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Aldi is recalling three flavors of its Fit and Active frozen dinners after an Omaha family found a steel clamp sealed in a sesame chicken frozen entree.
"If' it's from a machine. If it's a practical joke. Well, it's not really funny just because if there's small pieces," explained mom Karen Kader


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Arthur (Mack) Bailey Jr., 80, of Bowling Green, Mo., passed away Sunday, Sept. 30, 2012 at his home.
Funeral services will be held at 10 a.m., Thursday, Oct. 4, 2012, at the Mudd-Veach Funeral Home in Bowling Green, Mo. with Pastor LaMar Hester officiating. Burial will be in the Jefferson Barrack National Cemetery in St. Louis, Mo. at 1:30 p.m. Thursday, Oct. 4, 2012. Visitation was Wednesday, Oct. 3, 2012 from 4-8 p.m. at the funeral home. Arthur was born Sept. 1, 1932 in Tuckerman, the son of Arthur Frederick and Bessie Mae McGinnis Bailey. On April 4, 1953 he married June Bailey in Newport. She survives. Other survivors include a son, Mark Bailey and wife, Debbie, of Wright City, Mo.; daughter, Linda Ann Cokley and husband, Mike, of Defiance, Mo.; daughter-in-law, Terri Bailey of Bowling Green, Mo.; eight grandchildren, Nathan, Justine, Trent, Joshua, Shawn, Ryan, Steven and Ashley; and seven great-grandchildren, Micah, Isaac, Eli, Mackinley, Jaxtyn, Landon and Jadyn. He was preceded in death by his parents; one son, Rickey Arthur Bailey; and a brother, Charles Bailey. Arthur lived in the St. Charles, Mo. area before moving to Bowling Green, Mo. in 1978. He was a member of the Fairgrounds Road Church of Christ in Troy. He served in the US Army during the Korean War as a member of the 82nd Airborne in Fort Bragg, N.C. He worked as an electrical engineer for McDonnell Douglas Aircraft in St Louis, Mo. for 36 years and retired in 1992. He enjoyed farming, taking care of the farm and being on the tractor. He loved fishing, hunting, the outdoors, and tinkering in his workshop. He volunteered at the Hope Center and volunteered helping with the Boy Scouts. Most of all he enjoyed spending time with his family and friends. Serving as pallbearers will be Joshua Bailey, Nathan Cokley, Trent Cokley, Tyler Baker, Ryan Raby, Shawn Raby, Luke Bollinger, and Steven Bailey. Memorials may be made to the American Cancer Society. Online condolences may be left at www.muddveach.com.


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Sheriff's detectives asked for the public's help Tuesday in finding a 19-year-old developmentally disabled Carson woman who has been missing for nearly a week.
Gloria Elizabeth Ortega was last seen at her residence in the 1000 block of East 220th Street about 3 p.m. last Wednesday. She left on foot.
Ortega is 5 feet 3 inches tall and weighs 140 pounds, with black hair and brown eyes. She has a half-inch birthmark on the right side of her neck and a mole on her back between her shoulders. She was wearing a gray sweater, gray pants and black shoes.
Her family is very worried, according to detectives, who asked anyone with information about her whereabouts to call the sheriff's Homicide Bureau/Missing Person Detail at 323-890-5500.
– City News Service


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While both collections offer our grape varietal specific functionality, the Vinum collection is Riedel's first machine-made line introduced 1986. Riedel Veritas is our newer collection which is 15% taller than Vinum but 25% lighter and finer. With Riedel Veritas, Riedel has been able to accomplish a glass of unsurpassed thinness and lightness, which combines the charm of a handmade glass with the consistent accuracy only a machine-made glass can achieve.
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Ribolla Gialla, Pessac Leognan (Blanc), Chardonnay (unoaked), Chablis, Bordeaux (red), Condrieu, Pinot (Blanc, Grigio, Gris), Grenache Blanc/Granacha Blanca, Albariño, Muscadet, Verdicchio, Trebbiano, Côtes du Rhône Blanc, Brandy, Fallanghina, Cortese, Fiano, Neuburger, Châteauneuf-du-Pape (blanc), Orvieto Classico, Macabeo, Aligoté, Fumé Blanc, Viognier, Greco di Tufo, Hermitage (Blanc), Sémillon, Muscadine, Montagny, St. Joseph (White), Palomino (except Sherry), Morillon (unoaked), Soave, Sauvignon Blanc (oaked), Melon de Bourgogne (Muscadet), Graves blanc, Marsanne, Vin de Savoie (blanc), Verdelho
Year of design 2014
Volume 370 ccm
Height 225 mm
Box quantity 2
Type of Manufacturing machine production
Material Crystal
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RIEDEL VERITAS a glass machine blown crystal of unsurpassed thinness and lightness. RIEDEL VERITAS combines the charm of a handmade glass with the consistent accuracy only a machine made glass can achieve. Perfection perfected.
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Award Description
About Mary Sears
Award Recipients
Marie Tharp Bio
Not too many people can say this about their lives: The whole world was spread out before me (or at least, the 70 percent of it covered by oceans).I had a blank canvas to fill with extraordinary possibilities, a fascinating jigsaw puzzle to piece together: mapping the world's vast hidden seafloor.It was a once-in-a-lifetimea once-in-the-history-of-the-worldopportunity for anyone, but especially for a woman in the 1940s. The nature of the times, the state of the science, and events large and small, logical and illogical, combined to make it all happen.
Right up until World War II, all that watera few miles deep and hundreds of thousands of miles acrossproved an ample barrier, preventing humans from getting any picture of what lay at the bottom.On any map of the world, three-quarters of the Earth was a uniform, featureless blue border for the continents.Scientists thought the ocean floor was almost as featurelessa flat, unchanging plain, a dumping ground slowly filled by sediments eroding from land.
Early depth measurements, collected using ropes and lead weights such as cannonballs, suggested that the ocean floor was slightly more complex, however.With 200 soundings obtained in this way, the Navy's Matthew Fontaine Maury marked a plateau in the middle of the North Atlantic on his 1854 map.In the 1870s, spot soundings taken during the legendary HMS Challenger expeditions hinted at a broad rise in the central Atlantic, and temperature measurements by the Challenger's expedition leader, Charles Wyville Thomson, indicated that there was a barrier between the east and west basins of the Atlantic.
In early 1947, Doc Ewing undertook a Sigma Xi lecture tour with the official purpose of finding bright students to work in oceanography.Actually, he was scouting for a group of technicians from wealthy families to whom he could offer adventure instead of pay.After Ewing's talk, Bruce Heezen, who was then a junior at the University of Iowa, introduced himself to Doc, who said, "Young man, would you like to go on an expedition to the Mid-Atlantic Ridge?There are some mountains there, and we don't know which way they run."
The following summer, Bruce went to the Woods Hole Oceanographic Institution to join Doc on an expedition on Atlantis, using a continuous echo sounder to take profiles of the seafloor in the North Atlantic. But Bruce didn't get to go with him.Instead he got his own ship, Balanus, serving as chief scientist, even though he was not yet a senior in college. He got some great on-the-job training, went back to Iowa in the fall to finish his degree and then joined Doc at Columbia.
My course to Lamont was a little more indirect.My father, William Edgar Tharp, was a soil surveyor for the U.S. Department of Agriculture, Bureau of Chemistry and Soils.Papa spent his time in the field, collecting data used to make the soil survey maps.We were constantly on the move, with Papa working in the southern states during the winter and the northern states in the summer.By the time I finished high school I had attended nearly two dozen schools and I had seen a lot of different landscapes.I guess I had map-making in my blood, though I hadn't planned to follow in my father's footsteps.
Throughout our travels, Papa always told me, "When you find your life's work, make sure it is something you can do, and most important, something you like to do." In college at Ohio University, I changed my major every semester.I was looking for something I was good at, something I could get paid for, and something I really liked, but there weren't many opportunities for women then, except as a teacher, secretary or nurse.I couldn't type and couldn't stand the sight of blood, so I decided to try teaching and began taking education courses, which convinced me that I wouldn't like teaching all that much.I graduated with majors in English and music and four minors.
I never would have gotten the chance to study geology if it hadn't been for Pearl Harbor.Girls were needed to fill the jobs left open because the guys were off fighting.A year after the war started, the geology department at the University of Michigan opened its doors to women.In 1943 about ten of us girls responded to one of their fliers, which promised a job in the petroleum industry if we got a degree in geology.It seemed like something I could do.I earned a master's degree and got a job with Stanolind Oil Co. in Tulsa, Oklahoma.Some of the girls I went to school with went into micropaleontological work and spent their time looking through microscopes.That seemed tedious, so I went to the University of Tulsa and got a degree in math.Still searching for something more challenging, I went to New York in 1948.
I looked for work at the American Museum of Natural History, but I decided I didn't want to work there after a paleontologist told me how it took two years to separate a fossil from the surrounding matrix.I couldn't imagine devoting so much time to something like that, so I tried Columbia to see if I could get a more interesting research job.
Justbecause I had a math degree, they sent me down to see Doc Ewing, but he was at sea.I went home and waited three weeks for him to come back.When he heard about my background, he was surprised and didn't know quite what to do with me.Finally he blurted out, "Can you draft?"I had had a part-time drafting job at Michigan, so he hired me.
About two weeks later, Bruce arrived at Columbia.At first I worked for anyone who needed me.But after a few years Bruce kept me so busy that I ended up working exclusively for him, drafting and plotting ocean floor profiles.
