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Ken Bone talks Pac-12 tourney
Tue., March 12, 2013
FROM LAS VEGAS -- Ken Bone spoke with reporters inside the media workroom at the MGM Grand Garden Arena tonight. Here's a transcript of his comments.
(Does playing UW add anything to the game?) "Probably does add a little bit to it. I really haven't thought about that. We played Washington two years ago after beating them twice and then they beat us at the Staples Center. But it probably adds a little bit to it because it's a rival game. Any time you see them, it's on."
(What do you remember from that game?) "I remember them beating us in a tough game. That's the main thing I remember. It was a great ball game and they got us in the end."
(How do you win four games in four days?) "Stay healthy, play really good basketball, play your best basketball of the season, which fortunately for us we probably are. We're not 100 percent healthy but we're as healthy as we're going to get at this point, so go out there, play as hard as we can, play together like we did this last weekend and see what happens."
(What was the difference last week?) "I think we did not have lapses during the game where a lot of games this year we'd have three, four, five minutes during the course of the game, a number of turnovers, missed free throws. It was just different mishaps and didn't give us a chance to finish off the game, really, and win it. And I think last week against UCLA and USC, our concentrationlevel was high. It helps playing on your home court and I think we performed pretty well for 40 minutes both games."
(Is it a coincidence that you've played well with guys injured?) "I believe it's a coincidence. We'd love to have every guy out there, but it's crazy how that happens. Certain guys are missing – Colorado was missing a really good player last week and they played a great game. We were without two really good players and we beat UCLA. It does happen sometimes, those other guys get an opportunity and they know they're going to play, they're not looking over their shoulder, they know they're going to play their 35 or 40 minutes because there's not a lot of choices, and maybe sometimes that helps them without wondering hey, am I coming out or what's going on."
(How did Mike Ladd come out of Saturday's game?) "He came out good. He didn't come out of practice today very well, but he came out good after that game. Today he took a charge and chipped his tooth. He's fine, but poor guy. It's always something."
"He looks better now than he did before."
(On playing UW) "We need to be able to handle the ball. They do a great job of pressuring, so we need to be able to complete passes, be strong with the ball and do a great job on the boards."
(On rebounding) "Really it's been a point of emphasis all year long because of our personnel. We are not the biggest and strongest team out there but it's been a point of emphasis most every day in practice. We work hard at it, we chart it, we drill it and fortunately a few games we've done really well in that area."
(On Desmond Simmons' defense of Motum) "Simmons continued to deny Brock the ball, front him in certain situations and Simmons is a very good defender. We've got to be able to deal with that."
(Did Motum let the game come to him better last game against UW?) "Yeah, he did. That's a great point. He has done a much better job, I think, as of late, of letting the game come to him and allowing his teammates to set him up for opportunites instead of early in the year, that was like two and a half months ago almost. He was a little too anxious at that time but I think he has settled down and played better basketball."
(Is this a better location for the tournament than Los Angeles?) "It's hard to tell so far. We haven't had any games but I'd find it hard not to think that it's a great situation for the whole conference. Vegas is a very attractive place to come. I think there will be more fans here. That makes it a better game environment, more enthusiasm. So I think it'll be a very good situation. I'm anxious to see what it'll be like tomorrow."
(On Mike Ladd's knee) "If I had to guess I'd say 90 percent. ... I'm not sure again at what degree, how sore it is. if you didn't know he had a bad knee I'm not sure you could tell watching him play the other day against USC, but again I'm guessing it's probably at 90 percent."
(The way you played last week, is this the same team that's been losing, or is it night and day?) "I think it's pretty close. I think it's pretty close to the team we've had if I understand your question. I just believe during the course of the year, too many times we panicked. We literally panicked at certain times of the game. I believe Royce Woolridge is playing really good basketball right now. He's not on an all-conference team or even honorable mention or anything and I understand why and he understands why. But he's playing pretty good basketball. He's handling the ball, he's comfortable and fortunately, because Mike Ladd was at the point position and then he's out. Royce stepped back in and this time it's about three months later and I think Royce is playing with a lot of confidence and making better decisions."
