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The authors are senior software engineers for Visual Numerics. They can be contacted at http://www.vni.com/.
One project we were recently involved in was the port of a large 32-bit application, which supported 11 platforms to a 64-bit environment. The number of lines of code in this application exceeded 300,000 lines. Considering that the 32-bit application had parts developed several years ago, there was every likelihood that the code had been modified by a variety of developers. For this and other reasons, we suspected that, among other problems, type mismatches that cause problems for a 64-bit port were likely introduced as modules were added or removed over time. We ported the 32-bit application to 64-bit to take advantage of the benefits of 64-bit technologylarge file support, large memory support, and 64-bit computation, among other features. Our overall approach was an iterative one that alternated between zooming in on detailed issues such as byte order and refining compiler flags, to stepping back to look at global issues, such as ANSI compliance and future portability of source-code base. Our first step was to research 64-bit resources to learn about each of the 11 operating system's compiler switches, memory models, and coding considerations. To define our starting point, we turned on the compiler warnings for one platform, ran a first build, and examined the build log's messages. With these initial builds and later use of tools such as Parasoft's Insure++ (http://www.parasoft.com/), lint, and native debuggers, we developed a road map of the issues we would encounter. From there, we proceeded to perform a complete inventory of the source code and examine every build configuration.
After initial code modifications, debug sessions, and passes through build messages, we had enough information to sort out and prioritize realistic milestones and the specific tasks required to get there. We reached a significant milestone when we had a running application with enough basic functionality that it could be debugged by running it through our automated test suite, which consists of backward compatibility tests in addition to new tests built to exercise 64-bit features.
If you have several 64-bit platforms as part of your conversion project, you might be tempted to work on one platform at a time. Once the application is running properly on the first platform, you might move on to the next platform, and so on. However, we found significant advantages to working on all platforms at the same time because:
- Each of the compilers provided different information in its warnings, and looking at the errors from several compilers can help to pinpoint problem areas.
- Errors behave differently on different platforms. The same problem might cause a crash on one platform and appear to run successfully on another.
A final consideration in approaching this project was to plan ahead for time required for the final release testing phase. Because our newly modified code base is shared across multiple 32-bit and 64-bit platforms, each 32-bit platform would need to be retested as thoroughly as our newly ported platforms, thereby doubling testing time and resources.
Cross-Platform Issues
There are a number of issues, ranging from compiler warnings to reading/writing binary data, that you can face when porting 32-bit applications that run on multiple 64-bit operating systems. Luckily, compilers can assist in determining 64-bit porting issues. Set the warning flags of the compilers to the strictest level on all platforms, paying close attention to warnings that indicate data truncation or assignment of 64-bit data to 32-bit data. However, one problem with compiler warnings is that turning on stricter warning levels can lead to an overwhelming number of warnings, many of which were automatically resolved by the compiler. The problem is that major warnings are buried within the mass of minor warnings, with no easy way to distinguish between the two. To resolve this issue, we enabled the warnings on multiple platforms and performed concurrent builds. This helped because different compilers give different warnings with different levels of detail. We then filtered the warnings using information from multiple compilers and were able to determine which warnings needed to be fixed.
Some application requirements call for binary data or files to work with both 64-bit and 32-bit applications. In these situations, you have to examine your binary format for issues resulting from larger longs and pointers. This may require modifications to your read/write functions to convert sizes and handle any Little- or Big-endian issues for multiple platforms. To get the correct machine endianess, the larger data sizes in 64-bit applications require extended byte swapping. For example, a 32-bit long:
Big Endian = (B0, B1, B2, B3)
can be converted to:
Little Endian = (B3, B2, B1, B0)
while a 64-bit long:
Big Endian = (B0, B1, B2, B3, B4, B5, B6, B7)
is converted to:
Little Endian = (B7, B6, B5, B4, B3, B2, B1, B0).
Most compilers will find mismatched types and correct them during the build. This is true for simple assignments as well as most parameters passed to other functions. The real problems lay in the integer-long-pointer mismatches that are invisible to the compiler at compile time, or when an assumption the compiler makes at compile time is what produces a mismatch. The former concerns pointer arguments and function pointers, while the latter primarily concerns function prototypes.
Passing integer and long pointers as arguments to functions can cause problems if the pointers are then dereferenced as a different, incompatible type. These situations are not an issue in 32-bit code because integers and longs are interchangeable. However, in 64-bit code, these situations result in runtime errors because of the inherent flexibility of pointers. Most compilers assume that what you are doing is what you intended to do, and quietly allow it unless you can enable additional warning messages. It is only during runtime that the problems surface.
Listing One, for example, compiles without warnings on both Solaris and AIX (Forte7, VAC 6) in both 32-bit and 64-bit modes. However, the 64-bit version prints the incorrect value when run. While these problems may be easy to find in a short example, it may be more difficult in much larger code bases. This sort of problem might be hidden in real-world code and most compilers will not find it.
Listing One works properly when built as a 64-bit executable on a Little-endian machine because the value of arg is entirely contained within the long's four least-significant bytes. However, even on Little-endian x86 machines, the 64-bit version produces an error during runtime when the value of arg exceeds its four least-significant bytes.
With function pointers, the compiler has no information about which function will be called, so it cannot correct or warn you about type mismatches that might exist. The argument and return types of all functions called via a particular function pointer should agree. If that is not possible, you may have to provide separate cases at the point at which the function is called to make the proper typecasts of the arguments and return values.
The second issue concerns implicit function declarations. If you do not provide a prototype for each function that your code calls, the compiler makes assumptions about them. Variations of the compiler warning "Implicit function declaration: assuming extern returning int" are usually inconsequential in 32-bit builds. However, in 64-bit builds, the assumption of an integer return value can cause real problems when the function returns either a long or a pointer (malloc, for example). To eliminate the need for the compiler to make assumptions, make sure that all required system header files are included and provide prototypes for your own external functions.
Hidden Issues
There are, of course, issues that may not be readily apparent at the beginning of the project. For instance, in 64-bit applications, longs and pointers are larger, which also increases the size of a structure containing these data types. The layout of your structure elements determines how much space is required by the structure. For example, a structure that contains an integer followed by a long in a 32-bit application is 8 bytes, but a 64-bit application adds 4 bytes of padding to the first element of the structure to align the second element on its natural boundary; see Figure 1.
To minimize this padding, reorder the data structure elements from largest to smallest. However, if data structure elements are accessed as byte streams, you need to change your code logic to adjust for the new order of elements in the data structure.
For cases where reordering the data structures is not practical and the data structure's elements are accessed as a byte stream, you need to account for padding. Our solution for these cases was to implement a helper function that eliminates the padding from the data structure before writing to the byte stream. A side benefit to this solution was that no changes were required on the reader side; see Listing Two.
64-bit long type arrays and arrays within structures will not only hold larger values than their 32-bit equivalents, but they may also hold more elements. Consider that 4-byte variables previously used to define array boundaries and allocate array sizes may also need to be converted to longs. (For help in determining whether existing long arrays should be reverted to integer type for better performance in your 64-bit application, see http://developers.sun.com/prodtech/cc/articles/ILP32toLP64Issues.html.)
Coding Practices and Porting Considerations
In addition to following the standard 64-bit coding practices recommended in your operating system's compiler documentation and noted in the resources listed in the Resources section, here are a few considerations and coding tips that will help when planning a 64-bit migration project:
- Convert your source-code base to ANSI C/C++, if possible and realistic. This simplifies your 64-bit port and any future ports.
- Does your target operating system support both 32- and 64-bit applications? Find this out ahead of time, as it will impact project decisions. For example, on Solaris, use the system command isainfo to check compatibility with both 32-bit and 64-bit applications:
- If your source code is not already managed under a version-control system such as CVS (http://www.nongnu.org/cvs), it will be helpful to implement one before porting your code. Due to the large number of global changes we needed to make for porting, we needed to revert to previous code much more often than normal. This made having a version-control system extremely beneficial.
- Does your application use and load 32 bit, third-party libraries? If so, it is better to decide during the planning phase whether these libraries should be upgraded to 64 bit. If long data and pointers are not transferred between your main application and third-party library, then possibly no 64-bit migration is necessary for the library as long as the operating system is capable of running both 32-bit and 64-bit applications. If the operating system does not have this dual capability, plan on taking the steps required to migrate the third-party application to 64 bit.
- If your application dynamically loads libraries at runtime and still uses the old calls for load(), switch to dlopen() to correct data-transfer problems between the main application and the library module. This is especially true for older AIX applications coded before dlopen() was available. To enable runtime linking on AIX, use the -brtl option to the linker with the -L ":" option to locate libraries. For compatibility, both your main application and all libraries loaded with dlopen() will need to be compiled using runtime linking.
- Consider backwards compatibility. When porting to 64-bit platforms, backwards compatibility issues will be even more critical. Consider enhancing your current test suite to include both older 32-bit tests and new 64-bit tests.
% isainfo -v
64-bit sparcv9 applications
32-bit sparc applications
Performing a source-code inventory for a large code base shared across several platforms for 32-bit to 64-bit migration and assessing the scope of each change, however trivial, can prove to be a daunting task. The potential to overlook conversion problems and introduce new errors is high. However, by using a small arsenal of 64-bit tools and techniques, many of these potential problems can be caught during the precompilation stage, at compile time, and at runtime. Some of the tools available are:
- Precompilation stage. A pass using lint, available with the compiler using the -errchk=longptr64 flag, is effective in catching type conversion mismatches, implicit function declarations, and parameter mismatches. Example 1 shows typical lint warnings that are red flags for 64 bit. Other lint-type applications are also available, such as FlexeLint (http://www.gimpel.com/html/products.htm).
- Compile-time techniques. Adjust your compiler warning levels so warnings are not suppressed, at least during the initial stages of the project. For multiplatform environments, take advantage of the fact that different operating systems compiling the same source code will complain about different issues. Clearing these warnings should benefit all platforms.
- Compile-time/Runtime tools. Advanced tools, such as Insure++ or Purify for 64-bit for at least one base platform, are a huge benefit in any development environment for both runtime and compile-time issues.
- Runtime tools. Try dbx, provided with each UNIX compiler, and ddd (data display debugger), a graphical interface for dbx and gdb on UNIX (http://www.gnu.org/software/ddd/).
Taking the time to do up-front planning and investigation is worth the effort. Don't get discouraged when nothing in your application is working correctly. Methodical and careful passes through the code will uncover the problem areas. With available memory and dataset sizes growing tremendously each year, the benefits of a 64-bit application are worth the pain of conversion.
#include <stdlib.h> #include <stdio.h> int Func1(char *); int main() { long arg, ret; arg = 247; ret = Func1((char *)&arg); printf("%ld\n", ret); return(0); } int Func1(char * input) { int *tmp; tmp = (int *)input; return(*tmp); }Back to article
Listing Two
typdef struct demo{ int i; long j; } DEMO; DEMO test; /*pout_raw outputs raw bytes to a file */ /* output each element of a structure to avoid padding */ pout_raw ((int) file_unit, (char *) test.i, sizeof (test.i)); pout_raw ((int) file_unit, (char *) test.j, sizeof (test.j)); /* the following line of code includes padding */ pout_raw ((int) file_unit, (char *) test,sizeof(test));Back to article