During World War II, Ewing and Joe Worzel, working at Woods Hole, developed the continuous echo sounder for the Navy.With this new instrument, depth measurements could be made nonstop and round-the-clock.A sound signal, usually an electronic ping, would be sent out at a regular interval, and a microphone inside the hull of the ship would pick up the echo.As a ping was sent out, a stylus would be set in motion downward across a continuously spooled strip of four-inch-wide paper.When the echo returned, the stylus would mark the recording paper by burning it with an electric spark.The result was an uninterrupted series of seafloor depths along the ship's course.Relatively uninterrupted, that is:The echo sounder depended on the ship's electric power, which went off whenever someone opened the ship's refrigerator.When that happened, no echo returned and the sounder recorded depths was bottomless as the crew's appetite.
With technological advances and Ewing's drive and direction, tens of thousands of depth measurements in the North Atlantic had been obtained from 1946 to 1952 on cruises of Atlantis.We also had some data from USN Stewart, which in 1921 was the first Navy ship to make a continuous track across the Atlantic. We had interminable rows of sounding numbers that I was supposed to turn into highly detailed and complete seafloor profiles.
Bruce and Ivan Tolstoy at Lamont had devised a sheet to plot sounding data at a scale of 1:1,000,000, creating the standardized system that is still used today by the Navy and Lamont.Plotting on these sheets, Hester Haring and I went to work in 1952 at drafting tables in a lab on the second floor of Lamont Hall, near Bruce's office with its coveted private study (a former Lamont bathroom).First, Hester would plot the depths from the sounding darta.Then we plotted profiles of the topography along the ship's course.The profiles had to be drawn in a consistent manner. Any mistakes and someone like Bruce or I would scrawl a message like, 'Plotted Backwards!' on the profile and have it redrawn.Bruce and I would then compare the depths on the profiles with the original soundings.
Eventually, after the plotting, drawing, checking, correcting, redrawing and rechecking were done, I had a hodgepodge of disjointed and disconnected profiles of sections of the North Atlantic floor.Plotted on a map, the ship's tracks looked like a spider's web, with the rays radiating out from Bermuda, where most of the research vessels took on supplies and water.Sometimes, the tracks zigzagged, as the ships fled from the paths of storms.
After another six weeks to arrange and piece together the profiles in proper order from west to east, I completed six more-or-less parallel, transoceanic profiles of the North Atlantic.I noticed immediately the general similarity in the shape of the ridge in each profile.But when I compared the profiles, I was struck by the fact that the only consistent match-up was a V-shaped indentation in the center of the profiles.The individual mountains didn't match up, but the cleft did, especially in the three northernmost profiles.I thought it might be a rift valley that cut into the ridge at its crest and continued all along its axis.
When I showed what I found to Bruce, he groaned and said, "It cannot be.It looks too much like continental drift."At the time, believing in the theory of continental drift was almost a form of scientific heresy.Almost everyone in the United States thought continental drift was impossible.Bruce initially dismissed my interpretation of the profiles as "girl talk."
But I thought the rift valley was real and kept looking for it in all the data I could get.If there were such a thing as continental drift, it seemed logical that something like a mid-ocean rift valley might be involved.The valley would form where new material came up from deep inside the Earth, splitting the mid-ocean ridge in two and pushing the sides apart.
Soon afterward, almost on impulse, we decided to make a physiographic diagram of the ocean floor in the style of A.K. Lobeck, professor geomorphology at Columbia in the 1920sUnlike flat contour maps, physiographic maps show the terrain as it would look from a low-flying plane.By 1952, Bruce had been on enough cruises to know most of the features of the western Atlantic.So, after about an hour of doodling, he produced our first diagram.He was somewhat unhappy with his effort and asked me to do it over.But both of us were pleased with the technique. It allowed us to capture the seafloor's many textured variations, contrasting the smoothness of the abyssal plains, for example, with the ruggedness of the mountains along the ridges. But we also had an ulterior motive: Detailed contour maps of the ocean floor were classified by the U.S. Navy, so the physiographic diagrams gave us a way to publish our data.In retrospect, our choice of map style turned out to be significant because it allowed a much wider audience to visualize the seafloor.
I started using the physiographic technique to make a more detailed map of the North Atlantic.Our goal was to present it as it actually existed and as it could be seen if all the water were drained away.But, of course, there would never be enough ship tracks to do this.In the face of a minimum amount of data and the immensity of the world ocean, Bruce took a logical and multidisciplinary approach.We used data from wherever we could get it, from different disciplines and different sources, but took great care to ensure that these data from various sources were all plotted on the same scale.We used hypotheses of ocean floor structure to fill in areas where we had meager data.Our final guideline was that the sketching began from the shoreline seaward and from the mid-ocean ridge landwardthat is, from the areas that we were most familiar with to those that we weren't.
More and better data accumulated.By 1952 Lamont had acquired the Vemahad installed on it the precision depth recorder (PDR), invented by Bernard Luskin at Columbia in a hole in the floor of Schermerhorn Hall.The PDR provided much more accuracy than earlier echo sounders, allowing us to differentiate between smoother- and rougher-textured areas and to pick up more subtle seafloor features, such as seamountlets, scarps and sediment drifts.By Vema's twentieth cruise, the precise sounding data was combined with highly accurate ship tracking, thanks to the Worzel, who installed a satellite navigation system on Vema, the first ever on an academic research vessel.
Every other day, the captain of the Vemawould read off soundings from the PDR records as the first mate plotted them along the ship's navigation track.Bruce had always insisted that soundings be read at every peak and valley and at every significant change of slope, rather than at equal time intervals of, say, 15 minutes.The latter would have been easier to do, but it would have tended to miss small seamounts, scarps or canyons.When each chief scientist completed his cruise and was replaced by a new one, he debarked with a roll of sounding data.
Hester, with her meticulous handwriting, using a crow quill pen and India ink on blue linen, maintained the Vema sounding records on standard 1:1,000,000 sheets for many years.These sheets became the bible to which we compared all other institutions' ship data.Vema data was classified as 9 on a 1-9 scale.Less precisedata received lower grades, which were labeled on large red numbers on sheets that began bulging in our ever-accreting files.When laying several sheets from different places on a light table, we used these numbers to evaluate soundings quickly and to use them wisely.
While this work was going on, Bruce got involved in another project that provided another crucial source of data.He and Doc had proved the existence of turbidity currentsslurries of sediment and water that behave as discrete streams within the ocean.They documented that a 1929 earthquake off the Grand Banks had precipitated turbidity currents of such high speeds that they snapped transatlantic cables.Bell Laboratories was interested in laying new cables and asked Bruce to help determine the best locations for them.Bruce hired Howard Foster, a deaf graduate of the Boston School of Fine Arts, to plot the location of recorded earthquake epicenters in the oceans.In this pre-computer era, Howard had to plot tens of thousands of earthquakes by hand.While I was at my map table, plotting the position of the Mid-Atlantic Ridge and the alleged valley, Howard sat at an adjoining table making the map of oceanic earthquake locations.Both maps were created at the same scale, as Bruce insisted.
The earthquake epicenters weren't as precisely located as our sounding data.Their positions could sometimes only be located anywhere within an abominably wide range of several hundred miles.But when Bruce accounted for this, he noticed that a nearly continuous line of earthquake epicenters ran down the center of the Mid-Atlantic Ridge.Of course, Beno Gutenberg and Charles Richter earlier had noticed that a belt of shallow earthquakes followed the ridge, but Bruce saw that the earthquakes fell within the rift valley.Because all our data were on maps of the same scale, we could superimpose the maps on a light table, and when we did, the earthquake epicenters lined up within the valley. By then, I was certain that the rift valley existed.Bruce had remained skeptical.It was not until the middle of 1953, about eight months after I had worked up the first six profiles, that he accepted the idea.
Recognizing the validity of the correlation between earthquakes and the rift valley, we plotted the position of the valley by using earthquake epicenters for locations where there were no soundings.The extension of the valley into the narrow Gulf of Aden and landward into the Rift Valley of East Africa convinced Bruce in mid-1953 that the Mid-Atlantic Ridge was part of a gigantic 40,000-mile-long mid-oceanic ridge system that extended throughout all the world's oceans.In fact, the mid-ocean rift valley takes its name from the terrestrial rift valleys of East Africa.We made profiles of some of the valleys in East Africa and noted the topographical similarities between the valleys in the ocean and on land.Bruce also noticed that the shallow earthquakes associated with the East African Rift fell within the valley walls.He began to endorse the existence of a continuous central valley within the mid-oceanic ridge.
Doc began to get interested at this point.He'd heard of this "gully," as we called it, and he would pop into our lab from time to time and ask, "How's the gully coming?"
Meanwhile, I had extended the Mid-Atlantic Ridge and rift valley into the South Atlantic, using data from another legendary oceanographic expedition, the 30 trans-South Atlantic cruises of Germany's Meteor in 1925-27.Sounding data from those cruises would have confirmed right then that the Mid-Atlantic rise extended into the South Atlantic and that it was not broad and gentle, as Maury and Thomson had thought, but narrow and extremely rugged. But the discovery had remained hidden in the unanalyzed data as scientists at the time focused on physical oceanographic measurements of currents and seawater properties, rather than on the seafloor.Then World War II interrupted further analysis.
Around this time, new data from other expeditions also revealed similar ridge features in the Indian Ocean, Arabian Sea, Red Sea and Gulf of Aden.A U.S. Navy expedition had found a large north-south ridge system in the eastern Pacific. While I busied myself with sounding data, Howard was plotting tens of thousands of earthquakes around the world.The pattern we had noticed held.Wherever there was a mid-oceanic ridge, there were earthquakes.When the Indian Ocean earthquake belt was shown to be continuous with the East African Rift Valley, there was but one conclusion: The mountain range with its central valley was more or less a continuous feature across the face of the Earth.Doc and Bruce announced our findings in 1956 at a meeting of the American Geophysical Union in Toronto.
