist is seen just as professional as the accountant, just as professional as the director and the other typical roles…"
Playing Your Art Forward – Sabin Howard
"It's important that an artist be involved in showing their work and takes ownership of what he makes rather than have somebody else take over his business."
The Long-Term Art Career – Ryan S. Brown
"As an artist, you're a small business owner and you're in charge, you're the boss, and you have to manage that like any other small business would be managed. You have to keep your books organized, plan for big expenses, and plan for investing in those big projects."
Creating A Thriving Art Business – Alan Bamberger
"Artists have never had more opportunities to advocate on their own behalves, to get their work out there, to talk about what's behind it, to talk about themselves as artists."
Access The Thriving ArtistTM
on Sonos, Bose, Roku, Apple TV, Kindle Fire, or your Smart TV via the Tunein or iHeartRadio app.


text: Play as one of the monsters of Minecraft to a platform Creeper Craft 2 Demo game set precisely in this world. Now you can create your skin creeper to start a new adventure in the world of minecraft 2d. First you have to follow the steps of steve to complete the tutorial and then you will start with this new delivery of creep craft 2. Get the sword to attack and the beak to open your way in the closed places. Try the demo of Minecraft's next flash game. Now you can play alongside the zombies. Find the sword to attack the human being and open the way to the closed places.


text: Your Help for Learning Romanian is Here In September I made a shocking statement, I told to all my friends that I am going to disappear for 2 or 3 months. I kept it as a secret but from July I was already working on a manual and I felt I needed time to finish the biggest project I've ever started. In the past year, I had a lot of students for Romanian all of them were "suffering" of a lack of learning materials, to help them I started to make new plans, to create schemes and clear explanations to support their learning. After 6 months I observed that all my plans work almost by themselves, my students were getting better and better with their Romanian and all this based on materials created by me. The next thought was that I can upgrade all this to a manual that people can use without me, and I start working. By September I felt overwhelmed, I had a vision but to make it reality I needed to digest all I had in my head as a caterpillar so I would give to the world a butterfly. So, after 3 months of absence, in which I worked hard, I am back. I came with a whole new learning method of which I am very proud as I know it works and all my students are a living proof of that. My Romanian Intensive Course for foreigners – my "butterfly" is ready to fly. I chose December 1, Romanians National Day, to make it public as this is a very important date for all Romanians and I wanted to celebrate it in a special way. This book, in a way, is the key to understanding Romanian Culture at a deeper level as you cannot truly get into the meanings that people transmit without knowing their language. I hope that this manual will fulfil people's expectations and will cover the need in this field as this was the main reason that pushed me to do it. I am grateful to all people that supported me on this path, encouraged me and believed in me. Thank you all, and my traditional, see you soon 🙂 Share this:Click to share on Facebook (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on WhatsApp (Opens in new window)Click to share on Skype (Opens in new window)Click to share on Pinterest (Opens in new window)Click to share on Twitter (Opens in new window)Like this:Like Loading... Related


text:
The members of KNK are stunning in their latest set of comeback concept photos!
The members are depicted behind glass covered in rain droplets, hinting at an emotional and serious comeback concept.
They have also unveiled a comeback schedule detailing their next string of releases leading until the album and MV drop.
They are returning with "Gravity, Completed," the repackaged album of "Gravity," on July 20.


text:
Wednesday, April 11, 2012
Wordless Wednesday: Coming Soon...