text:
Major Section: OTHER
Examples: (set-inhibit-output-lst '(warning)) (set-inhibit-output-lst '(proof-tree prove proof-checker)) :set-inhibit-output-lst (proof-tree prove)where
General Form: (set-inhibit-output-lst lst)
lst is a form (which may mention
state) that evaluates
to a list of names, each of which is the name of one of the
following ``kinds'' of output produced by ACL2.
error error messages warning warnings other than those related to soundness warning! warnings (of all degrees of importance) observation observations prove commentary produced by the theorem prover proof-checker commentary produced by the proof-checker event non-proof commentary produced by events such as defun and encapsulate summary the summary at the successful conclusion of an event proof-tree proof-tree outputIt is possible to inhibit each kind of output by putting the corresponding name into
lst. For example, if
'warning is
included in (the value of)
lst, then no warnings are printed
except those related to soundness, e.g., the inclusion of an
uncertified book. Note that proof-tree output is affected by
set-inhibit-output-lst; see proof-tree.
Printing of events on behalf of
defstobj is inhibited when both
'event and
belong to
lst. Otherwise, printing of events is controlled by
ld special

subset: commoncrawl


text:
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Blick is proud to offer its line of professional, artist-grade oil colors. Every color is formulated using the finest hand-ground pigments. Highly pigmented, they offer artists a luminous satin finish and dense, buttery feel.
Color Swatches created using heavy application/medium application/50% tint and were applied on acrylic primed canvas (7 oz) material.
manganese ammonium pyrophosphate
(NH4)2Mn2(P2O7)2 - Mn3(PO4)2 * 3H2O or H4O7P2H3NMn
Manganese Violet is a semi-transparent, bluish-violet pigment with a discrete opacity and low tinting strength. It is the reddest of the violets, and it covers and dries well in oil and tempera. It also performs well in pastel, encaustic, and watercolor. Manganese Violet is not well suited for fresco or acrylic painting. There can be significant differences in color across brands. It shares similar properties with bluish shades of Cobalt Violet.
Manganese Violet has excellent permanence and lightfastness, and it is one of the most lightfast, balanced violets in watercolor form.
Manganese Violet is highly toxic if inhaled and moderately toxic if ingested.
This pigment was developed in 1868 by E. Leykauf to replace the more expensive Cobalt Violet. It was not offered as an artists' pigment until 1890.
Burgandy Violet, Mineral Violet, Nürnberg Violet, Permanent Violet.
titanium dioxide
Titanium White is the most brilliant of the white pigments. It is considered an all purpose oil color useful in all techniques and the best all around white. Its masstone is neither warm nor cool, placing it somewhere between Lead White and Zinc White. It is less prone to cracking and yellowing than Lead White, but it still yellows easily. Titanium White dries slowly in oil form, more slowly than Lead White but more quickly than Zinc White. It is opaque in oil and acrylic forms and semi-opaque in watercolor form. This pigment has good chemical stability, and its tinting strength is superior to both Lead White and Zinc White.
Titanium White has excellent permanence and lightfastness.
Titanium dioxide is highly stable and is regarded as completely non-toxic. Animal studies give no indiciation that it is absorbed biologically, even after long periods of exposure. The primary safety concern is with inhalation of fine pigment dust particles. Titanium White, if inhaled in large amounts over the course of several years, may cause a benign pneumoconiosis that is visible on x-rays. The National Institute of Occupational Safety and Health (NIOSH) considers fine titanium dioxide particles, if inhaled, to be a human carcinogen. The primary concern for artists is to avoid exposure to fine particulate dust from raw pigments.
Titanium is the ninth most abundant element in the Earth's crust, however mineral deposits that are economical to mine are less common. Titanium dioxide was first discovered in 1821, although it could not be mass produced until 1919. Widespread use of the pigment began in the 1940s. Since that time, it has become the most commonly used white pigment. The name comes from the Latin word Titan, the name for the elder brother of Kronos and ancestor of the Titans, and from the Greek word tito, meaning day or sun.
complex silicate of sodium and aluminum with sulfur
Na8-10Al6Si6O24S2-4 or Na6-8Al6Si6O24S2-4
Ultramarine is the standard warm blue, a brilliant blue pigment that has the most purple and least green in its undertone. It has a moderate to high tinting strength and a beautiful transparency. Synthetic Ultramarine is not as vivid a blue as natural Ultramarine. Ultramarine dries slowly in oil and tends to produce clean, though granular, washes in watercolor. French Ultramarine mixes well with Alizarin colors in oil and watercolor form to create a range of purples and violets. It can dull when mixed with white in acrylic form, but mixes well with other colors. The shade varies based on manufacturer. Considered a great color for glazes, it is not suitable for frescoing.
Ultramarine has excellent permanence, although synthetic Ultramarine is not as permanent as natural Ultramarine. It may discolor if exposed to acid because of its sulfuric content.
Ultramarine has no significant hazards.
The name for this pigment comes from the Middle Latin ultra, meaning beyond, and mare, meaning sea, because it was imported from Asia to Europe by sea. It is a prominent component of lapis lazuli and was used on Asian temples starting in the 6th century. It was one of the most expensive pigments in 16th century Europe, worth twice its weight in gold, and so was used sparingly and when commissions were larger. Ultramarine is currently imitated by a process invented in France in 1826 by Jean Baptiste Guimet, making blue affordable to artists and extending the range of colors on their palettes.
Artificial Ultramarine, French Blue, French Ultramarine, Gmelin's Blue, Guimet's Blue, Permanent Blue, Royal Blue, Synthetic Ultramarine. New Blue describes particular shades of Ultramarine. Armenian Blue and Lazuline Blue are names for genuine Lapiz Ultramarine. Sky Blue is a pale tone of Ultramarine.
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Need some help improving your electrical service business? Just ask Mister Sparky (AKA Patrick Kennedy). As the owner of Mister Sparky, Inc. in Atlanta and the president of Electricians' Success International in St. Louis, he knows a thing or two about the industry.
Have you ever turned down a job after seeing the condition of a home's wiring? Is it a liability issue?
This is a pretty rare occurrence, but in my years in the industry, I have run into it from time to time. In these situations, we'll go in and see in the open areas of the home where a handyman or even the homeowner tried to make repairs or changes and left the wires exposed or worse. Yet in a lot of these cases, we've only been called out there to simply repair one outlet.
When faced with this situation, we'll obviously inform the client of the problem and present them with their options for bringing their home up to Code. However, if they were simply expecting a small outlet repair, they may refuse to go ahead with all of the work and demand that we just fix the outlet.
In those instances, we'll agree to fix the outlet, but not until the customer signs a release on our invoice that says they've been informed of what their home needs to be brought up to Code and they've chosen not to have that work done. We explain that our insurance company won't allow us to take the liability of not doing all the necessary work.
At this point, one of two things will happen. They'll either refuse to sign that statement — in which case we'll walk away from the job — or they'll see how serious we are about the work their home needs and decide to go ahead with it all rather than take on the liability themselves. So, in some instances, refusing to do the work may help you close the sale because the homeowner will understand just how serious the problems are.
I'm thinking about starting to charge a travel fee. How should I set the price?
First off, I applaud you because it sounds as though you're already committed to charging this fee. Usually business owners will start by asking if they should offer one at all because they're worried about losing customers.
Charging a travel fee is a smart business move because it allows you to recoup some of the costs of getting your electrician to your client's home. Also, it allows you to weed out some of the price shoppers and those clients who are looking for the cheapest price.
We've always charged a travel fee, but several years ago we decided to raise it. At first, our customer service representatives weren't confident about charging the higher fee, and their call-booking percentage dropped. However, at the same time, my electricians' ability to close their sales dramatically increased. Now, as our CSRs have become more comfortable, their booking percentage has returned to the level it was at before.
The overall outcome was that we booked the same amount of calls, but we closed more of them and we were able to collect a higher travel fee at the same time. So I wouldn't hesitate to incorporate a travel fee into your pricing.
What should your fee be? I'll admit that my answer is a very unscientific one, but here it is: "whatever you want to charge." Now with that being said, there are some things you may want to take into account. Your fee shouldn't be prohibitive. If everyone else in your market is charging $29 and you set yours at $150, you'll most likely lose quite a few clients. Your fee should help offset at least some of the cost of getting your electrician to the door. That would include things like your hourly wage, the cost of gas, vehicle upkeep, and a whole range of other costs. However, you should also look at your travel fee from a marketing standpoint. Will your clients pay it? How will you present it to them? Can you build upfront value in it?
Ultimately, how you set the price is up to you, but the bottom line is that no matter what you decide to charge, taking that step will set you apart and help you run a profitable service business.
Send your business-related questions to [email protected]