The reaction in the scientific community ranged from amazement to skepticism to scorn.In 1957 Bruce gave a talk on the mid-ocean rift system at Princeton, bringing along a globe we made that showed how the rift system extended all around the world.After the talk, the eminent Princeton geologist Harry Hess, who later developed the theory of seafloor spreading, stood up and said, "Young man, you have shaken the foundations of geology!" The discovery of the mid-ocean ridge system was a revelation, but nobody could explain how it got there.
Bruce believed the rift was a tensional crack caused by the splitting of the Earth's crust.He still did not believe in continental drift.It was very hard to go in the direction of that theory when the boss, Doc, like nearly everyone else in the scientific world, was violently opposed to drift.I was so busy making maps I let them argue.I figured I'd show them a picture of where the rift valley was and where it pulled apart.
There's truth to the old cliché that a picture is worth a thousand words and that seeing is believing.Like most scientists, Jacques Cousteau at first didn't believe in the rift valley.He crossed the Atlantic Ocean in the Calypso, towing a movie camera on a sled near the seafloor.They came to where our rift valley was and found it.He took beautiful movies of big black cliffs in blue water, which he showed at the first International Ocean Congress in New York in 1959.It helped a lot of people believe in our rift valley.
In 1957, we first published the North Atlantic physiographic map as an accompaniment to the Bell Telephone System's Technical Journal.It was done in pen and ink. The Geological Society of America reprinted the map in 1959.To make the map, we first plotted lines of soundings taken by ships tracking across the ocean.Then we converted the sounding lines into two-dimensional profiles of the seafloor.Then we made three-dimensional sketches based on the profiles and plotted them along the ship tracks.Finally we sketched in areas with no soundings by extrapolating trends observed in profiles made by actual soundings.In other words, we made educated guesses to fill in the dataless gaps.Like the cartographers of old, we put a large legend in the space where we had no data.I also wanted to include mermaids and shipwrecks, but Bruce would have none of it.
We continued on, from one sounding to the next, and one ocean to the next.We weren't daunted by the tens of thousands of soundings we had to plot.We were daunted more by all the data we didn't have.For the map of the South Atlantic, in some places we only had spot soundings from the General Bathymetric Chart of the World (GEBCO) series.We used data from the Meteor expedition to sketch in the mid-ocean ridge crest and the rift valley.Data from the Vema 9 cruise helped us in equatorial areas. We'd use any data available and change our minds as we got more.For example, we at first thought the rift in the Atlantic was a long valley.Then, in the South Atlantic, it was a long valley with some wiggles.Finally, we recognized the fracture zones, which offset the ridge by hundreds of miles.
One of the more challenging areas of the South Atlantic was the remote Scotia Sea, for which there were little or no data available.Fortunately, the pattern of the Caribbean and Scotia seafloors is strikingly similar, allowing us to make a valid extrapolation.The South Atlantic diagram was published in 1961.
We had planned to study the Mediterranean Sea next, but we were diverted instead to the Indian Ocean, because a diagram of it was urgently needed to help plan the International Indian Ocean Expedition.Now our efforts were thwarted by a long-lasting falling out between Bruce and Doc.There are two sides to that story, but the result was that Doc banned Bruce from Lamont ships and denied Bruce access to Lamontdata.He tried unsuccessfully to fire Bruce, who had a tenured faculty position at Columbia, but he did fire me.From then on, I was paid through research grants that Bruce received from the Navy, and I continued the mapping working at home.
Doc could have scuttled our mapping efforts, but Bruce had forged relationships with researchers all over the world, going to sea on ships from other institutions.By the early 1960s, we had recognized fracture zones in the Atlantic, but we couldn't confirm their general direction and trends until 1968, when Bruce and I were able to secure a cruise aboard a Navy vessel Kane.We zigzaggedover what became known as the Kane Fracture.
Brucefound alternative sources for data.His book with Charley Hollister, The Face of the Deep, had been translated into Russian, and perhapsinspired cooperation from Russian scientists, even during the height of the Cold WarWe received extensive soundings from the Soviet ships Ob and Vityaz, which surveyed the Indian Ocean.Japanese soundings between Capetown and Antarctica, and data from the United Kingdom, Australia and South Africa, as well as several American oceanographic institutions, were all incorporated into the Indian Ocean map, published in 1964a truly international effort.And, I should note, it contained a big error.I got so overwhelmed with the fracture zones in the Indian Ocean, I didn't initially recognize a triple junction, where three mid-ocean ridges intersected.We published the map with that error, but corrected it later when new data revealed it.
Inspired by the International Indian Ocean Expedition, the National Geographic Society wanted to commission a map of the Indian Ocean to illustrate an article on it.Some time earlier, National Geographic had received a letter from a little girl in Austria who wrote, "I've been looking at your maps and my father can paint better than you can."Intrigued, National Geographic editors sent their chief topographer to Innsbruck, Austria, to meet the girl's artist father, Heinrich Berann.
Berann did serious paintings, but he couldn't earn a living doing those.So he began to paint realistic alpine panoramas for advertisements promoting skiing for tourists.National Geographic commissioned him to paint the Indian Ocean floor and hired Bruce and me as consultants. We loved working with Heinrich, and his familiarity with painting the Alps translated beautifully to the seafloor.The three of us published a panorama of the Indian Ocean in 1967 and then continued with the rest of the world's ocean floors.The final map we produced for National Geographic was of the Antarctic ocean floor in 1975.
The next step was obvious: to paint a panorama of the entire world's ocean floor.In 1973 the three of us submitted a proposal for the project to the Office of Naval Research.To accomplish it, we had to simplify some of our previous work to accommodate the smaller scale called for by a world map.At the same time we had to update our work to include the vast volume of data that had accumulated over the years.
We'd use all the data we had, but the data didn't provide complete coverage, so there still were blank spots.That was the biggest challenge: providing data for the blank spots.Over the next three years, we traveled back and forth to Austria.I'd go home, work up a blank spot with any data we could get, come back to Austria, and Heinrich would paint that area.Constantly adding new data, we changed our minds quite a bit as the panorama took shape.
Our efforts were aided by the advance of technology over the 25 years since we first started mapping.In 1957, the World-Wide Standardized Seismic Network (which Lamont helped to establish, with instruments Ewing, Frank Press and other Lamont scientists invented) allowed seismologists to map earthquakes much more precisely.The positions of seafloor spreading centers were more accurately located by magnetic data, the bulk of which was collected by Lamont ships.Ironically, by this time, Ewing had moved to the University of Texas, so we could now use Lamont data, long denied to us, to finalize our maps.
The first proofs for the world ocean floor map arrived from the printers in time for Bruce to take them with him aboard the Navy's nuclear submarine NR-1 on an expedition to explore the mid-ocean ridge off Iceland.In 25 years, the study of earth science had advanced so much, the traditional mountain-climbing geologist with a rock hammer could now sample the seafloor in a submersible.But Bruce died of a heart attack on that cruise, just a few months before the World Ocean Floor panorama was published in 1977.
I think our maps contributed to a revolution in geological thinking, which is some ways compares to the Copernican revolution. Scientists and the generalpublic got their first relatively realistic image of a vast part of the planet that they could never see.The maps received wide coverage and were widely circulated. They brought the theory of continental drift within the realm of rational speculation. You could see the worldwide mid-ocean ridge and you could see that it coincided with earthquakes.The borders of the plates took shape, leading rapidly to the more comprehensive theory of plate tectonics.
I worked in the background for most of my career as a scientist, but I have absolutely no resentments.I thought I was lucky to have a job that was so interesting.Establishing the rift valley and the mid-ocean ridge that went all the way around the world for 40,000 milesthat was something important.You could only do that once.You can't find anything bigger than that, at least on this planet.
"Connect the Dots: Mapping the Seafloor and Discovering the Mid-ocean Ridge" by Marie Tharp Chapter 2 in: Lamont-Doherty Earth Observatory of Columbia Twelve Perspectives on the First Fifty Years 1949-1999 Edited by Laurence Lippsett
Last updated December 12, 2006
© Woods Hole Oceanographic Institution. All rights reserved


text: John, Would the HD-2000 tuner work in Europe with satellite or terrestrial broadcasts (such as FreeView)? I don't think they're HDTV compatiable aren't they? Or will subtitle support for the HDTV tuner be portable to DVB (terrestrial or satellite) subtitle support? Thanks again for your help Cheers - Piers John Patrick Poet wrote: > On Wed, 7 Jul 2004, Piers Kittel wrote: > > >>Hello everyone, >> >>I've been following MythTV's progress fairly closely - I've always been >>hoping to build my own MythTV box but one thing has been stopping me - >>lack of digital subtitle support. As I'm Deaf, I require subtitles to >>be able to watch and enjoy programmes/films etc and would like to >>include a Digital Terrestrial or Satellite decoder card but apparently >>support to record/playback subtitles aren't available to be included >>with MythTV. I'm not fully sure if even analogue teletext subtitles are >>recordable with MythTV with an analogue decoder card rather than an >>external decoder (such as a VCR). From my experience, a lot of people >>prefer to be able to see subtitles and I think this feature would >>benefit everyone greatly if it were available? >> >>Thanks very much for reading this >> >>Cheers - Piers >> > > > As far as the HD-2000 HDTV tunner card goes, this is on Daniel Thor > Kristjansson todo list. He is pretty swamped with personal stuff and other > projects so it could be a while, though. > > If you have any programming experience, I am sure he would be more than > willing to give you the information necessary to implement this feature. > > John


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Parent Volunteers Supporting Marcellin
160 Bulleen Rd Bulleen, VIC, 3105
61 3 9851 1464
The Marcellin College Community Association supports Marcellin College Bulleen VIC Australia by fostering a strong parent volunteering presence in the school. Activities include Canteen, Second Hand Uniforms and Books, Fund Raising events such as the Mothers Day Breakfast, Fathers Day Breakfast and the Gala Ball.