17 comments:
Very creative:)ReplyDeleteReplies
Wait till it's done, Joy... you can absolutely do it too. It's very, very easy :)Delete
now that looks interesting...ReplyDelete
interesting shot and nice DOPReplyDeleteReplies
Thanks Mhie! Coming from you, that's a big compliment!Delete
Wow! Curious ako kung ano yan!ReplyDeleteReplies
I'll give a hint... pistachios! :-DDelete
me too! looks interesting :)ReplyDeleteReplies
Hopefully I'll finish soon so I can do the reveal :)Delete
I can't figure out what I am looking at?!ReplyDeleteReplies
yeah, there's suspense :-DDelete
This is a great picture!! Good perspective!ReplyDelete
Angela@ FirstComesBaby.comReplies
Thanks, Angela! :)Delete
Cooking up some crafts are you? Cool! Can't wait to see :DReplyDelete
I knew it! Pistachios are love. Can't wait for your blogpost about it :)ReplyDelete
can't wait to see this.. i have been a slacker in commenting..delayed comment is there a box for that?ReplyDelete
Subscribe to: Post Comments (Atom)


text:
- Brief communication
- Open Access
Joint axes of rotation and body segment parameters of pig limbs
© Thorup et al; licensee BioMed Central Ltd. 2007
- Received: 20 April 2007
- Accepted: 06 September 2007
- Published: 06 September 2007
To enable a quantification of net joint moments and joint reaction forces, indicators of joint loading, this study aimed to locate the mediolateral joint axes of rotation and establish the body segment parameters of the limbs of pigs (Sus scrofa). To locate the joint axes of rotation the scapulohumeral, humeroradial, carpal complex, metacarpophalangeal, coxofemoral, femorotibial, tarsal, and metatarsophalangeal joints from 12 carcasses were studied. The joints were photographed in three positions, bisecting lines drawn at fixed landmarks with their intersection marking the joint axes of rotation. The body segment parameters, i.e. the segment mass, center of mass and moment of inertia were measured on the humerus, radius/ulna, metacarpus, forepastern, foretoe, femur, tibia, metatarsus, hindpastern, and hindtoe segments from five carcasses. The segments were weighed, and their center of mass was found by balancing them. The moments of inertia of the humerus, radius/ulna, femur and tibia were found by rotating the segments. The moments of inertia of the remaining segments were calculated. Generally, the joint axes of rotation were near the attachment site of the lateral collateral ligaments. The forelimb, with segments taken as one, was significantly lighter and shorter than the hindlimb (P < 0.001). In all segments the center of mass was located 31 to 50% distal to the proximal segment end. The segment mass decreased with distance from the trunk, as did the segment moment of inertia. The results may serve as reference on the location of the joint axes of rotation and on the body segment parameters for inverse dynamic modeling of pigs.
- Attachment Site
- Lateral Collateral Ligament
- Lateral Condyle
- Metatarsophalangeal Joint
- Limb Segment
Net joint moments and joint reaction forces can be quantified using inverse dynamic modeling [1, 2], provided that knowledge of the body segment parameters (BSPs) and the locations of the joint axes of rotation (JARs) exists. BSPs are required as input for the inverse dynamic model, and JARs define the boundaries of the model segments. To the best of our knowledge neither BSPs nor JARs have been studied in pigs, therefore this study aimed to locate the mediolateral JARs and establish the BSPs of segments from fore- and hindlimbs of healthy pigs.