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Out gay actor Zachary Quinto will join the famous for playing gay, with straight actor James Franco in an upcoming biopic based on the life of a noted twink magazine publishing magnate turned anti-gay minister.
Variety reports that a 2011 New York Times Magazine article by Benoit Denizet-Lewis titled "My Ex-Gay Friend" will be the subject of the next Gus van Sant produced film. "Michael" is slated to star James Franco in the title role with Zachary Quinto as his former love interest. Actor Chris Zylka ("The Leftovers") is also slated to be in the film as another past love interest.
In "Michael," Franco will play Michael Glatze, former managing editor of the twink focused XY Magazine and founder of Young Gay America (YGA) Magazine, who declared himself "ex-gay" and now works as a conservative Christian minister in Wyoming. A former gay rights advocate, Glatze met former boyfriend Benjie Nycum while working at XY Magazine. The pair were together for ten years and went on to found YGA.
According to Wikipedia , YGA became a respected resource by high school and public libraries, youth groups and parents, and was seen as a sign that the gay youth movement was taking shape. The short-lived magazine would go on to win the National Role Model Award from the Equality Forum.
Glatze left YGA in 2007, after declaring he was no longer gay. He briefly entered the Church of Latter Day Saints (Mormons) before becoming a conservative Christian minister. He now believes that homosexuality is a sickness and opposes LGBT rights. He has authored two pieces about his "change" that were published on the conservative (and largely anti-gay) website, World Net Daily.
"This isn't just a story about an 'ex-gay,'" Said Justin Kelly, who is set to direct. "It's actually a very relatable story about the power of belief and the desire to belong."
"I'm excited that everyone involved in this project is intent on telling a story that captures the full breadth of Michael's unusual life," said Denizet-Lewis. "From the inspiring gay leader I knew when I was young to the Christian pastor he is today."
From our media partner EDGE


text:
Chicken Salad Melts
Ruth Peterson from Jenison, Michigan uses up leftover chicken to create a creamy spread from open-faced sandwiches. "They're delicious, satisfying and inexpensive," she notes. "You can tuck the filling into buns instead, wrap them in foil and heat them in the oven for a few minutes."
Total TimePrep/Total Time: 10 min.
Makes4 servings
- 1-1/2 cups finely chopped cooked chicken
- 1/2 cup mayonnaise
- 4 ounces process cheese (Velveeta), cubed
- 2 tablespoons each chopped green pepper, onion and ripe olives
- 2 tablespoons sweet pickle relish
- 4 sandwich rolls
- In a bowl, combine the chicken, mayonnaise, cheese, green pepper, onion, olives and relish. Split rolls in half; place cut side up on a greased baking sheet. Spoon about 1/4 cup chicken salad on each roll half. Broil 4 in. from the heat for 5-6 minutes or until cheese is melted.
Nutrition Facts1 each: 620 calories, 38g fat (11g saturated fat), 75mg cholesterol, 977mg sodium, 41g carbohydrate (10g sugars, 2g fiber), 28g protein.
Originally published as Chicken Salad Melts in Quick Cooking January/February 2005
Follow along as we show you how to make these fantastic recipes from our archive.
My Review
Jan 16, 2013
These were really good. My mother has made a similar recipe except with tuna for many years. That recipe has a slice of American cheese on top rather than the cubed Velveeta. I think I may try this like that next time.


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When I asked my daughter what kind of cupcake she wanted for her birthday she immediately said "strawberry" then VERY quickly she changed her mind to blueberry and that is all she wanted after she came up with that idea! I was thinking blueberry? I had never heard of blueberry cupcakes, but I knew my foodie bloggers would not let me down, so thanks to Food Gawker, I found this fabulous recipe! I used these for the snow globe cupcakes that I made for my daughters party, but I managed to save a few extra for us to enjoy. 🙂 These cupcakes were absolutely delicious! The cake was perfectly sweet with a subtle blueberry flavor. The blueberry is pureed so the cupcakes are a very beautiful purplish blue color, which was fun for the kids. This buttercream frosting is out of this world delicious! This will now be my go to buttercream for future cupcake recipes!Printer Friendly Version – Cupcakes Printer Friendly Version – Frosting
Blueberry Cupcakes
Makes about 18 cupcakes
2 cups + 2 tablespoons sifted flour
1 teaspoon baking powder
1/4 teaspoon salt
1 cup of unsalted butter (2 sticks)
1 1/2 cups of Sugar
2 large eggs
1/4 cup of whole milk
1/2 cup of blueberry puree
1/2 tsp Vanilla extract
Preheat oven to 350F and line cupcake pan with paper liners
Blueberry Puree:
Bring one pound of blueberries (fresh or frozen) to a boil in a sauce pan. I used organic frozen blueberries. Reduce heat to low and simmer until most of the liquid has evaporated (about 1/2 hour) and the mixture is thick, making sure to stir often. Cool the blueberries slightly and place in a food processor. Mix until smooth. For an
extra smooth puree pass mixture through a fine sieve before using, but I didn't do this and it was fine. Makes about 1 1/4 cups.
Cream butter and sugar until pale and fluffy. Add one egg at a time, beating until incorporated after each one.
Sift dry ingredients into a separate bowl. Mix milk with 1/2 cup of blueberry puree and vanilla. Add wet and dry ingredients alternately to butter/sugar mixture starting and ending with the dry ingredients in three additions. Mix until just incorporated after each addition. Do not over beat batter. The batter will puff up when baking, but then settle again once it cools, so you want to make sure that you fill each liner at least 3/4 full of batter. If you want an extra punch of flavor you can mix in a little of the blueberry puree into each cupcake and swirl slightly with a wooden skewer or small spoon. Bake for 18 to 20 minutes or until cake springs back to the touch. Cool for 10-15 minutes in the pan then turn out onto a wire rack and cool completely before frosting.
Vanilla Buttercream Frosting
20 tbsp. (2 ½ sticks) unsalted butter, softened
2 ½ cups confectioners' sugar, sifted
1/8 tsp. salt
2 tsp. vanilla extract
2 tbsp. heavy cream
In a stand mixer fitted with the whisk attachment, beat butter at medium-high speed until smooth, about 20 seconds. Add confectioners' sugar and salt; beat at medium-low speed until most of the sugar is moistened, about 45 seconds. Scrape down the bowl and beat at medium speed until mixture is fully combined, about 15 seconds. Scrape bowl, add vanilla and heavy cream, and beat at medium speed until incorporated, about 10 seconds. Then increase the speed to medium-high and beat until light and fluffy, about 4 minutes, scraping down bowl once or twice.
Adapted From: Cupcakes: Blondies Cakes & Things Frosting: Annie's Eats


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Thalman Selected Team MVP; Three Others Honored With Team Awards
NEW HAVEN, Conn. – Max McKiernan, a two-time All-Ivy selection, has been elected captain of the 2013 Yale men's soccer team. The announcement was made following a team vote at the post season banquet last week.
"It's an honor to be elected captain by my teammates and the men I respect the most," said McKiernan, a Louisville, Ky., native. "Knowing that I have the support of the team truly means a lot to me, and I can't wait to get started working toward a successful 2013 season. Along with the other seniors, I hope to help set the tone for a team that will be hardworking and tough."
McKiernan has started 43 games in his career at Yale. This fall, he earned honorable mention All-Ivy recognition for the second straight year after anchoring the Yale midfield. In his sophomore year, he was one of only four players to start all 17 games and scored the game-winning goal against Central Connecticut. In 2010, he was the only freshman to appear in all 17 games and was named to the all-tournament team at the Brown Classic.
"I'm delighted for Max to be named the new captain of Yale Soccer," said Yale head coach Brian Tompkins. "Max has a true Bulldog spirit. His work rate and competitive character on the field set the standard for his peers, and he is the embodiment of a relentless, never-say-die mentality. His tenacity on the field is well matched by his thoughtfulness and affability off it, and he is held in high regard by players and staff alike. I look forward to Max's leadership and believe that his stellar example of great energy and enthusiasm will inspire and encourage those around him."
McKiernan will receive plenty of support from his classmates.
"Our rising senior class is probably one of the most experienced groups that our program has had in some time, and I'm incredibly fortunate to have such a quality group of guys working by my side," he said. "Even though we only have one captain in name, each senior is ready to take on more responsibility and has already established himself as a leader in his own right, so there will definitely be a strong sense of collective leadership within the team."
McKiernan inherits the captaincy from Bobby Thalman. He also served under Andy Shorten '11 and Chris Dennen '12 during his tenure.
"I've had the good fortune of playing with three excellent captains," McKiernan said. "Each of them exhibited leadership differently, but together that showed me the importance of leading by example and demanding the best from myself before I can expect the best from my teammates."
McKiernan also has excelled in the classroom, earning Capital One Academic All-District I first team recognition this fall. He is a history/political science double major who serves as a volunteer tutor at St. Martin de Porres Academy which offers tuition-free and extended day education for boys and girls from low-income families in the New Haven area.
Five team awards also were presented at the banquet. Thalman, a three-year starting goalkeeper, was named the most valuable player after earning second team All-Ivy recognition. He led the league with 77 saves, tied for second in shutouts (5) and was third in save percentage (.828).
Thalman also was the recipient of the Walter Leemann Trophy, awarded to the senior member of the varsity team who, by sportsmanship and team play, upholds the ideals of former coach Walter Leemann. Thalman finished his outstanding career with 236 saves and 11 shutouts.
Senior Frank Shaw was presented with the Jack Marshall Award, given by the Yale Soccer Association to the member of the team who demonstrated the qualities of team spirit, loyalty to his fellow players and dedication to the game. Shaw played a number of roles on the field during his career and was an outstanding team leader and mentor off it.
The Frank Dunne Award as the most improved player went to sophomore Conner Lachenbruch. After appearing in 12 games as a freshman, Lachenbruch earned a spot in the starting lineup in 2012. In all, he started 15 games in the midfield and scored one goal.
Senior Andy Hackbarth was the recipient of the Bob "Doc" Holliday Award, presented to the squad member who regardless of playing opportunity or personal recognition has consistently demonstrated a selfless commitment, a positive attitude and has contributed to team spirit in ways that have improved the well-being of the Yale soccer program. Hackbarth, who earned All-Ivy recognition in each of his first three years, returned to the team after missing all of last season with an injury. He continued to battle injury this fall but started 12 games and remained an integral part of Yale's defense.
Report filed by Tim Bennett, Yale Sports Publicity


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I'm learning category theory by self-study. I have a couple of texts, and they both talk about how we ought to try not to think so much about the equality between objects in categories. Rather, the important relation is isomorphism.
Okay, sure.
Then they go on to talk about "Cat", the category of (small) categories. One of them even segues into it by considering "categories themselves as structured objects. The `morphisms' between them that preserve their structure are called functors." But then it becomes clear that equality of functors depends on equality of objects, which isn't part of the structure of categories! (Or at least, a part we're not supposed to think about.)
There are natural transformations, which inherit equality from the underlying equality of morphisms in the codomain category. They induce a natural isomorphism on functors. Treating functors, modulo natural isomorphism, as morphisms in a category of categories, seems to me to be the obvious "Cat".
In fact, not only is this not "Cat", but I couldn't find it among the loads of exotic examples of categories I'm given. Apparently it wasn't even deemed worthy of mention. This is a bit disappointing. Doesn't it at least have a standard name and snappy acronym? Can someone point me somewhere where I can learn about its basic properties somewhere? Or is there something defective about it that I've missed?