Photo: 2018 Volunteers Mass and Luncheon © Marcellin College Foundation


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Phelps County Commissioners have been asked to find a bridge project that will obligate all of the county's Bridge Replacement Off-System (BRO) funds.
Jenni Jones, a Missouri Department of Transportation (MoDOT) planning official, spoke with the commission Thursday morning about the obligation, which the department is asking of all counties in the state.
With a fiscal year 2013 allocation of $115,819.45, the county's balance totaled $285,854.74 as of Nov. 27 of this year. The county's soft match funds total $18,143.38.
A soft match is a credit earned by counties that replaces their deficient bridges with local funding. This soft match can be used in lieu of the 20 percent local match on bridge projects.
District Two Commissioner Bud Dean said MoDOT is requesting all counties' BRO funds be obligated because there is a concern that the federal government will take them away if not used.
Dean also said some versions of a new federal long-term transportation bill did not include BRO funds or included wording that allows each state to spend the funds any way it wants, meaning the funds may not have to be distributed to counties.
Jones emphasized that obligating the BRO funds does not mean that the county funds are going to be a negative amount. BRO funds are appropriated by the state based on deficient bridges in each county.
The BRO funds also can be traded for soft match credit among counties and Dean suggested looking at that possibility to gain a large amount of soft match credits.
The trades must be complete before funds are obligated for the construction portion of the project.
The funds can be used for engineering and construction of certain eligible bridges. Jones provided the commission with a list of 17 eligible crossings in the county. Some of the bridges are eligible for full replacement while others are for partial replacement only.
Two of the bridges with the worst sufficiency rating in Phelps County are the County Road 7460 bridge and County Road 7530 bridge, which both cross the Little Piney Creek, and are rated 20.3 percent and 18.5 percent respectively.
Commissioners noted that replacing the County Road 7530 bridge, known as the Grotto Bridge, was estimated at one time to cost $750,000 to $1 million.
The bridge was closed by a commission order on Dec. 15, 2009, after a MoDOT engineer inspected it and suggested the bridge's lifespan was over.
Additionally, in early October, the commission received a petition to vacate a section of the road. Under state statutes, the commission cannot take action on the petition until the next quarter, which would be after Jan. 1, 2013.
The commission on Thursday agreed to talk with County Road Superintendent Walter Snelson to come up with a suggested bridge project.
Because of the time it takes for engineering and construction, it was suggested to also consider obligating the fiscal year 2014 allocation of BRO funds, which should be about the same as the 2013 allocation.
After the commissioners select a bridge, they must then start a programming agreement with MoDOT before or during a solicitation for engineering firms to design the project.


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Binky petting Sumba the lion cub
Goose's cover
map and postcard from Coos Bay, Oregon
Holding the caracal cat and ferret was very cool!
Binky's cover
Both Goose and Binky went up into the lighthouse.
There is something special about lighthouses.
My favorite memory of a lighthouse is from the movie, "Pete's Dragon."
How I loved that movie as a kid!
Both kids enjoyed making these albums.
They can't wait to make more. I'm thinking of making one for each season with
photos, stickers, poems, found treasures, birthdays, and holidays.
We are starting to see some leaves changing here by the bay.
Just a hint of red here and there.
Have you noticed any changes where you live?


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Yes, I've been slow getting off the mark. My first economics blog item for 2013 on January 18th! Well, I was giving you all time to read through the 380+ pages of my complete works for 2010-2012 which I published at the end of last year..... (only kidding).
Actually, I have been very busy, and haven't had time to do much. But I was spurred into action by a piece on the front page of this weeks "Canard Enchainé" about how the head Economist at the IMF - French economist and potential Nobel Prize winner Olivier Blanchard - has admitted that economists got the whole thing wrong. For years, they have been impliciting assuming a "fiscal multiplier" of around 0.5, meaning that for every billion taken out of the economy by government austerity measures, the effect on economy is only half. It turns out that the real number, based on the most up to date numbers is much higher - they estimate something between 0.9 and 1.7. That means that government austerity measures are a complete disaster. I think that many people in Greece, Spain, Portugal, Ireland and the UK would probably agree.
Note that if the fiscal multiplier is over 1.0, it means not only that cutting back on public expenditure will do more harm than good, but also that increasing public expenditure would pay off handsomely. This a point that many people have been making, but has been studiously avoided by those in the Troika (EU, ECB and IMF) who have been forcing massive austerity on the Eurozone governments.
I thought I'd chase up the story which started back in October when the International Monetary Fund's "World Economic Outlook" came out. You can download the document here.
The really interesting bit is Box 1.1. on page 41 called "Are We Underestimating Short-Term Fiscal Multipliers?", which was written by Olivier Blanchard and his colleague David Leigh. Here's what they say:
"The main finding, based on data for 28 economies, is that the multipliers used in generating growth forecasts have been systematically too low since the start of the Great Recession, by 0.4 to 1.2, depending on the forecast source and the specifics of the estimation approach. Informal evidence suggests that the multipliers implicitly used to generate these forecasts are about 0.5. So actual multipliers may be higher, in the range of 0.9 to 1.7."Here are the actual charts they produce. First, a graph showing the difference between the predicted GDP growth rates for the 28 countries made in april 2010 and the actual numbers.
If the economists had got it right, this plot should be flat, but it clearly isn't. And in particularly, it is way off for Greece.
Next, there is a graph showing where the forecast errors lay.
You can see that 1% of "fiscal consolidation" (read austerity) is associated with far larger drops in investment, GDP and Private Consumption than the economists had predicted. They did however get the drop in Net Exports (NX) about right. Well done! Not too difficult that one, given that the amount of exports that a country can manage will not change much when the government slashes public spending. On the other hand, the increase in unemployment is a lot higher than the economists had predicted.
The third graph provides information about which particular group of economic modellers got it wrong the most.
And the winner is - the IMF! Yes, the IMF has demonstrated that it was nearly 1.2% off. The EU economists were slightly less terrible at 0.8%, followed by the EIU and the OECD. But basically, this is a straight admission that none of them knew what they were talking about.
I find it particularly amazing to learn that the economist doing the modelling often don't make explicit what particular value for the fiscal multiplier they are using. I quote:
"These results suggest that actual fiscal multipliers were larger than forecasters assumed. But what did forecasters assume about fiscal multipliers? Answering this question is complicated by the fact that not all forecasters make these assumptions explicit. Nevertheless, a number of policy documents, including IMF staff reports, suggest that fiscal multipliers used in the forecasting process are about 0.5."That's truly incredible. The IMF, the ECB and the EU have been forcing governments
to impose massive austerity and increase taxation based on a number for the fiscal multiplier that the economic modellers don't even make explicit!
Not surprisingly, Blanchard and Leigh got a lot of criticism from their colleagues for making this admission. So, a few days ago, they came back with a detailed article called "Growth Forecast Errors and Fiscal Multipliers" - that was published as an IMF working paper that you can download here.
In it, they effectively back up all their claims with a detailed analysis.
Effectively, they demonstrate beautifully that the idea that "fiscal consolidation" is an intelligent response to government debt is based on a complete myth. At least now the economists have had the courage to admit that they really didn't know what they were talking about.
Amusingly, the working paper has a note saying "This Working Paper should not be reported as representing the views of the IMF. The views expressed in this Working Paper are those of the author(s) and do not necessarily represent those of the IMF or IMF policy." Mind you, given that Olivier Blanchard is the chief economist at the IMF, one wonders who would be better placed to give the IMF's position.


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Occasionally, I am fortunate enough to stumble across a painter who I really enjoy. It doesn't happen often but when it does, oh boy! Lamar Peterson, Garth Weiser, Anna Conway, TL Solien or Dana Schutz come to mind.
Welcome the newest addition to my elite list of cool painters, Scott Anderson. Last weekend I drove over to Kavi Gupta gallery to see his most recent exhibition, Misiisto, and was truly stunned. Grandiose.
Scott tells us a little about his exquisite paintings, talks about the Humanzee, hollers at Thomas Jefferson, and gives some good advice.
I was born to an architect and his wife in Urbana Illinois in 1973. My Dad was in the middle of school at the time. I was their first- born - first out of five. My family lived in western Illinois, until they moved us to suburban Kansas City (Kansas) in the mid eighties. I'm sure it was a potent cocktail of nature and nurture that helped germinate my interests and skills. My Father, like his mother before him, can draw like a dream, and my Mother has an uncanny ability to organize space densely and decoratively. They have always been very supportive of my chosen profession. Following my incubation in the suburbs, I went to undergrad at Kansas State and moved back to Urbana Illinois for my MFA at UIUC. My wife and I moved, by default to the middle-coast of Chicago in 2001, where we happily remain.
Well, handling it is rarely a chore. I think that it comes from my commitment to the medium of painting and what I feel is a real need to make these things. For me, there is a serious interest in every stage of a work's life cycle. I like thinking about making a painting, I feel like I'm "playing" while I make it, and offering the final product to the world is very satisfying as well.