To establish the BSPs five D(YL) crossbred pigs were used: one castrate and four gilts without clinical limb abnormalities. Their live BW was 69 ± 5 kg. After exsanguination the right fore- and hindlimbs were separated from the trunk and cooled lying horizontally. The day after slaughter the carcasses including limbs were weighed. Blood and water loss summed to 5.2 ± 0.2% BW. The chilled limbs were dissected into segments along cranio-caudal lines running through the JARs identified above. The ten segments investigated were the: humerus; radius/ulna; metacarpus; forepastern (proximal and middle phalanges); foretoe (distal phalanges); femur; tibia; metatarsus; hindpastern; and hindtoe. The segments were frozen lying horizontally. Mass, length, distance (dprox) from center of mass (COM) to proximal segment end, and moment of inertia (hereafter referred to as inertia) were measured on the frozen segments. Sagittal plane COM was located by balancing the segments transversely and longitudinally on a sharp edge. A line of balance was drawn in each direction, the intersection thus marking the COM. The relative position of the COM (COMrel) was calculated as the dprox in percent of segment length. The inertia was measured by strapping the segments onto a custom made low-friction horizontal turntable; an external load connected to the turntable was dropped and turned the turntable. The external load passed between two photocells. Photocell data were converted (Data Translation 9800 A/D converter) and sampled at 1 kHz, thus measuring drop time. The inertia was calculated from load drop time (tl) according to formula 1:
inertia = (ml·g·rt2·tl2)/2sp (1)
in which external load mass (ml) was 0.203 kg, gravitational acceleration (g) was 9.82 m/s2, turntable radius (rt) was 0.15 m, and distance between photocells (sp) was 1.317 m. Segment inertia was calculated by subtracting the inertia of the unloaded turntable from the inertia of the loaded turntable. The humerus, radius/ulna, and tibia were placed with the proximal segment end aligned with the turntable center, so these inertias around the proximal segment end (Iprox) were converted to inertias around the segment COM (ICOM) using the parallel-axes theorem in formula 2:
ICOM = Iprox - ms·dprox2 (2)
where ms was the segment mass. The femur was placed with the COM at the turntable center and no conversion was necessary. The metacarpus, forepastern, metatarsus, and hindpastern were too light (< 0.3 kg) to have their inertia measured, thus their ICOM was estimated from circumference and length [4] according to formula 3:
ICOM = ms/12·(length2 + 0.076·circumference2) (3)
assuming cylindrical segments. Mass, length and dprox were measured once on five animals, whereas circumference was measured once on three animals. Load drop time for the unloaded turntable and for each segment was measured six times from which individual means were calculated. Results were reported as group average with standard deviations. Paired t-tests were performed to compare differences in segment mass, length and inertia for the fore- and hindlimbs. Level of significance was 5%.
The shoulder JAR was on the humerus' head, near the posterior part of the greater tubercle. The elbow JAR was mainly located on or around the lateral condyle of the humerus, where the lateral collateral ligament is attached. The rotation axis of the carpal joint complex was mostly on and around the fourth carpal bone, on which the accessorioquartale ligament is attached. The forefetlock JAR was located around the most distal part of the fourth metacarpal bone, slightly distal and posterior to the attachment site of the lateral collateral ligament. The hip JAR was located posteriorly on the greater trochanter. The stifle JAR was just distal and anterior to the femur's lateral condyle, the attachment site of the lateral collateral ligament. The hock JAR was located around the attachment site of the lateral collateral ligament on the fibula's lateral malleolus. The hindfetlock JAR was distal to the lateral condyle on the fourth metatarsal bone. The 12 individual JARs and their averages scaled to the fore- and hindlimb of one randomly chosen pig are shown in Fig. 1.
For palpation purposes the JARs were mainly at or near the attachment site of the lateral collateral joint ligaments, thus allowing movements without excessive ligament strain. The JAR locating method assumed that all joints were revolute, however the spread locations of JARs suggested that, for instance in the hip and stifle joints, slight cranio-caudal translation may also have occurred. Besides, the removal of muscle and skin to expose bony landmarks and to avoid skin movement errors may have allowed the joints to deviate slightly from their anatomical sagittal plane. Nevertheless, large joint rotations were performed between consecutive positions to minimize JAR estimation errors [5, 6].
The body segment parameters of the right limbs of five pigs. The segment mass, kg and % BW; segment length, cm; segment COMrel, the distance from the proximal segment end to the COM in % of segment length; and segment ICOM, kg·m2·10-3, are presented as average ± s.d.