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Just Do It… Yourself Basket
Have you ever had that dream? You know, the one where you're a kid in a candy store and you're filling up a huge bag full of your favorite candies? Hmm, maybe it was just my post-Willy Wonka dream. I think it was the inspiration behind Challah Connection's Do it Yourself Basket . With this basket, you get to choose what you want to put in it. It's all the same kosher yumminess you've come to know from our gift baskets, but you're the design team. You know Aunt Rachel dies for blue and white cookies but rugelach…not so much? Pile on the blue and white! Or that Mom is a chocoholic but could take or leave raisins? Chocolate, we've got. Lots and lots of chocolate.
Not to pat myself on the back, but it's really a brilliant idea. It's not as crass as sending cash and a lot more tangible than a gift card. Recently I saw the Do it Yourself Basket really go to work for an interfaith couple friend. George recently called me, in a bit of a dither. George is not Jewish but his wife Leah is, and this year, after 17 years of marriage, George wanted to surprise her with a plethora of Jewish treats. Sad to say (correction: George was sad to say), he didn't really know which ones were her favorites, and he wanted it to be exactly perfect.
"George," I said. "My advice is to give the woman what everyone woman wants."
"Jane," he said. "I think you should just forget about Johnny Depp and stick to kosher gift baskets."
"No, no," I corrected him. "I mean, give Leah something to drool over…that fits in a basket."
"That's why I called," he whined. "She loves it all. Chocolate babkas, cinnamon raisin rugelach, blue and white cookies. Also, last year I broke her great-aunt's menorah. I don't think you make a basket that big."
"First of all, we can do whatever you want, but why not let Leah make her own basket?
"She could do that?"
"Yes, George! Just tell her to follow our "6 Easy Steps to Create the Perfect DIY Basket."
George realized he was onto something. While on the phone, he instructed me to put together a gift basket for his six-year-old nephew, his mother-in-law, and his boss. All customized, all do it yourself. George was very pleased with himself.
Now, if only there was a Do It Yourself Basket at Neiman Marcus…
Happy Shopping,


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The Children's After School Achievement (CASA) program at Hope College has recently received two grants in support of its summer and school-year sessions for elementary-age students.
This year's six-week summer program, which will focus on developing writing skills across a range of activities, will begin on Wednesday, June 18, and continue through Tuesday, July 29. The next school-year program will begin in September and continue through April.
The Coach Foundation of New York City has awarded CASA a grant that will support both sessions. The Junior Welfare League of Holland is providing support for Parents' Day activities this summer.
The Coach Foundation award is a $10,000 grant that resulted from a nomination by 2011 Hope graduate Katelyn Rumsey, who was a volunteer tutor with CASA as a student. The foundation emphasizes organizations that empower, educate and support women and children around the world, and it invites employees of Coach (Rumsey is a senior planner within the Global Merchandise Planning team) to nominate causes whose missions align with its own.
"External grants make a tremendous difference in helping CASA to work with the children," said Fonda Green, executive director of CASA. "We're grateful to the Junior Welfare League of Holland for the support that it has provided to CASA not only this year but in previous years, and appreciate the first-time grant from the Coach Foundation. It's especially meaningful to have been nominated by a former tutor who valued CASA so much that she felt the program deserving of the award."
CASA, a community program of Hope College, provides academic and cultural enrichment for at-risk first- through fifth-grade students. The program, which runs year-round, is intended to improve the students' academic performance by providing the tools they need to succeed in school.
During the school year, the students meet after school twice per week in one-on-one sessions with volunteer tutors, most of whom are Hope students. During the summer session, CASA runs five classes, each led by a certified teacher and assistant four mornings a week, providing a mixture of academic work as well as enrichment programs.
Featuring the theme "Write. Right!," this year's summer program will emphasize a variety of types of writing: personal notes including email; creative writing including poetry and haiku; factual writing reporting on science activities; descriptive writing based on classroom field trips; opinion; and an autobiographical journal which the students will also illustrate.
In addition to class time, the summer program will include visits to Herrick District Library, the Holland Area Arts Council and the college's Biology Museum; a presentation by the Saugatuck Chamber Festival and a play by the Children's Performance Troupe of Hope Summer Repertory Theatre; and participating in science exploration at Hope for a week. Further, on "Thrilling Thursdays" the students get to choose from among teacher-led workshops like "Magical Musical Class" (choosing an instrument to play), "Backyard Games," "Becoming Global Citizens Through Sports" (emphasizing the 2014 World Cup), "Puppet Making Workshop" and "Who Am I?," creating a self-portrait.
During the Parents' Day, which will be underwritten by $800 in support from the Junior Welfare League of Holland, the students and their parents will work on projects together and attend a mathematics-themed assembly featuring Maciek the Magician, who was a favorite during the program's 25-year celebration in 2012. Each family will also receive a book to take home.
CASA was established in 1987 by Marge Rivera Bermann and Latin Americans United for Progress (LAUP) and originally housed at First United Methodist Church. CASA moved to Hope College in 1989, and has its offices and summer classes in Graves Hall and its school-year activities in classrooms in Lubbers Hall.
The academic-year and summer programs serve Holland and West Ottawa students. A total of 145 elementary-age students participated in CASA during the 2012-13 year.


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This is the BAMA archive. These manuals are available for download and free of charge.
I am now accepting new manuals for inclusion in this archive. Contact and submission information below
The entire manual can be obtained by simply downloading the single pdf file. To use the pdf file you will need the free Adobe Acrobat reader. It can be downloaded from various sites, including the home site at http://www.adobe.com If you prefer, you may open the "pages" folder and download the gif or jpg images of the pages, one at a time. You will need a graphics program or a document viewer such as Doc_View to view and print the jpg and gif files.
nc303.pdf (2 MB)
This is the BAMA archive. These manuals are available for download and free of charge.
These viewers may be required to view the manuals on this archive:
If anyone knows of additional suitable GIF/JPEG viewers that are free to use, email me and I will include a link.
If you have a better copy of any of these manuals or a manual which is not listed, and wish to share, you can upload the manual to ftp://bama.edebris.com/uploads/ . Or, you can email me directly with the manual. I accept all formats.Page generated on: Jun 24, 2019
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The most amazing pictures from the past seven days – including pollution as seen from space, active volcanoes and a robot restaurant.
More stunning image galleries:
Amazing Lego sculptures, freakish weather… and Big Bird
Gruesome tools, environmental disasters and intimate views from space.
Christmas treats and the end of the world
Bathing snow monkeys, a tweeting pope and elephant dung coffee.
Architectural giants and a new way of seeing the Moon
Red pandas, Saturn and Nature's unstoppable forces
The world's largest bloom, the world's largest aquarium and the world's fastest sailing boat
Venice under water, a total eclipse and a pedestrian-avoiding car
Space shuttle, Baumgartner and Hurricane Sandy
The best of 2012 galleries:
If you would like to comment on this slideshow or anything else you have seen on Future, head over to our Facebook page or message us on Twitter.


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You can find all Wholesale Kilim Pillow at SomKilimPillows. Thousands of new arrivals will be here soon. Please check frequently.
In fact, such products have emerged with recycling. In a little, it was produced by chance. The reason is that people do not think to produce pillows by kilims or rugs. Yes, tapestries were produced for laying down, making a tent, or hanging to the wall against the cold. However, over time, these products have been worn out due to use and deformations have occurred in some parts. Because of the fact that it is a hand-knitted product and completely natural materials have been used, these products have high labor and therefore value. Moreover, as such fabrics are used, their colors and textiles have a better appearance and color tone. When this is the case, it is obviously not logical to dispose of it in the other part because of a deformation in the partial place. At this point, various techniques have been used to reuse the solid part and a lot of new products have emerged. Bags, cushion covers, wallets, jackets.
SomKilimPillows carries partial deformed items which were bought from town people and tapestry traders to our production plant in the Kayseri City of Turkey. First of all, the process is washing products. The washing process is both for stains and for hygiene. With purely plant-based and non-perfumed shampoos, we try to make the product clean as if it had never been used. If we do not get the result of the hygiene and cleanliness we want in the first wash, SomKilimPillows makes the pre-washing process. The washed parts are dewatered with the help of the machine and we complete the drying process under the sun. Drying under the sun makes both microorganisms disappear and colors more vivid. However, one of the most important issues to be considered during washing is that colors do not mix. Each dye and color of each rope is created by its own techniques, so each product is different in its washing. Some use hot water and some use cold water. Some need less shampoo, some needs more shampoo. The washing time is also variable. A product should be washed in 15 minutes and not in 3 hours. Improper permanent faults can occur in the products as a result of incorrect washing.
Products that have been cleaned are classified according to their quality and location. The most effective points at the pricing point are material quality, color, pattern, and locality. For this reason, products that will have the same pricing are classified first. Then, with the least waste, we calculate the measurements we can take from the parts and the cutting process is started. At this point, when we cut a hand-woven and old product into pieces, they all become different and another product with exactly the same pattern is very difficult. Therefore, our hand-woven products are only 1 piece each. In fact, this is what makes our products different. The same product you own will not be in another. You can use SomKilimPillows products everywhere. In your home (living room, guest room, kitchen, chair or armchair), at your workplace, for hotel decoration, cafe, saloon, wedding organizations, all kinds of decoration and souvenir shops and furniture stores.


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Claxton, the county seat of Evans County, incorporated on July 28, 1911. The city remembers Kate Claxton, a popular actress at the time of the city's founding.
Dating to the 1920s, the Evans County courthouse, built using 20th century Neoclassical design, is listed on the National Register of Historic Places.
The city is nicknamed the "Fruit Cake Capital of the World" due to the number of fruitcakes the Claxton Bakery produces each year. In addition, the city is home to some of the largest beekeeping and poultry industries in the state.


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Deer Crashes Through Window of Sioux Falls Apartment, Has to Be Euthanized
A deer had to be euthanized Wednesday morning after it jumped through a closed bedroom window and into a vacant apartment in southwest Sioux Falls.
Sergeant Paul Creviston says it was around 8:20am when police were called to 3511 South Gateway Boulevard.
The deer had several injuries from the broken window and could not get out of the apartment.
Police and staff from the Great Plains Zoo and the Game, Fish and Parks Department got the deer out of the apartment, but it had to be put down because of its injuries.