The way these paintings look has been evolving gradually over the past few years, but I would say the epiphany came my last year of graduate school. The pressure had been building, I guess over all the years of art school. Course work had improved my facilities, taught me some art history, and exposed me to contemporary art. I spent the first bit of grad school frustrated, and wasn't sure how to apply all of this or how to insert myself into the canon. It wasn't until I stopped worrying about defending/defining my work in post-structuralist terms (the lingua franca of the time), that I relaxed and was honest and really invested in what I was doing. It was weird. I felt like I was kind of regressing, by clustering images and what not together in a manner that I would have "fooling around" in my high school sketchbook. It was more sophisticated though. The "doodling" I was doing in the paintings was being informed by all this stuff I had absorbed - by the narrative of art history (particularly the history of painting).
I still do drawings, but probably not as often as I used to. I'm afraid the excuse isn't very exciting. Basically, the paintings take a lot of time to make and usually that's what is being shown. One thing that I rarely do is make drawings to function as preliminary studies for paintings. I feel like that takes away from the experience of making the painting. Plus I like drawings for what they are, and want them to stand on their own as finished works.
This sort of relates to the previous question. I've only done that (small painting as a study) a couple of times and have decided I don't like to do it. Just like doing preliminary drawings, it dispels the experience of making a larger, more resolved, version. I do like making small paintings however, and how it is different does give me ideas for larger works. You can do things with smaller paintings that are difficult to replicate in when you go big, but its cool to try.
This is always a hard question to answer. I want the paintings to contain a certain amount of formal and narrative tension, so when that is achieved, they are finished. That's not to say, I haven't ever stopped short or carried on too long, because I know I have. Learning restraint is another skill set like any other. Hopefully you get better at it over time.
Well, like a lot of boys my age, much of the pop culture consumed in our formative years were science fiction, so there is no doubt that it's been a component in a lot of my work, both deliberately and subconsciously. I think it's particularly apt when describing my work a few years ago, and maybe less so now. What I think influences me more than science fiction is medieval painting. I've always been attracted to the epic narratives, symbolism, and generosity of detail. I like it that academics have devoted their careers to decoding the paintings and that these things are timeless, eternally interesting objects. They are always an occasion for new meanings even if they had a very specific function during the time of their making. This is how I want my work to operate and I think a lot of contemporary art does not.
My paintings connect to the lineage of the medium through a sort of customization of its archetypes, and through that I'm searching for my own language - my own way to define the medium of painting.
I suppose there might be something distinctively "American" about my paintings, which may turn me into somewhat of an "other" when it comes to European audiences. If that exists, I think it's subtle. In the art world, at least, I think the cultural swap is so frequent that whatever exotic qualities exist are diluted. The most glaring difference I've detected is when I simply show outside of Chicago, whether it's in the States or elsewhere. I seem to get more love out of my hometown and I don't know exactly why. Maybe its Chicago's history as a neo-conceptualist art town? Don't know, but you really don't see very much in the way of new, interesting painting coming out of Chicago. They may get educated here, but I guess they are not sticking around.
To finish answering your question - I don't really have a preference other than its fun to take a trips overseas, so in that sense, I might prefer showing outside of the U.S.
There are some pretty ordinary reasons for staying: friends, family close by, my wife's commitment to her job, etc. But also, Chicago has a way of opening itself up for reinvention every now and then, which I don't see as being the case in some other major cities. It can be frustrating sometimes, but every once and while, Chicago has a moment. I'm just hoping that one of these days the moment will stick and I'll be along for the ride.
The Humanzee, a human-chimp hybrid. I once saw this program about a chimp that was found in the 1960s that had peculiar human characteristics - walked upright, less hair, human facial features, etc. They proposed it was a Humanzee. Sort of like a missing link. Of course after some tests that became available in later years, it was determined he was just a chimp. It was very weird and creepy, and since I've developed a minor obsession with the Humanzee.
Thomas Jefferson, Samurai Jack, Humanzee, The Wire, Piraat Belgian beer, dailykos.com, Branded to Kill, Wes Anderson, Underground, The God Delusion, Dark Chocolate, bulgogi, Jens Lekman, Hot Chip, Hieronymus Bosch, and Barack Obama
Warmer weather and camping season. I also have an exhibition scheduled in Dallas this September, so I'll be busy making stuff for that.
First of all, the idea that there are hordes of young folks clamoring to make paintings is scary. There is too much bad painting being made as it is, so if you don't feel like you NEED it then please don't bother. Get a real job and quit thinking art is a way to make a living, be hip, and "famous" all at once.
If you are sincere about making good paintings, then I suggest you be honest with yourself and really invest time and energy as opposed to developing a "strategy." Painting is unique in that it is always about painting (seems to me). Points of departure, motivations and subject matter may vary, but it's always about developing your own language. You have to mix in a heavy dose of your own interests, skills, and failures into what you've learned about the history of art and of painting, contemporary culture, theory, etc. When everybody's problem is essentially the same. That is, how do you make a good, fresh, authentic painting when its all been done before? The solutions have to be totally idiosyncratic.
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text: Helpful Links For the Customer Instructions & Info Specials & Exclusions Gift Certificates Specials and Exclusions Policies Why Smokin-It? FAQ Warranty Info Military & 1st Responders Contact Us Recipes How We Give Friends of Smokin-It Shipping Info! FedEx Shipping Options Shipping Dimensions Signature Required Shipping Time Map 2019 Shipping Changes Model #3.5D, #4D & #5D Shipping Map Forums/Blogs Smokin-It Forums Barbecue! Bible Blog WIFI Apps WiFi Google WiFi iTunes Account Contact Us Menu Search site: Smokers Lion Grills Lion Grills BBQ Accessories Carts/Cabinets Accessories Bamboo Cutting Boards Covers "Outside the Box" Carts/Cabinets Cooking Accessories Electronic Cooking Accessories Foods Wood Shipping Options Shelving Cold Smoke Seafood Specialized Standard Replacement Parts Apparel Hats Shirts Gift Certificates You are here: Home > Carts/Cabinets Sort By: Price: Low to High Price: High to Low Most Popular Title Manufacturer Newest Oldest Availability 30 per page 60 per page 120 per page 180 per page 300 per page Page of 1 Stainless Steel Smoker Cart - Model #1 and All #2 Smokers Our Price: $199.99 (2) Stainless Steel Smoker Cart - All Model #3 Smokers Our Price: $239.99 The Norman Cabinet - Smoker #1 & All Model #2's Our Price: $269.99 The Stephanie Cabinet - All Model #3 Smokers Our Price: $319.99


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When TV folks started talking to Lance Storm about putting together a wrestling documentary show, the accomplished veteran wrestler knew he wanted it done a certain way.
And after going through 3 1/2 weeks of shooting the show, World of Hurt, which premiered May 1 on The Cave, Storm is happy with the end result.
With 10 30-minute episodes on the way, the show is a roller coaster ride of pain, conflict and triumphs.
"The biggest thing I was worried about was how the in-ring training would be portrayed," said Storm, who successfully operates the Storm Wrestling Academy in Calgary, where the show is filmed.
"This isn't a big exposé. I was real happy with the in-ring representation. All the critics will say that it's just another exposé. I would say, 'Yeah, we're going to expose just how much work goes into this.'
"We don't insult anyone's intelligence, but we don't expose as much as you might think. On a grand scheme, I'm happy with the show. I'm really anal retentive, there are always little things that stick at me."
To get the project going, Storm brought back some former wrestlers from his camp.
"They obviously wanted to have different looks and different personalities," said Storm. "And we got different nationalities, which makes for a good mix.
"It was early mornings and long days. And that adds to the drama because any tension was amplified and exaggerated. (In wrestling), if there's a hornet's nest, the boys like to poke it."
Plenty of the show's tension is between Irena and fellow Aussie Dylan Knight, who constantly belittles her. Ironically, Irena, along with Tenille, have already landed a WWE developmental deals.
"(Dylan's) not the happiest about the situation," said Storm, who says while he's happy for any success the school's wrestlers may achieve, they've got to earn everything with hard work.
"Getting exposure for the school is good, but I'm more interested in getting exposure for the wrestlers," he said. "I'm not a big fan of coddling people too much. When you get into the business, you're not going to have anyone holding your hand. If you mess up, it could be in front of a large crowd instead of the dozen people you're training with."
Storm's wrestling school has three 12-week sessions each year, with 12 students ideally in each session.
"We're teaching everything from how to fall and not kill yourself to having a full match."
Storm says he practises what he preaches to his students.
"We've seen wrestlers who have suffered from alcoholism, had four divorces, did drugs, gone to rehab.
"I started dating my wife in 1992, we got married in 1994 and we are still together. I don't do drugs, I have never gone to rehab, I've never declared bankruptcy. I'm more of a rarity in the business."
"It's easy to fall into a trap when you make a fair bit of money."
Storm fought last month on Prairie Wrestling Alliance's 10th anniversary show after jokingly saying if The Dudley Boys were brought in, he would put on the tights. Sure enough, Storm teamed with Devon against Bully Ray and Dylan Knight.
Storm hasn't officially retired and says he has an ideal last match in mind.
"I would really like to go out against Chris Jericho because I had my first match against him. We have feuded and tagged off and on for the last 21 years. He's got one more big (WWE) run left in him. But, in a perfect world, when he's ready to retire, there will be a match."