(Why have they flipped the switch now and not earlier?) "I don't really know exactly. Again I'll go back to Royce Woolridge. I think Royce is playing about as good as he's played all year and when I say that I don't mean just scoring, although he is scoring 15 or 16 a game in the last 10 games. He has shot the ball better, he's driving to the hoop. But he's handling the ball better, he's not really turning it over. I think he's just comfortable out there. It was a long layoff. He goes to Kansas, he hardly plays at all. He comes in last year, he redshirts, and that's a long time off from his high school glory years and so he's had to fit into a totally different role. Mike Ladd's played good ball, Brock Motum I think is playing good, D.J. (Shelton) plays a unique role for a big guy who last year was in the paint. He never shot one 3 all year and now this year, especially the last 10, 12, 15 games or whatever, that's about all he shoots. So I think we're just finally starting to play the way we're capable of getting the most out of the guys."
(Have you done anything as coaches to help them stop panicking?) "I think the only thing we've done is maintained a level of confidence with the guys letting them know we believe in you guys, we like you guys, you're a great group. And that's not going out of our way to say. It really has been a fun group to coach, and we have felt for them. So we have done everything we can to stick with them when we've lost game after game after game, bring them in the office, show them video, talk to them, encourage them and that probably hasn't hurt the situation."
(On having a senior like Brock Motum but still panicking late in games) "I think that's helped us. And I think that's helped us stay in games. But at the end of the day I believe you better have a guard or two out there that really knows the system, what to run, when to run it, which direction to run it, all the intangibles of the guys that have the ball in their hands. Maybe that's just under me but that's the way I've done it for years so it could be my fault. Maybe I should give Brock the ball and let him be the point guard. We're not going to go there, so we need to depend on our guards to make decisions. Like I said, I think they've done a good job and they've gotten better."
(What would a win tomorrow mean?) "What I'd be most happy about is just the fact that I feel like these guys deserve as many wins as we can get. They've been a great group. They've been a fun group to work with. It would just be neat to see them be able to continue their season."
Posted March 12, 2013, 9:19 p.m. in: cougars, ken bone, pac-12, wsu basketball
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The words above are known as Jesus' Great Commission: His last instructions to His Apostles before He ascended back to His Father in heaven. Go. Make Disciples. Baptize. Teach. How do we do that at the Red Doors?
Penni Jo was a member of Christ Church in high school and then launched onto the mission field she and her husband have been serving w Covenant Players for over twenty years. Covenant Players exists to communicate the Lord Jesus Christ through the medium of drama.
Seventeen Churches in the one County working together across denominational lines with one common purpose: to help people find refreshment through a personal relationship with Jesus Christ.
How do we make disciples at the Red Doors? It starts with an invitation then continues with Baptism & Teaching. What does our inviting look like? Inviting the whole town to receive prayer and treats on All Hallow's Eve. Summertime Kid's 5 Day Club. A sanctuary of worship on Christmas & Easter. Partners to serve our community alongside. A cup of coffee and conversation.
What is baptism? It means to be immersed…to be "in." Literally, this means water. Spiritually, this means Jesus. To be completely immersed in Jesus Christ. To find your identity in…your hope in…your salvation in…and your way of life in Jesus. It's how you become a follower of Jesus…a disciple. It's how you tell God and the world you're a Believer.
In the Ancient Tradition of the Church, Baptism finds its completion in the laying on of hands by an Apostle to receive the power of the Holy Spirit (Acts 8:14-17). Today we call this CONFIRMATION. We offer Confirmation for people of any age who desire to receive the prayer of a Bishop (a successor to the Apostles) for the strength of the Holy Spirit to live a dynamic life in Christ. Confirmation takes place once a year when the Bishop Visits.
According to Jesus, disciple-making involves teaching people to "obey everything he commanded." We do all kinds of teaching at the Red Doors which you can read more about here.