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About Us
JibberJobber was designed by Jason Alba during a job search in January of 2006. After having a successful start in his career in IT and business strategy, Jason found himself an unwilling participant in the job market. In 2006, this was supposedly a "job seeker's market."
Jason quickly found that a "job seeker's market" does not mean the job search will be easy, or short. Frustrated by the lack of real tools for job seekers (there were none), he decided to move forward JibberJobber, the first real tool that allowed a job seeker to manage and organize a job search.
The idea of what JibberJobber needed to be evolved as Jason's understanding of job search, career management, branding and networking evolved. This has shifted JibberJobber from a tool just to track job search stuff into a tool to be used to manage multiple job transitions during your entire career. JibberJobber became a tool for managing and nurturing relationships, and following-up.
The JibberJobber team is dedicated to helping empower you as a career-minded professional, no matter where you are at in your career. We have been working on JibberJobber non-stop since 2006, and don't see an end in sight!
If you want to learn more about JibberJobber check out the categories on our blog, including the How To category, Favorite Fridays, and the awesome Ask The Expert interviews.
And you can always you use the Contact form to ask us questions.
JibberJobber.com is a tool that YOU can use for your personal career management. Job search experts tell you to do a bunch of things, and anyone in a job search knows it's really hard to do everything AND keep track of it all. JibberJobber doesn't do it for you, but it might be the most important tool you use to help you in your complex job search.
JibberJobber is your tool that will help you:
- Manage and keep track of network relationships. It is your personal relationship manager for your career.
- Organize and keep tabs on target companies that you apply to, or want to apply to.
- Track ;jobs you apply to. When did you interview, did you send a thank you letter, what is the next step, etc.?
- Prepare for interviews. Create and store elevator pitches, responses to questions, your 30 second pitch, etc.
- Store important documents like resumes, cover letters, reference letters, etc. Track where you use these and who you send them to.
There is a lot more you can do in JibberJobber. One of the most important things we help you do is follow-up. We believe that follow-up is a critical part of networking and your job search. JibberJobber has various tools to help you remember to follow-up, which is one of the hardest things a job seeker gets to do.
Upgrade for $60/year (that's only $5/month), or earn free weeks of the Premium level by watching training videos that cost you nothing .
A challenge we face at JibberJobber is helping you take a high level of complexity and make it simple. This is very difficult, and sometimes when you look at JibberJobber it's easy to be overwhelmed. The core features in JibberJobber are tracking Contacts, Companies and Jobs, and the interactions you have with them (aka Log Entries). Start here, and if you never use other JibberJobber features, that's okay!


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What is a Live Online Class Session in Microeconomics?
In every Academy course, students meet weekly with their instructor and classmates in an online classroom for additional teaching, discussion, Q&A, or group activities. The class sessions are interactive and are conducted using a web meeting software with video, audio, chat, and application sharing capabilities.
Site Copyright 1996-2019 HSLDA Online Academy
Phone: 540-338-8290 | Email: email@example.com
1 Patrick Henry Circle | Purcellville, VA 20132
Privacy | sitemap
|AP, Advanced Placement®, and SAT® are trademarks registered and/or owned by the College Board, which was not involved in the production of, and does not endorse, this product.


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Today, I am proud to announce the first wave of public beta invites to Squarespace 6.
Squarespace 6 is more than an evolution — it is a completely new way of managing content. Built from the ground up with the knowledge gained from seven years of creating content management systems, Squarespace 6 is the result of more than a year and a half of incredible work by our team. We have created an environment where you can rapidly create a beautiful website in a matter of minutes, managed from an interface that is like nothing else on the web.
We have spent our time optimizing the core parts of the Squarespace 6 system: blogs, galleries, the page builder, and widgets (now called blocks). The beta is initially launching with a set of portfolio templates. Portfolio templates have incredibly diverse presentation styles, and represented an excellent initial challenge for our team. The platform, of course, doesn't end there.
The Squarespace 6 beta will start with Squarespace friends and family. We will be releasing invitations daily. If you build websites for clients, apply for our developer program here, with the subject "Squarespace 6 Developer", which has been underway for months.
We are incredibly excited to share our hard work with you. We've attempted to anticipate many of your questions in our Squarespace 6 FAQ. Please note that this platform is a beginning for Squarespace — it gives us the ability to create templates with unprecedented flexibility and iterate on our product many times faster than with our previous version. On behalf of our entire team, thank you for your ongoing support. We are thrilled to share Squarespace 6 with you!
Photography in the video by Rhys Logan
Fill out this form to be added to our beta invite list:
your name *
Email Address *
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|2009-06-27, 05:57
|Link #1
Senior Member
Join Date: Jan 2008
Location: Far, far, far away!
Age: 29
Fairy Tail Anime Episode Discussion Thread [Episode 165 and Onward]
It seems no one wants too make a thread for this awesome Anime. Well in that case I will do it instead.
Genre: Shounen, Action, Adventure, Comedy, Fantasy
Animation Production: A-1 Pictures and Satelight
Expected Release Date: October 12
Website: TV Tokyo
Really excited about this and to boosts things up it's done by A-1 Pictures and Satelight. Which came like a surprise. I never expected them to do this kind of adaptation.
Will edit the post when better scan or new information appears.
Thread Guidelines
Last edited by monir; 2013-01-18 at 00:59.
|2009-06-27, 06:15
|Link #2
Senior Member
Join Date: Jan 2005
Question is will this turn out to be either a 51 ep series or a long running series like Naruto/Bleach/One Piece. As of right now there are 15 volume of manga material to use and when the first ep of anime airs this Fall another volume would have come out, they have more then enough manga material for them to make a 51 ep series without any filler and by the time it reaches ep 51 after a year they would have another 5 to 6 volumes for another 26 episodes and that's without doing any filler for the first 51 episodes. But I do think they'll be a few filler episodes here and their, stretching battles a bit longer then the manga early on, though that's assuming this is going to be a long running series.
Which would be a first for A-1 Pictures if it's a long running series. Satellite has been doing Shugo Chara for awhile now being close to 100 episodes.
|2009-06-27, 08:38
|Link #5
Senior Guest
Join Date: Jan 2009
Location: Athens (GMT+2)
Age: 30
Yeah it would, even fillers are welcome since it's pretty fast-paced. Shares some similarities with One Piece art-wise but has its own unique touch to it as well, I still think there's not enough material for a continuously running series but I guess we'll wait and see^^
|2009-06-27, 09:31
|Link #7
Lets be reality
Join Date: May 2007
I've been waiting for a Fairy Tail anime for a long time and to see that two of my favorite animation studios in A-1 Pictures (Kannagi, Birdy Decode) and Satelight (Macross Frontier, Noein) is much better than I could've hoped for. Personally I'm hoping for an approach like Major, air for two cours (26 eps) and take a break for two and than come back on. Hmm the end of that arc in the mid sixties would be a good stopping point for season 1 if they took that approach. If they do this like Pierrot are doing Bleach/Naruto than I must say this is a bit more filler friendly in how it works, at least upto the point I've read.
But still I'm hoping for the Major approach since that means the animation should be top notch for most of it, I'm hoping that Ryo Timo is animating fight scenes in this and since he's worked with A-1 and Satelight a lot I think that's a good chance of happening. The dock battle in Noein is one of my fav action scenes in an anime. Here's a clip with some of his work.
Also Erza is completely awesome, wonder who will voice her... someone like Nabatame Hitomi, Minagawa Junko or Romi Paku would be great for her.
|2009-06-27, 10:21
|Link #8
Senior Member
Join Date: Jul 2008
As far as I like Ryo Timo, I also like Norio Matsumoto and Shingo Yamashita. both in birdy decode and Noein
|2009-06-27, 11:15
|Link #10
Lets be reality
Join Date: May 2007
|2009-06-27, 13:27
|Link #12
The Invincible Samurai
Join Date: Jun 2006
Location: Gairyu Isle, Japan
Age: 32
|2009-06-27, 13:30
|Link #13
Lets be reality
Join Date: May 2007
A lot of people said it back when the episode aired, even now people still have a hard time telling the difference between art and actual animation. I've even seen comments still talking about that Naruto Vs Sasuke fight while discussing Birdy Decode 2's infamous "quality" scene.
|2009-06-27, 13:49
|Link #14
Senior Member
Join Date: Jan 2005
Fun fact they'll have more manga material to use then One Piece, Naruto and Bleach anime did.
One Piece Manga started in: 1997-12-24 (Japanese Vol 1)
One Piece Anime started in: 1999-10-20
Latest One Piece Manga Vol: 1999-10-04 (Japanese Vol 10)
Bleach Manga started in: 2002-01-05 (Japanese Vol 1)
Bleach Anime Started in : 2004-10-05
Latest Bleach Manga Vol: 2004-09-03 (Japanese Vol 14)
Naruto Manga started in: 2000-03 (Japanese Vol 1)
Naruto Anime Started in: 2002-10-03
Latest Naruto Manga Vol: 2002-11 (Japanese Vol 14)
Now lets look at Fairy Tail...
Fairy Manga Started in 2006-12-15:
Fairty Tail Anime Start in: Fall September? 09
Latest Fairy Tail Manga Vol: Vol 16 will be release sometime in August before the anime starts.
So that's two whole volumes more than Naruto and Bleach had and 6 volumes more than One Piece had.
|2009-06-27, 14:43
|Link #15
Beautiful fighter.
Join Date: Dec 2005
Location: England, UK
Age: 32
I'm also wondering how many episodes this plans to be. There's no way they can tell the 15/16 volumes of material that there is in 26 episodes. So i'm hoping for what people have been mentioning, 50+. They can even do it in two seasons.
Can't wait to find out who will voice who. I already have some great choices in mine.
|2009-06-27, 14:55
|Link #16
Hallowed Redeemer
Join Date: Aug 2007
Location: Stanford, CA
Since it's shounen, it will definitely be longer than 26 episodes.
They can probably stop it after the Tower of Paradise arc, which will probably be after 50 episodes, and that will be as good a place as any, with only one problem - Natsu's past will never be revealed. I don't like it when they introduce a story point and never address it, especially a major one like that, so I would prefer the show to be continuous. We don't know how long the manga will be, but if it doesn't go above 300 chapters, it can probably be finished in one 150-episode anime without many fillers.
As for VA, I already made some suggestions in the manga thread. Here they are:
Natsu: Mayumi Tanaka - can't imagine anyone else
Lucy: Fumiko Orikasa - cute and sometimes bossy, just like Lucy
Gray: Tomokazu Seki - youthful and manly at the same time
Erza: Marina Inoue - strong and kind at the same time
Gazille: Kazuya Nakai - pretty badass and manly
Loki: Hiroaki Hirata - very smooth voice for a player
Happy: Ikue Ohtani - cute and funny
Gerard: Miyano Mamoru - fit for an evil genius
Can't think of anyone else at this point...
|2009-06-27, 14:56
|Link #17
The Invincible Samurai
Join Date: Jun 2006
Location: Gairyu Isle, Japan
Age: 32
Also people looking at stills and saying the art sucks are stupid. It isn't supposed to be really great detailed art. The character is supposed to be in fast movement and the art and animation tries to show that on screen.
@Darklord_bg, oh hell no. As if the constent comparison between OP and FT isn't bad enough, you want Luffy's VA for Natsu.. Even though Tanaka is GREAT, I really don't want to see it happen.
|2009-06-27, 15:05
|Link #20
Hallowed Redeemer
Join Date: Aug 2007
Location: Stanford, CA
Besides, being similar to One Piece is a good thing for me - as long as it's not a blatant ripoff, which it isn't.
|action, adventure, fantasy, magic, shounen
|Thread Tools