text: Job Discussion Forums :: View topic - Co-teachers Get TEFL Certified & Start Your Adventure Today! Job Discussion Forums"The Internet's Meeting Place for ESL/EFL Students and Teachers from Around the World!" FAQ Search Memberlist Usergroups Register Profile Log in to check your private messages Log in Co-teachers Job Discussion Forums Forum Index -> Taiwan View previous topic :: View next topic Author Message ncarawayJoined: 15 Feb 2010Posts: 68 Posted: Sat Aug 25, 2012 3:49 am Post subject: Co-teachers Deleted by authorLast edited by ncaraway on Mon Sep 08, 2014 5:20 am; edited 1 time in total Back to top 52skidooJoined: 12 Mar 2012Posts: 32Location: Taiwan Posted: Sun Aug 26, 2012 6:27 am Post subject: Co teacher Hi, good luck with your new job. I have been here for over ten years and had co teachers from time to time. Each experience was different but there are some basic things you need to know. 1. Their most important role is to watch your teaching methods and everything else then report back to your boss how you doing. 2. They can help with discipline problems. 3. They are great for helping how to explain a game or other activities to the kids for the first time, in Chinese. I had one co teacher who did absolutely nothing to help me. She just sat at her desk and prepared her classes for the afternoon and criticized my teaching because I wasn't doing it the way she thought it should be done. On another occasion I had a great co teacher with a great attitude that was truly amazing. Hope you get a nice one! Back to top ncarawayJoined: 15 Feb 2010Posts: 68 Posted: Fri Aug 31, 2012 11:58 am Post subject: Deleted by authorLast edited by ncaraway on Mon Sep 08, 2014 5:20 am; edited 1 time in total Back to top 52skidooJoined: 12 Mar 2012Posts: 32Location: Taiwan Posted: Fri Aug 31, 2012 12:30 pm Post subject: You are welcome. I guess things are changing. I have never heard of doing that with a co teacher. But I guess it makes sense to the management. Lots of schools like having newbies because they can mold you to do things the way they want them done. Teachers with loads of experience are often inflexible. So best of luck. Hope you have a good teaching experience here. Most teachers have a good first year if their managers are half way decent. Back to top TaylorJoined: 24 Oct 2003Posts: 384Location: Texas/Taiwan Posted: Thu Sep 06, 2012 5:02 am Post subject: * On working with co-teachers Hi ncaraway, Best wishes as you begin teaching in Taiwan. I'd like to state that I agree with everything that 52skidoo posted. I'm guessing that you will work with different co-teachers. Some co-teachers you will like very much for their kindness and helpfulness, while others may seem to be working against you. Just let us know how things seem to be working out. (We can't predict exactly what will happen....) Don't worry about your Chinese ability. In fact, it's probably better if you don't speak a single word of Chinese in class. In fact, you will give the co-teacher "face" if you speak to her (usually a female) in English. This is not to say that it's bad to use Chinese while interacting with "local" teachers, staff, students and even the students' parents. However, it will be preferable to speak English 98% of the time. This may not be true if you are in a locale such as Miao-li, Ping-tung, or Chang-hwa--(these are quite rural areas, all things considered). Hope this is not information overload. It's nearly midnight here, so please forgive me if anything is incoherent. I'm in Texas now. I really miss Taiwan. Wish I could be there again. (I will be back someday!) Taylor P.S. Incidentally, practicing your Chinese with 4th and 5th graders in Taiwan will allow you to improve quickly. They are old enough to know how you should say things, but they are still child-like enough to point out your mistakes without sugar-coating anything! Back to top ncarawayJoined: 15 Feb 2010Posts: 68 Posted: Thu Sep 06, 2012 9:13 am Post subject: Deleted by authorLast edited by ncaraway on Mon Sep 08, 2014 5:20 am; edited 1 time in total Back to top 52skidooJoined: 12 Mar 2012Posts: 32Location: Taiwan Posted: Thu Sep 06, 2012 1:25 pm Post subject: Glad to hear things are taking shape. I can see the management's point of using the local teacher for games, on the other hand, games are a big part of any tefler's toolbag. You are certain to face a lot of cultural differences that defy western logic. Feel free to PM me about things like that which are not job related but make a huge difference on getting by from day to day feeling good about yourself and your environment. Best wishes. Back to top 52skidooJoined: 12 Mar 2012Posts: 32Location: Taiwan Posted: Thu Sep 06, 2012 1:27 pm Post subject: Hi Taylor, Nice post. I live in Taiwan and miss Texas, hah! Take care. Back to top Display posts from previous: All Posts1 Day7 Days2 Weeks1 Month3 Months6 Months1 Year Oldest FirstNewest First Job Discussion Forums Forum Index -> Taiwan All times are GMT Page 1 of 1 Jump to: Select a forum Where to Begin----------------General DiscussionNewbie ForumCurrent Events ForumTechnology ForumOnline Teaching Forum Africa Forums----------------General Africa Forum Asia Forums----------------CambodiaChina (Job-related Posts Only)China (Off-Topic)Hong KongIndiaIndonesiaJapanMalaysiaPhilippinesSingaporeTaiwanThailandGeneral Asia ForumVietnam Caribbean Forums----------------General Caribbean Forum Europe Forums----------------Czech RepublicFranceGermanyGreeceItalyMacedonia and the BalkansPolandRomaniaRussia & C.I.S.SpainTurkeyUkraineUnited KingdomGeneral Europe Forum Latin America Forums----------------ArgentinaBrazilChileColombiaCosta RicaMexicoMexico (off-topic)PeruGeneral Latin America Forum The Middle East Forums----------------BahrainEgyptIsraelKuwaitOmanQatarSaudi ArabiaUnited Arab EmiratesGeneral Middle East Forum North America Forums----------------General North America Forum Oceania----------------Australia/New Zealand You cannot post new topics in this forumYou cannot reply to topics in this forumYou cannot edit your posts in this forumYou cannot delete your posts in this forumYou cannot vote in polls in this forum This page is maintained by the one and only Dave Sperling. 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Giveaway - handspun trimmed mobius mittsMonday, October 24, 2011
Giveaway closed - winner announced here
Hi everyone, here is a mobius mitts giveaway ^_^
I've been working on adding thumbs to mobius mitts. This pair was worked with thinner yarn than my usual mitts then trimmed with handspun yarn from this batt. They are size large, pictured on my size small hand (so they look a bit oversize here).
here ~~~
~~~ Fine print ~~~
- Giveaway closes 31st October 8am (AEST)
- Please leave me a way to contact you
- International entries welcome
- Winner will be contacted and will need to reply to claim prize
See available mobius mitts on etsy
Crochet your own mobius mitts


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The harsh reality for Action Wrestling Entertainment is that they are trying to compete in a crowded pay-per-view market. Yet, with tonight's Harsh Reality PPV, the promotion hopes it is making steps towards a bigger market share.
It's the first PPV for the Winnipeg-based company since its half-hour program, Overload, starting airing on The Fight Network in Canada.
Mike Davidson, the AWE's Director of Wrestling Operations, believes the fact that the TV show is on the air -- and available online for viewing at www.AWEheat.com -- will make a difference.
"It's a culmination of angles that were fed off of the TV, so hopefully it will mean more," he told SLAM! Wrestling. "Our first two specials (Larger Than Life I & II) were pilots for this project, and we've now gone about investing more resources into the production end."
It's a seven-match show Wednesday night:
Davidson shared his recollections on the card, taped in early December. "There were a couple of matches that stood out to me, first Johnny Devine and Shawn Houston versus Kenny Omega and Ryan Wood. We call our Junior Heavyweight Division the Action Division and it's for good reason. For 20 minutes these guys put on a thriller. Omega, recently signed with WWE, so this is one of his last matches for the company. Devine fresh out of TNA has something to prove, and they gelled really well, it was an amazing match."
The other bout that stood out for him was April Hunter versus Sexy Samantha (Slides) of Monster Pro Wrestling in Edmonton. "This was not your typical WWE Diva match," he said.
The PPV and TV tapings in December was April Hunter's first trip to Canada, and she is pleased with the new bookings on her calendar.
"I really enjoyed working with them," Hunter said of the AWE. "I really enjoyed working with Samantha Slides, my opponent, and I really enjoyed working with Sara Stock. I had a good time with them. I guess I'm doing a new gimmick with them; I'm going to manage one of the guys too, so that will work out really cool to do both."
The December taping was newsworthy before the cameras even started rolling, as Lex Luger was detained and arrested at the border, foiling his planned appearance on the show.
"There have been some challenges that we did not expect," admitted Davidson. "Luger not getting into the country, Kidman not appearing, but those are incidents more than challenges. Our production company works hard to get the episodes ready to air on time, but they seem to have a grasp on that. I expect our biggest challenge will be expanding into other markets which we intend to do in April."
The Harsh Reality PPV is available across Canada through the usual outlets for $12.99. It is not available in the U.S.
The next AWE TV / PPV taping is entitled Full Throttle, and goes down Friday, February 10 at 7:30 p.m. from Winnipeg's Investors Group Athletic Centre on The University of Manitoba Campus. Scheduled for the show are Scott Steiner, Buff Bagwell, April Hunter, "American Dragon" Bryan Danielson and Jimmy Yang.


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Apr 13,2009
Beyond Addiction: The will to change
by William Moyers
It seems as if people will do just about anything to garner attention, fame or fortune. But those weren't Aron Lee Ralston's goals when he sawed off his hand with a makeshift multi-tool after becoming pinned by a boulder in the backcountry of Utah six years ago. All he wanted to do was live.
His true grit has made him a celebrity, a best-selling author and a motivational speaker. In The New York Times recently, Ralston said the experience has changed him. "It was a blessing in a way," he said. "It made me think about the way I was living."