1.333 ± 0.126
1.94 ± 0.12
12.7 ± 0.2
46.1 ± 1.9
4.42 ± 1.07
0.726 ± 0.073
1.05 ± 0.04
14.5 ± 1.2
31.5 ± 3.0
2.32 ± 0.70
0.125 ± 0.021
0.18 ± 0.03
6.4 ± 0.8
49.3 ± 2.1
0.06 ± 0.03b
0.100 ± 0.008
0.15 ± 0.01
4.9 ± 0.1
44.5 ± 2.1
0.04 ± 0.00b
0.030 ± 0.003
0.04 ± 0.00
2.2 ± 0.1
4.466 ± 0.207
6.50 ± 0.22
18.3 ± 1.0
50.3 ± 5.1
31.50 ± 2.37
0.991 ± 0.056
1.44 ± 0.07
16.0 ± 0.9
40.4 ± 3.6
2.52 ± 1.00
0.291 ± 0.035
0.42 ± 0.03
10.4 ± 0.8
32.3 ± 5.6
0.34 ± 0.07b
0.111 ± 0.010
0.16 ± 0.01
5.9 ± 0.6
40.0 ± 5.5
0.06 ± 0.01b
0.029 ± 0.003
0.04 ± 0.01
2.3 ± 0.1
The BW of the pigs in the BSP study varied 7% between individuals, whereas the BSPs varied more, e.g. the inter-individual coefficient of variations of the measured inertia were: humerus 14%; radius/ulna 31%; femur 7% and tibia: 28%. These variations were in line with those reported for horses [7, 8] and dogs [2]. Although the dissection procedure was performed by the same experienced technician this may have contributed to the variation. Furthermore the variation between body segments from pigs of similar BW may be explained by conformation differences, e.g. the large variation of the metacarpus was mainly caused by a very short (5.0 cm) and light (0.091 kg) segment in one pig.
The COM and inertia of the toe segments were approximated, as these segments could not be balanced and were too light to have their inertia measured. However considering their small masses, their inertia will be negligible therefore it was approximated as the lowest reasonable input value for the inverse dynamics model, based on resolution limits. In inverse dynamics the inertias are used for calculating net joint moments only, and during the stance phase contributions from inertial parameters to net joint moments are very small because the angular accelerations of the limb segments are low [4]. Furthermore measuring the BSPs on exsanguinated and frozen segments resulted in lower masses due to the 5.2% BW blood loss and water evaporation. However the distribution of blood and water cannot be assumed to be uniform across segments, because distal segments have a higher bone to muscle ratio and thus less blood than proximal segments, which should be accounted for in inverse dynamic modeling.
This investigation offers the first experimental data on the JARs and BSPs of pigs' limbs, thus enabling a quantification of net joint forces and moments.
This project (no. 3412-04-00114) was funded by The Danish Ministry of Food, Agriculture and Fisheries.
Authors' Affiliations
- Colborne GR, Lanovaz JL, Sprigings EJ, Schamhardt HC, Clayton HM: Forelimb joint moments and power during the walking stance phase of horses. Am J Vet Res. 1998, 59: 609-614.PubMedGoogle Scholar
- Nielsen C, Stover SM, Schulz KS, Hubbard M, Hawkins DA: Two-dimensional link-segment model of the forelimb of dogs at a walk. Am J Vet Res. 2003, 64: 609-617. 10.2460/ajvr.2003.64.609.View ArticlePubMedGoogle Scholar
- Leach DH, Dyson S: Instant centres of rotation of equine limb joints and their relationship to standard skin marker locations. Equine Vet J. 1988, 113-119. suppl 6Google Scholar
- Vaughan CL, Davis BL, O'Connor JC: Dynamics of human gait. 1999, Cape Town: Kiboho PublishersGoogle Scholar
- Challis JH: Estimation of the finite center of rotation in planar movements. Medical Engineering and Physics. 2001, 23: 227-233. 10.1016/S1350-4533(01)00043-1.View ArticlePubMedGoogle Scholar
- Panjabi MM: Centers and angles of rotation of body joints: A study of errors and optimization. J Biomech. 1979, 12: 911-920. 10.1016/0021-9290(79)90059-9.View ArticlePubMedGoogle Scholar
- Buchner HHF, Savelberg HHCM, Schamhardt HC, Barneveld A: Inertial properties of Dutch Warmblood horses. J Biomech. 1997, 30: 653-658. 10.1016/S0021-9290(97)00005-5.View ArticlePubMedGoogle Scholar
- van den Bogert AJ: Computer simulation of locomotion in the horse. PhD Thesis. 1989, University of UtrechtGoogle Scholar
This article is published under license to BioMed Central Ltd. This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.