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I am always on the look-out for healthy alternative desserts. Sometimes I buy chemical-laden products straight off the shelves of a supermarket, but I prefer to create my own. When it comes to calories coming from dessert, I'd like to know where they are coming from and what ingredients are involved. Enter my attempt at a Pumpkin Cheesecake.
Here's a view of all included items:
After everything is incorporated into one bowl, this is what we're dealing with:
Without any specific measurements, the final product came out better than expected. It was smooth-ish, but also has a semi-pudding consistency that was best used as a yogurt topping, rather than a slice of pie. You can't expect the best cheesecake when substitutions are widespread, but this was one of my best efforts – 🙂


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Flair Magazine and the Ransom Center:
The Connection
In 1950, Fleur Cowles (1908-2009) created a publication that became a landmark in publishing. Flair's provocative design, enlightened feature articles, and sophisticated advertising layouts left an indelible mark on publishing history. Fleur Cowles and Flair were and remain synonymous.
Cowles prescribed a refreshing juxtaposition of the works of writers, artists, critics, and other notables. Indeed, the heart of Flair was its success in pulling together the new, the controversial, the innovative, and the creative.
Like Flair, the Ransom Center brings together literature and the arts in an innovative way. The works of a rich cross-section of authors, artists, and designers exist side-by-side in the Center, yielding the same sort of insightful adventures found among the pages of Flair.
Since 1994, the Ransom Center's Fleur Cowles Flair Symposium has honored the ideals set forth by Fleur Cowles and her landmark Flair magazine.
About Fleur Cowles
Fleur Cowles was an American original. She made her way into the public eye as Associate Editor of Look magazine in the late 1940s, and made her distinct mark in 1950 when she published Flair, still considered one of the most innovative magazines in the history of publishing.
For over 50 years Cowles was a prolific writer, producing 16 books, including her collections of autobiographical anecdotes Friends and Memories and All Too True. Her paintings, filled with jungle beasts and enormous flowers, first received international recognition at the Sao Paulo Biennale in 1965. She exhibited her artwork more than 40 times in galleries and museums around the world.
Throughout the years, Fleur Cowles received numerous honors: she was Ambassador of the United States to the Coronation of Queen Elizabeth II, received the Queen's medal and has been decorated by four other governments, is a Senior Fellow of the Royal College of Art, and carries an honorary degree of Bachelor of Law. She also served on boards supporting such activities as art, literature, and the preservation of wildlife.


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Their story is like a "once upon a time," but envision Cinderella in a lace gown that's been painted on by Caravaggio and then run through a paper shredder. There are actually two Cinderellas, Kate (with bangs) and Laura Mulleavy, sisters who don't yet have 60 birthdays between them. They famously still live with their parents in Pasadena, and in half a dozen years, the exquisite, subversive couture of their Rodarte label, created and produced in their downtown L.A. studios, has taxed the style cliches of critics and fashion lovers alike (see the fashions at latimes.com/rodarte). This year, they've been invited to Florence for the women's branch of the influential Pitti Uomo trade show in June. A forthcoming book, "Rodarte, Catherine Opie, Alec Soth," displays some of the California images that have inspired them. And almost anything, from a lapidary dessert display in a downtown bakery to the menacing light of a Tornado Alley wheat field, can fire the imaginations of the young ladies from Pasadena.
Your label, Rodarte -- Ro-DAR-tay -- is based on your mother's maiden name. How did you choose it?
Kate: When we were trying to think of names, my dad [had gone] to the Salvation Army store. So he comes home with an old directory from Pasadena from the 1930s. It would say so-and-so, occupation and other things. We found our grandpa; the family had come from Mexico and had changed the name, they dropped the "e" so it became Ro-dart, but in the directory it had the full name. We thought: This is a sign. This is perfect.
Your work is in the permanent costume collection at the Museum of Modern Art, and is on exhibit at MOCA's Pacific Design Center space now. You love going to museums; what's it like to be hanging in them?
Kate: The dynamic of that museum -- it was really amazing to be asked to do something. For each piece we ended up having to cut away part of the [mannequin] because we wanted it to look like the clothes were suspended. Instead of just hanging garments on mannequins, we did something that challenged the idea of form and gravity. What's amazing about the mission of MOCA is to get people to think about art in a different context, [like] the challenge of looking at fashion and design and [their] relationship to art. When you're confronted with pieces as objects, when they're removed from the human form, it really makes you look at them in a completely different way.
Laura: It was fun for me because it was nice to be able to look back and say, "Oh, I see how we build things." You study things from season to season, and how [one] leads to another. Walking into the exhibit space, you feel like you have a blank slate; it's like a cleansed palate. When we do a show, it's like you're controlling the environment.
You work a lot with light and shadow.
Laura: Maybe it's because we spent time in the redwood forests. You do have a different relationship to light and shadow because you're under a canopy of trees taller than any other living things in the world. My favorite time of day is when the sun goes down, everything looks kind of blue, but you have one spot where the sun comes in. I've definitely spent time thinking about [such images].
Kate: Also, our idea of neon light or manufactured light really sums up Los Angeles. It explains the last show we did, all about [filmmaker] Terrence Malick versus "The Wizard of Oz." We did a collection off the idea of a prairie landscape, and we built dresses like wheat fields at different points of the day, like a study of almost serene calmness, but the weird anxiety is knowing that at any moment that could shift, you could have something like a tornado, and that's where we referenced "The Wizard of Oz," talking about these two kinds of light, natural versus artificial.
Sounds like you both could as easily have picked up paintbrushes as fabric.
Laura: I feel like this is what we were meant to do. I don't think our ideas ever really stop with fashion design, but if you asked us to draw something, what we would draw would be a dress. It's like second nature. I always say we're storytellers. Sometimes the stories are very abstract, and sometimes I don't think the meaning is really clear for either of us. The medium that works for us is fashion.
Your work is cerebral and tactile, and you don't just use fabric -- you sandpaper it and scorch it and shred it.
Kate: [As a child] I was obsessed with wallpaper, [with] carpeting. My mom's a weaver; she did these huge wall hangings. [In] our home, one of the walls was all broken rock. Everything I remember about my childhood has to do with the way things look and what they were made out of.
Photo gallery: Dresses, sketches and fabrics by Rodarte
There's already this legend about you: scraping together money for your first collection, going to New York like Willy Loman with a full suitcase, and three days later you land the cover of Women's Wear Daily.
Laura: It's actually true, and that's what's so embarrassing about it. The first time we went to New York was to show our first pieces. I felt naive, because I knew nothing about this industry I wanted to get into. Kate sold her record collection. I'd gotten a job as a waitress. We put everything into something that was a complete black hole, and we didn't know what would happen.
If you had known the odds, would you still have gone?
Kate: You know the people who know when to stop in a casino: "I've made the money I want to make and now I'm walking away"? Laura and I don't gamble that much, but when we have, even if it's only $20, we never walk away. So I think we probably still would have gone.
We had this idea; we didn't know what was going to happen, and I think that probably intensified that. In all truth, I realize now how unusual it was: [to] make 10 pieces of clothes, the first thing you've ever done; to go to a place you've never been, one of the major places in the fashion world; and within a few days to have a Women's Wear Daily cover and to meet with Anna Wintour a month after that -- that kind of stuff never happens.
Do people try to persuade you to leave L.A. permanently for New York?
Kate: I feel very attracted to [New York] as a designer, but I love being here. This is our creative space. California and Los Angeles are so interrelated to our creative process. Some people might not need to be close to the things that inspire them, but it's important to us.
Laura: We're also very free [in thinking]. I think it has something to do with living in L.A. I tell people who come here, "I want you to drive out to Joshua Tree or even Death Valley, because you'll experience this weird freedom of living here, that you are in this alien, bizarre, prehistoric landscape that feels like the edge of the universe."
How do you two work together?
Kate: We really work as one person. We talk at the table. By the time we're sketching, we know what we're doing. Laura can scribble out ideas; my dream is to keep all of her first sketches and do a book one day. I'm the one who does all the final drawing. That's the only thing that does separate the process. To me, we have the same mind, because we've both seen the same things, we've been with each other. It's hard to explain, but in that process, we really work as one person. We have a way of talking, and I completely understand all of her gestures and what she's thinking and vice versa.
You're both true movie junkies. Do film costumes influence you?
Laura: I would be the first to say I watch movies to stare at costumes, but when it comes down to being influenced by things, we're more into landscapes, personal memories, art, music -- not the costumes in film but the whole feeling of [film].
Kate: We love film in general, but when we use a film as a reference point, it's a way of talking about things that have nothing to do with [the film itself]. Film is a way of communicating the ideas we're having. Art and literature are really big [influences]. We are collectors of information! We tend to create a visual world that involves all of these different aspects.
You have said, and I agree with you, that Tippi Hedren in "The Birds" looks much more interesting with her hair messed up and her dressmaker suit all awry.
Laura: We have that Barbie doll, the one with the birds on her!
Kate: That was a film moment when I knew for sure what kind of designers we were. For a lot of people [it's] an iconic style. The only thing Laura and I care about was when the birds [attack] and her sweater's torn and her hair's falling apart -- the ruin, that's what was interesting to me. I love looking at the film and seeing the dichotomy [Hitchcock] set up.
You did some of the costumes in "Black Swan," which won an Oscar for your fan, actress Natalie Portman.
Kate: It was a perfect story for us as designers; prior to that, we'd done a 2008 collection based on a [South Korean horror film].
Laura: We had done these white dresses that looked blood-spattered. Natalie had worn a dress from that [collection], and she said, "I think you'd be right to design some of the costumes for this film."
Kate: One of my favorite pieces was the practice tutu. It has to mimic what you wear onstage, so you have to make it totally ruined from the get-go. They're so beautiful that way. "Swan Lake" is actually a story of doubles and voyeurism and breaking out of identity, things that were very interesting to us, so it was a project that made sense for us. Even something like the metal crown, we knew [Portman] was going to be spinning around, so we had these metal things jutting out of both sides of her head ?
Laura: ? it was as if her skull had cracked. There's brambles, there's claws, there's very weird things on it.
Portman, Cate Blanchett and Michelle Obama, among others, wear your designs. Do you?
Laura: No.
Kate: It's like when someone says they can't listen to the sound of their own voice.
Coco Chanel always did.
Kate: Everyone's different. I feel like I want to do so many different looks, I never can see [dressing myself]. It's selfish, in a way. I don't like to design that way. I find it very limiting. We're making it because we believe in it and we want to make it. But it's never about what we would wear personally.
We tend to make pieces people collect. Hopefully what we do is make something that stands the test of time. The best designers can do things that keep that essence of couture; it preserves something culturally but also moves out. I think about denim jeans; I don't think there's ever going to be a more brilliant piece of clothing. And I love couture. A brilliant concept, a good idea in design is as important as anything else.
This interview was edited and excerpted from a longer taped transcript. Interview archive: latimes.com/pattasks.