Ralston's case is a prime example of the opportunity that comes from adversity. By cutting off his hand, he changed his whole life. Courage can't be quantified. Ralston deserves everything he's got today.
But his story is not unique, though it isn't often that people resort to chopping off limbs to free themselves of what otherwise might kill them. I know scores of people who, like Ralston, faced adversity and were desperate to live — who were pinned down by circumstances unforeseen and unjustified, who made it because they had the courage to cut off those parts of themselves that held them back from the freedom of life.
They're called addicts and alcoholics who have embraced recovery. And like Ralston, they survive day after day only because at the moment of their deepest crises, at the bottom, they discovered the strength to reach deep into themselves to tap a superhuman ability to make tough choices. By giving away parts of themselves, they've been restored. They survive.
But you won't read about them in the newspaper or online. They don't garner five-figure fees for speeches or write books that are bought by millions of people. Heck, rarely do they even seek public attention. Yet I believe it is time for people in recovery to stand up and speak out and for the public to pay attention.
Ralston made a conscious choice to hike in the Utah wilderness alone without telling anybody where he was. And while a few critics call him a "heedless fool" for not weighing the life-threatening risks of his deliberate choices, to most of us he is a genuine hero, somebody we admire.
Addicts and alcoholics made conscious choices, too — to drink or take drugs, usually without telling anybody. Their critics call them "bad" or "evil" or "weak-willed" and wage a "war on drugs" against them. Nobody admires them or calls them heroes.
Why? Because while Ralston was ready to tell his story — even admitting his foolishness — people in recovery remain invisible or silently anonymous or in the shadows of addiction's stigma, preferring to share their stories only among themselves, usually in 12-step meetings. The result is that the public cannot grasp the indiscriminate power of addiction or what it takes in terms of sacrifice, personal responsibility and hard work on the parts of addicts and alcoholics to make recovery a reality by changing their entire lives. How can people admire or be inspired by what they can't see?
Every day in this country, addicts and alcoholics make decisions to cut off essential components of their existences: the alcohol or other drugs that defined their lives. Like Ralston, they don't do it to become heroes or make money or sell books. They do it simply because they want to live. What they give up in those moments comes back to them in what they gain from the rest of their lives. It is a lesson too many others who struggle with addiction have yet to realize because nobody has told them.
William C. Moyers is the vice president of external affairs for the Hazelden Foundation and the author of "Broken," his best-selling memoirs. The paperback edition was released in August 2007. Please send your questions to William Moyers at email@example.com.
Copyright 2009 Creators Syndicate, Inc.


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Your Experienced Berkeley Shutter, Shades, Window Blinds & Window Covering Company
The custom window covering professionals at Innovative Window Ware enjoy providing unique decor solutions for clients through the greater Berkeley area. Our unique mobile showroom is the best way to shop for your next window treatments. When you schedule a free consultation with one of our window covering experts, we bring our mobile showroom to your home. You're able to view a variety of samples and complete your order for new draperies, blinds, shutters, and shades, all without ever leaving your home. Best of all, we take your window measurements at the end of your consultation and even provide free installation! Contact us today to learn more about our process or to discuss your future window coverings with one of our professionals.
A Variety of Shades and Drapery Options
You've got a wide range of options when it comes to your window treatments. Our window treatment professionals can help you find the right shades and drapery that will help to fully express your home's decor. In a combination of function and fashion, shades and draperies will define your style while also allowing a proper balance of natural light into your home.
Blinds, Shades, & Shutters for The Berkeley Area
We offer a wide variety of window treatment options and styles to fit your design needs and tastes. Whether you're looking for the classically elegant look of plantation blinds, contemporary colors and textures, or anything in between, our custom window covering professionals have an eye for design and will guide you to the best possible option. We sell a range of products, including blinds, shutters, verticals, shades, roller shades, and draperies.
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Don't let our great prices fool you. All of our window treatments are manufactured using quality materials and top-of-the-line craftsmanship, similar to those in traditional "big box" stores. We work directly with window treatment manufacturers to avoid a "middle man" and increased cost. By doing this, as well as not having a physical showroom to maintain, we are able to give you the exceptional quality products at the best price possible.
Why You Should Choose Us For Your Window Coverings
There are so many reasons why you should choose Innovative Window Ware for your next blind, shutter, shade, or drape needs. One of the biggest benefits to using our services is the ease of use. All you have to do is give us one phone call or email and we'll handle the rest! We bring our mobile showroom to you at your ideal appointment time at no cost or commitment to you. You get to see the samples in the light and ambiance of your home's decor to find the best match for your property's personality. This convenience, paired with the free measuring and free installation services, makes our quality window treatments the obvious choice! Contact us today to get started and to schedule your free in-home consultation.


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Lots of the questions that get raised in this section of the forum can easily be solved using the Magic Seaweed Surf Directory:
It has camps, shops, surf schools and much more listed worldwide from Indonesia to Morocco. You can search by location, keyword, service or nearest beach to help you find any surf related business anywhere in the world.
If you own and operate a business and would like to be listed on the site for free please email email@example.com rather than posting on here.
MSW Sales Team


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October 11, 2004
LOS ANGELES — UCLA Anderson School of Management's MBA program is ranked 14th in BusinessWeek's biennial report of top U.S. and international MBA programs – up two spots from 2002. The report, entitled "The Best B-Schools," rated the UCLA Anderson faculty number one, based on BusinessWeek's intellectual capital poll, which tallies academic journal entries among 18 publications.
"We all have worked diligently over the last two years to implement a variety of initiatives designed to enhance the UCLA Anderson experience—including changes in our core curriculum, in our career management efforts and in the involvement of our alumni," said Bruce G. Willison, dean of UCLA Anderson School of Management.
"Our ultimate objective in pursuing these initiatives is to create enduring value of the UCLA Anderson MBA," added Dean Willison.
BusinessWeek's Best B-School report online includes several comments from recent graduates, including the following four:
"When students arrive at Anderson, they encounter a true community. There is a sincere atmosphere of teamwork, wherein each colleague is willing to help others. Everyone works hard and plays hard. Anderson students take their coursework seriously, but also take time out to enjoy the two-year program and gain new experiences. An MBA program is what you make of it -- and Anderson does not disappoint."
"The curriculum can be quite challenging and rewarding. There are excellent opportunities for academic growth. It is relatively easy to change career focus, if one is so inclined, and the faculty is generally quite supportive. The strong academics accompany a vibrant and active social scene at the school."
"The faculty and staff were overwhelmingly responsive to concerns of the students. Courses were added to accommodate the interests of the students to ensure that we could get everything we desired out of the program. The people at Anderson, both students and faculty, were instrumental in making the program what it is. My only regret is that I did not have enough time to take advantage of everything that the program had to offer."
"The field study program exposed me to an industry in which I had no previous experience. I was able to expand my consulting skills and hone my other skills before returning to the workforce full-time. It gave me an opportunity to identify potential business solutions for a small, growing business."
The business school Best B-Schools report results are available in the Oct. 18, 2004, issue of BusinessWeek, which is currently available on newsstands, and online at http://www.businessweek.com/bschools/index.html.
About UCLA Anderson School of Management
UCLA Anderson School of Management is perennially ranked among the top-tier business schools in the world. Award-winning faculty renowned for their research and teaching, highly selective admissions, successful alumni and world-class facilities combine to provide an extraordinary learning environment. UCLA Anderson students are part of a culture that values individual vision, intellectual discipline and a sense of teamwork and collegiality.
Established in 1935, UCLA Anderson School of Management provides management education to more than 1,400 students enrolled in MBA and doctoral programs, and some 2,000 executives and managers enrolled annually in executive education programs. Recognizing that the school offers unparalleled expertise in management education, the world's business community turns to UCLA Anderson School of Management as a center of influence for the ideas, innovations, strategies and talent that will shape the future.


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Refresh and revive your guests with a cocktail (or two) and start the weekend barbie off right. These yummy colourful cocktails are easy to make, and are sure to impress. You just need to make sure you have the right fruits, juices and alcohol bases on hand.
For any guests that are driving, serve mocktails by simply substituting the alcohol for more fruit juice or sparkling water.
1. Mango Mojito
Fresh mangoes are readily available this time of year so you'll want to make this minty zesty mojito more than once. Not only is it a cooling drink, it's super easy to prep and keep in the fridge before everyone arrives.
• 20 mint leaves
• 2 cups cubed mangos
• 1 1/2 cups club soda/sparkling water
• 1/4 cup fresh lime juice
• 1 cup white rum
• 3/4 cup to 1 cup simple syrup*
1. Add the mango cubes and mint to a food processor or high speed blender for about 30 seconds to 1 minute until a smooth puree forms. Add the club soda/sparkling water and lime juice and mix again to combine, up to 10 seconds.
2. Pour the mango mixture into a large pitcher and add the white rum. Stir vigorously for about 15-30 seconds to incorporate.
3. Taste and add the appropriate amount of simple syrup based on the sweetness of your mangoes, up to 1 cup simple syrup, and stir again.
4. Pour into ice filled glasses when your guests arrive and enjoy!
* You can make the simple syrup by boiling 1 cup sugar with 1 cup water until completely liquid, stirring often. Cool it down, then measure it out! This makes a bit more than 1 cup simple syrup, so use as much or as little of it as you want depending on the sweetness of your mangoes.
Recipe by Jessica in the Kitchen.
2. Raspberry and Ginger Fizz
You can rustle up this fresh, summery cocktail in a jiffy whether you're planning on a weekend gathering with a group of friends or a tipple with a couple of mates. Don't have fresh raspberries on hand? Thaw some frozen ones, they will do just fine.