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Every so often I become obsessed with the idea of getting a puppy.
This wouldn't be so bad, except that my fantasies of dog ownership rarely factor in the true rigor of that sort of project. You see, I grew up with no pets, on the fifth floor of a 100-year-old apartment building in New York City (read: no elevator).


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Kwikset has a focus on Organizations with programs that advance community health; promote job skills and family values.
School-based vocational and skills training programs for construction and related trades and for home improvement.
At Kwikset, part of Spectrum Brands Hardware
and Home Improvement (HHI), we recognize that the vitality of
the communities in which our employees live and work is an important
factor in our success. Our involvement in the community focuses
primarily on certain aspects of Community Revitalization and Education:
Education – Our emphasis is on: (a) engineering (electrical, electronic,
industrial, manufacturing, materials, or mechanical) programs at
colleges and universities important to our recruiting and training
efforts; (b) school-based math, science, and technology programs that
prepare students for college education or for positions that provide
technical support for engineers; (c) school-based vocational and skills
training programs for construction and related trades and for home
We also support grants to established
organizations in the following areas within the communities where our
employees live and work:
Special consideration is given to programs
that support a diverse cross-section of the population.
Each of
HHI's sites is encouraged to initiate its own community involvement
programs and budgets for donations annually. Building relationships in
our communities is extremely important to the Kwikset Corporation, and
we are proud to dedicate our time, resources and finances to these and
other worthy causes.


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Monica Rodriguez and Danny Salas announce the birth of their son, Izaiah Mathew Salas. He was born Aug. 7, 2009, at 10:32 a.m., weighing 7 pounds, 3 ounces and measured 18 inches long.
Izaiah is welcomed home by his big sister, Kyrah. Grandparents are Pete and Julie Rodriguez, Danny and Rosemary Salas, of Pagosa Springs. Great-grandparents are Lester and Lala Rivas, of Pagosa Springs, and Leo Landon of Farmington, N.M.


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Porchlight Announces Spring Special Events
Porchlight Music Theatre has announced its spring special events for 2013. The ICONS Gala, Celebrating the Art of Bob Fosse, takes place Sunday, April 7, 11 a.m. - 2:30 p.m. in the Moulin Rouge Room at The Fairmont Hotel, 200 N. Columbus Dr. The ICONS Gala includes performances from iconic Fosse works and the presentation of the 2013 Guy Adkins Award for Excellence in the Advancement of Music Theatre in Chicago to one of Chicago's music masters, Doug Peck. Chicago Sings Kander and Ebb, takes place Monday, May 20 at 7 p.m. at the Mayne Stage, 1328 W. Morse Ave. Tickets for both events are available at porchlightmusictheatre.org or by phone at 773.777.9884.
Sunday, April 7 • 11 a.m. - 2:30 p.m.
Fairmont Hotel, 200 N. Columbus Dr.
Tickets purchased for The ICONS Gala before March 15 are $100 per person, $25 per child ages 5 - 12 years, children four years and younger are free. Tickets are $125 after March 10, $25 per child ages 5 - 12 years, and children four years and younger are free. The brunch/auction includes complimentary wine and mimosas and a cash bar.
Following last season's hugely successful launch of The ICONS Gala, in tribute to Michael Bennett, The ICONS Gala, Celebrating the Art of Bob Fosse, is a salute to Chicago's own and Broadway director, actor, choreographer and star Bob Fosse. As part of this brunch celebration is the awarding of the third annual Guy Adkins Award for Excellence in the Advancement of Music Theatre in Chicago, which will be presented to Doug Peck for his tireless work as a one of our nation's leading music directors.
In 2011, Porchlight introduced the first annual Guy Adkins Award for Excellence in the Advancement of Music Theatre, named in honor of the beloved actor, and presented it to L. Walter Stearns in recognition of his 14 years as artistic director of the company. In 2012, the Guy Adkins Award was presented to one of Chicago's leading actors, Hollis Resnik.
Monday, May 20 • 7 p.m.
Mayne Stage, 1328 W. Morse Ave.
Tickets for Chicago Sings Kander and Ebb are $40 in advance and $50 at the door including a dessert buffet during intermission.
One of the most anticipated Chicago theatre annual events, Porchlight's Chicago Sings... this year features the music of Broadway legends Kander and Ebb(composer John Kander and lyricist Fred Ebb). This one-night-only musical celebration, now in its eighth year, created by Porchlight Music Theatre Artistic AssociatesRob Lindley and Doug Peck, features performances of Kander and Ebb classics by Chicago's brightest musical theatre stars and hosted by Lindley with Peck on piano. Silent and live auctions and musical numbers from Cabaret to Chicago to The Scottsboro Boys and all the hits and hidden gems in between are part of this unforgettable night of music and unsurpassed performances.
ABOUT Porchlight Music Theatre
Porchlight Music Theatre, nationally recognized for developing innovative new works, reimagining classic productions and showcasing musical theatre's rising stars and seasoned veterans, is in its 18th season as Chicago's music theatre leader, providing an intimate, modern musical experience unlike anything else in the city. Under the leadership of Managing Artistic Director Michael Weber, the 2012-2013 season continues with the musical biography of Billie Holiday, Lady Day at Emerson's Bar and Grill, February 2 - March 10, and the O'Hara, Rodgers and Hart classic Pal Joey, April 20 - May 26. Both productions are at Stage 773, 1225 W. Belmont Ave. As Chicago's only professional company solely dedicated to music theatre, Porchlight's rich history includes the staging of more than 50 shows with five world premieres and 10 Chicago premieres. The company has received a total of 73 Joseph Jefferson Award nominations resulting in 22 Jeff Awards.
Tickets for Porchlight Music Theatre's spring special events may be purchased online at porchlightmusictheatre.org or by phone at 773.777.9884.


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Sun Labs Self Tanner Reviews
$ 60.39 was $ 80.52
This product is currently sold out.
Sun Labs Self Tanner Reviews
Sun Laboratories Ultra Dark Self Tanning Lotion 32 oz
Important Facts About Product
Provides a deep, dark tan without UV sun exposure
Work super fast and easy
Rich dark color sets within three hours
Ideal for all skin types
Results in natural-looking bronzed appearance on the face and body
Instantly tints skin to avoid streaks or patches
Hydrating, protecting formula
Before And After Sunless Tanning Photo
How To Apply Sunless Tanning Video
Here are Some Product Reviews
5 out of 5
Sun Laboratories by AA
I received this lotion in the mail last month and was very excited to try it out. I applied the lotion after taking a shower like it recommended. I LOVE this sunless tan lotion! It does not smell like usual sunless tanning products. The only CON I found was that it leaves your hands brown after applying, but washes away with soap and water. I tried using gloves, but I did not think it applied as easy and as smooth with them on. Definitely recommend it.
5 out of 5
Very believable color - without streaks or funny smell! from Glastonbury, CT Verified Purchaser
This is the best self tanner I ever used. The color looks totally natural - brown, not the orange look I've had from virtually every other tanner. The brown color guide helps a lot, so there is not streaking whatsoever. My best advice would be to keep washing your hands frequently as you apply the tanner. The first time I used it, I didn't wash my hands until the end and it took me literally ten minutes to get all the rubbed in color off my hands. I also needed to use a pumice. But the good news is my palms had no hint of color on them in the morning, so the pumice idea is actually great. Review posted 6/25/2012.
5 out of 5
A good Tanner with a nice bronze color from Thomasville, NC Verified PurchaserIts a good tanner with a nice bronze color. I wish it lasted longer but will buy again. Review posted 6/2/2012.
5 out of 5
I probably will buy again but may not use too regularly as I dread the horrific mess it makes, and if I can get a larger size in a pump I would prefer that as when you get to the end of the bottle it dispenses in bigger blobs, thus wasting product. Since the color and evenness, along with the price, are so good, I certainly recommend it and I am sure I'll use it again. 2/15/2012
5 out of 5
Best Sun Tanner Ever from Overland Park, KS Verified Purchaser
I love this sun tanner. It's great to mix with the lotion of your choice. It has a bronzer in it as well as a tanner, so you can see where it is and isn't as you're applying it. It's very dark, so it lasts a long time, too. Review posted 10/10/2012.
5 out of 5
Very Natural Tan from Evanston, IL Verified Purchaser
I've tried many 'high end' tanning products and this lotion produces by far the most natural tan. At first I was a bit shocked at how dark the lotion was, but in applying it, the color was a plus because it made it obvious when I was putting too much on one area of skin. I've never bothered to write a review before. This product more than deserves praise. I use it all the time now, even in winter for just a light bit of color. Review posted 11/12/2012.
Ingredient List: Sun Laboratories Ultra Dark Self Tanning Lotion 32 oz
Deionized Water, Dehydroxyacetone, Caprylic/Capric Triglyceride, Glycerin, Clyceryl Stearate (And) PEG 100 Stearate, Hazelnut/Pecan Oil, Cetearyl Alcohol (And) Ceteareth 20, Cetyl Alcohol, Sorbitan Stearate, Aloe Vera Extract, Dimethicone, Phenoxyethanol, Hydroxyethylcellulose, Tetrasodium Edta, Tocopheryl Acetate, Propylparaben, Fragrance, Sodium Metabisulfite, Ascorbic Acid, BHT, Citric Acid, Fd&C Yellow #6, FD&C Red #40, FD&C Blue #1.
Directions: Sun Laboratories Ultra Dark Self Tanning Lotion 32 oz
Smooth evenly over face and body. Color is instant and will intensify in three hours. To avoid discoloring palms, wash hands with soap and water immediately after use. Wait at least one hour after use before contact with water or bathing.


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I swear, I have good intentions when I say things here… I really, really do. I intend to do the things I say but then life gets in the way. 🙂 Something happened over Thanksgiving weekend though, I got some news that was a little unpleasant so I decided to distract myself and my distraction was reading Twilight. Oh my god, this one hell of a distraction!
I'm normally a slow reader but since that weekend, I've spent all of my free time reading the series. I'm a little more than halfway through Breaking Dawn now and all I can think about at work is going home to read! I think it's safe to say I'm officially obsessed with Twilight now. I've put the books aside long enough to see the movie a few times, browse some websites and begin obsessing over Robert Pattinson. I think I only like him in character though. I mean, how could you not? Look at this smile… After I'm done reading Breaking Dawn, I'm moving on to Midnight Sun but that's not that long in comparison. 😉
So the moral of this story is things will be back to normal here very soon. So bear with me, ok? 🙂 Things will get back to normal soon and we'll be resuming the rest of the giveaways on Monday, now extending into January to make up for the delay this new obsession has caused. Anyone else obsessed with Twilight? Let's obsess together. 🙂


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Continuing Medical Education
Specialty Areas
- See the latest cardiovascular resources at the Broward Health Channel
- Children's Hospital Boston
New York - Advances in breast reconstruction techniques have dramatically improved the options for breast cancer treatment. At Beth Israel Medical Center, our renowned reconstructive plastic surgeons are using the DIEP (deep inferior epigastric perforator) flap technique in which the surgeon removes skin and fat from the abdomen and transplants it to the mastectomy site. Unlike older procedures, the DIEP flap doesn't require the removal of abdominal muscle when forming the breast mound. The skin and fat along with the small blood vessels that go into them are detached and reconnected in the breast area so that the tissues can live up there. In addition to an improvement in the abdominal contour, another benefit of DIEP flap surgery is faster recovery and less abdominal discomfort. Beth Israel Medical Center presents a live Webcast of the DIEP flap breast reconstruction surgery on Friday, January 11, 2007 from 5:00 – 6:00 PM.
Most mastectomy patients are appropriate candidates for breast reconstruction. Of course, the decision is a highly personal one, to be reached by the woman, her family, and her medical team. A patient can start talking about reconstruction with her physician as soon as she receives her cancer diagnosis.
While breast reconstruction doesn't need to be done immediately following surgery, there are several benefits to performing immediate reconstruction— the patient will have to face just one operation, one hospitalization and one recuperation. Plus, there are certain procedures that allow for a better reconstruction that plastic surgeons can perform only at the time of a mastectomy. Perhaps most importantly, studies have shown that immediate reconstruction helps women get through this traumatic time more easily. There are also reasons to wait, however. If you aren't comfortable with making the decision right away, you don't want more surgery, or if the reconstruction calls for a more complicated procedure, then you may want to postpone reconstruction.
Mark Smith, MD, FACS
Microvascular Surgery, Craniofacial Surgery
William Samson, MD
Breast Reconstruction, Microsurgery, Cosmetic Surgery
Sheldon Feldman, MD FACS
View Full Profile
Chief, Appel-Venet Comprehensive Breast Service Chief Breast Surgery Beth Israel Medical Center Associate Professor Clinical Surgery Albert Einstein College of Medicinemore


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Coming to Harley's 110th Anniversary in Milwaukee? Don't Skip a Burger at Motor
Burger reviews in the Milwaukee area.
400 W Canal Street
Milwaukee, WI 53201 (map); 414-287-2789; motorrestaurant.com
Cooking Method: Grilled
Short Order:The most chic, upscale biker bar you've ever seen, connected to the Harley Davidson Museum
Want Fries With That?Skip the boring fries and go straight for the fantastic, crispy beer battered onion rings
Price: Dynamo burger, $13.95; Stuffed Motor burger, $12.95; onion rings, $6.95
There's a big event coming up in Milwaukee, one that is expected to bring hundreds of thousands of people and their thunderous two-wheeled rides. Harley-Davidson's 110th anniversary celebration is only a few days away and the city is buzzing in anticipation.
About five years ago, Harley-Davidson opened a museum here in Milwaukee, the birthplace and still home of the company. It's got a few different dining options in the complex that runs a length of the Milwaukee river just south of downtown. I decided that with the impending anniversary, now was a good time to try their main restaurant, Motor.
The interior of the restaurant and bar is, unsurprisingly, heavily themed. But surprisingly, it's quite dramatic, artistic, and interesting, with soft touches like the warm, antique-style lighting. The burgers fit in well in this environment, as they're pretty over-the-top and dramatic in their own right.
Of the two burgers I tried, the monthly special for August, the Dynamo Burger ($13.95), was the better one by far. A half-pound of hand-formed beef was topped with roasted poblano and corn salsa, grilled onions, pepperjack cheese, chipotle crema, lettuce, and tomato, all with a fried tostada shell sandwiched in the middle.
There was a lot of flavor going on in this burger. The thick layer of pepperjack was well melted over the beef. The onions were abundant and worked well with the relatively mild chipotle sauce. The corn and poblano salsa tasted great, but there was hardly any of it—the burger definitely could have used more.
The tostada ended up being the surprise winning addition. It didn't taste like a big, commercially-made tortilla chip,—it was light, crunchy, and flaky. It got a little bit soggy in the middle from being stacked between the beef and the tomato, but the edges stayed crunchy for a great texture.
I requested medium and it came out pretty close. The beef was juicy and coarsely ground, and while it was a little bit tough, it had a robust flavor amped up by the grill. It could have used a little more seasoning, though, especially for a patty that thick.
The beef on their regular menu burger, the Stuffed Motor Burger ($12.95) stuffed with chopped bacon and cheddar cheese, was a little bit worse for the wear. The beef was a little bit more sausage-like in texture, perhaps from the extra handling and shaping.
My server recommended getting the burger medium well so the stuffing would be heated through and melty. I am glad they recommend this—cool filling is not pleasant—but it demonstrates the inherent stupidity of stuffed burgers, if you ask me. The beef was dry, of course, though not desert dry.
The burger came topped with more cheddar and bacon, along with barbecue sauce. The extra cheese on top made up for the cheese that got lost in the middle. The barbecue sauce was super thick and clung to the outside of the burger, making it less messy than usual.
Fries tasted stale and pretty bland. I'd skip them in favor of onion rings, whether you order them off the appetizer menu like I did, or get an upgrade from fries (+$1). They were beautifully coated in beer batter that didn't flake off, and the onion was tender enough to bite completely through. They were some really top notch rings.
If you're headed to the Harley-Davidson museum, coming in for the 110th, or just want to try someplace new, check Motor out, but be warned that the prices are a bit steep. It's worth it though to soak up the atmosphere, whether inside at the bar or out on one of the two patios along the river.
Love hamburgers? Then you'll Like AHT on Facebook! And go follow us on Twitter and Pinterest while you're at it!
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SHARE Center
Professors and students can obtain different types of hotel-related data. All data is provided in Excel format to make it easy to work with. Large volumes of information are available, including:
- Performance (occupancy and ADR) data
- Profit and Loss (accounting) data
- Pipeline (under construction) and Supply data
- Census (hotel attribute) data
- Forecast information
- Property and Room counts
- Sales transaction data
- Hotel company statistics
- Industry reference information
The SHARE Center provides additional resources to universities including:
- User-defined destination reports (tracking ongoing performance)
- A comprehensive set of sample reports
- A wide range of global Industry publications
- Access to articles and presentations
Professors have access to a library of training programs available that professors may use. The training programs include hints, case scenarios, discussion questions, and application exercises. Here are some sample titles:
- Hotel Industry Analytical Foundations
- Hotel Math Fundamentals
- Property Level Benchmarking
- Hotel Industry Performance Reports
The SHARE Center provides additional support to universities such as:
- Help with student projects, a step-by-step approach so that students can obtain hands-on experience working with live industry data
- Research collaboration assistance, including assistance correlating third party data with STR performance data
- Speaker support
- Newsletters, webinars, and educator forums
Complimentary memberships are available for schools to obtain an introduction to all of the materials that are available. Contact us at email@example.com or +1 615 824 8664 ext. 3329.


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A brief police pursuit ended with a two-vehicle crash Thursday afternoon, sending two people to the hospital.
Benjamin McKinney, 18, was driving eastbound in the 700 block of East 11th Avenue at a high speed when the green 2002 Ford Explorer he was driving hit a white 2005 GMC pickup driven by Stephanie L. Wood, 43.
Sgt. Rob Rowe said police were following the reportedly stolen Ford Explorer that did not stop for police in the area of 11th Avenue and Plum Street. The pursuit was called off because the traffic in the area made it too dangerous, Rowe said, but seconds later the vehicle crashed.
McKinney, of the reportedly stolen vehicle, was taken to Via Christi St. Francis in Wichita via medical helicopter with a severe concussion. Wood was taken to Hutchinson Regional Medical Center for undetermined injuries and neck and back pain.
McKinney and Wood were wearing seat belts, a release stated.
Charges have not been filed. The case is still under investigation.