• 2 handfuls raspberries
• 1 teaspoon golden caster sugar
• 1 good handful fresh mint leaves
• 5 cm piece fresh root ginger, peeled and roughly chopped
• ice cubes
• 8 shots vodka
• 660 ml ginger beer
1. Place the raspberries in a large sturdy jug and add the sugar, mint leaves and chopped ginger. Put one end of a wooden rolling pin into the jug and gently bash or 'muddle' it for a couple of minutes until the leaves have broken down and everything is mashed together.
2. Add a couple of big handfuls of ice cubes and bash again to break down the ice a little. Top with the vodka and ginger beer and give it all a good stir.
3. Serve your lovely pink cocktail in glasses with an extra couple of raspberries and a few mint leaves.
Recipe by Jamie Oliver.
3. Kiwifruit lychee sparkler
With only four ingredients you can keep this cocktail flowing merrily along. It's simple and thirst quenching but quite strong, so it's best to plan for a long weekend lunch or BBQ outside on the deck.
• 1 kiwifruit, peeled and chopped
• 90 ml of vodka
• 60 ml of lychee syrup
• 120 ml of ginger ale
1. Combine the kiwifruit, vodka and lychee syrup along with ice in a cocktail shaker.
2. Shake up all the ingredients. Add the ginger ale and strain into two ice-filled glasses.
3. Top with kiwifruit and lychee pieces if you like.
Recipe by sheknows.
4. Passionfruit, Rhubarb, and Honey Margarita
A tasty twist on a classic margarita, this fruity, sweet n' sour cocktail served in glass rimmed with sea salt doesn't disappoint. It takes a little preparation beforehand but the end result is worth it.
• Sea salt for the rim
• 1 1/2 ounces silver tequila
• 1 1/2 ounces Cointreau
• 2 ounces fresh lime juice, plus wedges for serving
• 2 tablespoons strawberry rhubarb jam*
• 1-2 teaspoons agave nectar, or more to taste
• 1 tablespoon fresh passion fruit pulp
1. Salt the rim of your glass.
2. Combine the tequila, Cointreau, lime juice, jam and agave nectar in a cocktail shaker and fill with ice.
3. Shake until combined and then strain into your prepared glass. Stir in the passion fruit pulp.
4. Serve with fresh lime wedges. Enjoy!
* Strawberry Rhubarb Jam
• 2 1/2 cups chopped rhubarb
• 1 cup chopped strawberries
• 1/2 cup honey
• juice of 1 lemon
In a medium pot, bring the rhubarb, strawberries, honey, lemon juice, and 1/4 cup water to a boil. Boil 8-10 minutes or until the mixture has thickened and becomes jam-like. Stir in a pinch of salt. Let cool. Keep stored in the fridge for up to 2 weeks.
If you don't have time to make the jam, use a supermarket version.
Recipe by Half Baked Harvest.
5. Banana Coconut Colada
If you like piña coladas then you'll love this variation with frozen bananas, just the ticket for a hot summer's day. Using frozen bananas gives a more intense flavour as the taste isn't watered down with ice. For a non-alcoholic or kid friendly version, leave out the rum.
• 4 bananas, peeled, sliced and frozen
• 1 cup (250ml) pineapple juice
• 1 (400ml) tin coconut cream
• 1 shot (40ml) rum
1. Combine all ingredients in an electric blender.
2. Blend until the mixture reaches your desired consistency. Enjoy!
Recipe by allrecipes.


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Tadao Musashi 7 Upgrade Chip for the Tadao Board for VS Markers
Here is a copy of my review that I posted on vsusergoup.com:
From the manufacturer:
The Tadao VS Spyder chip is a drop-in upgrade for the Kingman Tadao VS Spyder board. It brings the full Musashi 7 software to the VS Spyder series, including triple debounce filters, a dozen fire modes, breakout modes, and the intuitive LED based programming mode interface. The circuit board is the most important part of any electronic paintball marker, and upgrading it can enhance all the performance characteristics. Tadao's leading edge Musashi 7 software provides the user with the ultimate in adjustability and speed.
Note: Your marker must already have a Kingman Tadao Spyder VS board for this chip to work correctly!
# Fully legal in the NPPL, PSP, and Millennium tournament series
# 12 modes of fire
* Unlimited semi-automatic
* Adjustable semi-automatic
* PSP auto-response
* PSP 50% ramping
* PSP 100% ramping
* PSP 3 round burst
* NXL full-automatic
* Auto-response
* 50% ramping
* Millennium 100% ramping
* 3 round burst
* Full-automatic
# More than 1 billion unique ways to adjust settings
# Asynchronously monitors the trigger switch, using an interrupt based scan at 2 million times per second for the quickest response time and fastest semi-automatic
# Rate of fire adjustable from 14 to unlimited bps in 0.25 bps increments
# AMB (anti-mechanical bounce) and CPF (cycle percentage filter) algorithms help to prevent mechanical and switch bounce without missing real trigger pulls
# G-mode setting allows 3 different options for every firemode, giving 36 different "breakout" style modes
# 7 color LED provides an easy to use programming mode without opening the grips, which allows changes to nearly any variable, including debounce, dwell, loader delay, AMB, fire mode, max rate of fire, eye mode, CPF, G-mode breakout, ramp start activation, and more
# All settings are stored in non-volatile memory so they are not lost when the battery is disconnected
# Power efficient software and hardware lengthen battery life
# Automatic 15 minute idle power down saves batteries
# One-touch startup enables the marker to fire almost instantly
# Low battery indicator hardware and software shows battery level each time the marker is turned on
My review:
I ordered my Musashi 7 Upgrade Chip direct from Tadao Technologies via their website the same day that it came out I think. I believe it was a Saturday and I ordered my Tadao board (a pre-requisite for the chip) the same day. I could not believe how fast the upgrade chip arrived. It was in my mailbox on Monday morning! How did they do that? I had to wait until the end of the week for the board to arrive so I could test it out.
The chip comes in a nice package that is identical to the packaging for the upgrade board. A cardboard box inside of a sleeve and the chip sits inside of an anti-static bag along with the color instruction pages and a small sticker set (the upgrade board did not come with stickers ). The instructions are very straight forward just like the installation of the chip. All you have to do is carefully remove the chip that is already installed in the stock board and then plug in the new chip. You should disconnect the battery and try to take a couple of shots to discharge the capacitor before doing this. The chip looks like this:
Be very careful that you do not bend any of the pins on the chip. You can use a small flat head screwdriver if necessary but be careful! Pry one side up a small bit and then the other and then repeat until the chip can easily be lifted out.
Once I had the new chip plugged in I plugged in the stock battery (Tadao says for best results use the stock 9.6 volt that came with your VS) and powered up my marker. I was now in the land of programming bliss with full control over my VS marker with uncapped rate of fire, 12 fire modes and more!! This chip is a MUST HAVE upgrade for the Tadao board.
I tested the board with the stock settings just playing around with some of the different modes. Holy cow! You have never had fun until you have unloaded a pod of paint on the side of the neighbors house in full auto (they shouldn't have moved out!).
In fact, here is a Youtube video on full auto:
And here is one with ramping:
The eye logic is awesome as you can see from the video even at high speeds I had no ball breaks. You must have a very fast loader to be able to keep up with this chip.
The chip also gives you access to fine tuning settings including: Rate of fire, Cycle Percentage Filter, Breakout modes, Anti-Mechanical Bounce, loader delay, bolt delay, dwell, debounce, two separate eye modes and more. Visit the Tadao Website and download the manual for a more detailed explanation of these modes and settings.
Overall this is a great chip and my choice after trying the Scenario Dreams T-Board. The Tadao Upgrade board in combination with the Musashi 7 upgrade chip will unlock the monster that is caged up inside of your VS marker. I cannot tell you how many times at the field people come up to me and cannot believe that I am shooting a Spyder. This board allows you the speed to compete with higher end markers on the field and will give you an edge to your game. It is fully legal in the NPPL, PSP, and Millenium Tournament series.
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Nanostructure of Perpendicular Recording Media
Published on
This write up examines the nanostructure of successive generations of perpendicular recording media, with particular emphasis on defects and elemental segregation.
Samples were prepared at the Maxtor Incorporated (now a part of Seagate Technology) San Jose, CA facility (now closed).
Cite this work
Researchers should cite this work as follows:


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Benefits of continuous Kumon study
Continuous study with the Kumon Method is beneficial in developing your child's future
Continuous study with the Kumon Method fosters essential strengths in children, allowing them to go on and apply what they have learnt even after graduating from school.
Strengths through continuous study
The goal of Kumon is to help children experience the joy of learning and advancing on their own and foster them to be people who can continue learning with essential strengths and qualities they will need for the rest of their lives. Through continued self-learning, children acquire a strong academic foundation, higher levels of work skills, concentration skills and perseverance. Through this, they then go on to develop a sense of self-initiative and independence, which not only leads to higher academic ability but also increased creative thinking.
Continued self-learning with the Kumon Method allows children to continually strengthen these skills and allows them to apply these skills to other aspects of their lives, while enabling them to become people who can contribute to society in the future.
Starting at an appropriate level fosters
a love of learning
Student Testimonials
Read the experiences of those students Kumon has helped nurture
Because of Kumon, I know "I can"
Vol. 2
"The most important thing from Kumon is self-learning skills that help me search and learn things on my own."
Vol. 3
"Kumon Worksheets is well-designed in term of psychological learning so children acquired skills from doing them."