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PRINT Summer 1972
Gianni Pattena
John Weber Gallery
Gianni Pettena is an Italian artist whose work has features in common with both earth works and Conceptual art, thoughhe stands significantly apart from their tendencies to suspend value and meaning. Pettena is a trained architect and has taught in schools of architecture, but what he himself makes is only "architecture" of a cleverly nefarious sort. In the last few years artists have tried innumerable ways of dealing with (or overlooking) a world that grows increasingly piggish. Pettena's response is one of the subtlest I have yet encountered. In his work, political considerations are not at variance or in competition with—or even withheld from—the esthetic operation.
I imagine Pettena as an architect actively on strike. Like those artists who have No Comment on the life that surrounds us, Pettena is reticent and guarded. But there aren't many people who are "on strike" now whose artistic response is as constructive as this. Pettena's works deserve the respect due art objects, though they are not mere properties. His works are neither the residue of desperation, nor pseudo-philosophical games. They are not "gesture" and not theater. While they comment on the rising temperature of life, they are real works of visual art.
On Wednesday, April 13th, the John Weber Gallery showed a film made by Pettena of some of his recent "situations," as he calls them. The film begins with a Smithson-likesequence of aerial views of the great Kennecot open-pit copper mine in Utah, Ordinarily Pettena is more urban than Smithson, which is part of the meaning in both cases: the American finds room for a decent 'and sublime neutrality ("I am interested in the politics of the Triassic period"—Smithson), and usually works with a kind of landscape that is both "unimproved" and not likely to be "spoiled" by artistic modification, while the Italian is more at home in the townscape with all its social and political torque (a Futurist legacy?). The seductive approaches to the copper mine are in themselves Smithsonesque, not only in terms of the choice of motif but even in stylistic relation to Smithson's Spiral Jetty film. The difference will be apparent in the fact that Pettena's, as attractive as it is, is a raped landscape. Yet Pettena has a gift for the most polite, discrete subversion. There is a legend in Utah that it was the owners of this very mine who were responsible for the frame-up of Joe Hill, the labor organizer and songwriter. Pettena may not have known this, but the subversive tone of other pieces by him suggests, that the reference is apt.
After The mine the film shows three of Pettena's own works made in America this year. In Clay House; Situation No. 4 a common frame house in Minneapolis was completely hand-coated with clay mud. The result has an unexpected power and solemnity. As with Robert Smithson, this is not "avant-garde," and ordinary people can get to the heart of the matter without the priestly assistance of theoreticians—ordinary people like the kid who stopped and asked Pettena, "Are you making something or destroying something?" The sheer beauty of the resultant non-house is a real surprise: it is evocative of Frank Lloyd Wright, what with the (literally) earthy naturalism of the "paint-job" that wholly blankets this overstuffed down-home bungalow. And the finished object has something of the leaden numbness of works by Jasper Johns and Robert Morris. Other Smithson-like concerns enter as well, especially where we see a series of beautiful close-ups of the rich brown clay coat on the side of the house, and particularly when the sun cracks the clay—like the surface of an old master painting. Then something delicately subversive happens. When the assertive qualities of this archetypically middle-American house have been effectively silenced by the seeming redirection of a natural effect (the artist has also frozen buildings in ice), insects begin to claim it as a natural part of the earth: they inconspicuously and inoffensively crawl over the walls, suggesting the population of a bombed city in which no property boundaries or title deeds survive.
The next section shows the construction of Tumbleweed Catcher, Situation No. 5. This work has a general affinity with Oldenburg's projected urban monuments. It is conceived as a giant foursquare wooden, towerlike scaffolding that has "caught" clusters of tumbleweed. The overall form of the tower has a sort of freaked resemblance to Mies van der Rohe, with "homemade" and irregular angles. What is of significance here is that in the midst of a committed activism (much more than a "passivism") the artist has found grounds for pleasure and enjoyment. This would not be remarkable if it weren't true that art is largely polarized today between a sometimes irresponsible indulgence and a puritanical, uptight radicalism that gropes for revolutionary direction. Sol LeWitt is a good example of the latter alternative, and I found an appropriate irony and frustration in the fact that his recent works at the Museum of Modern Art seemed to me so suggestive of designs for some newfangled paper currency. Pettena escapes this split because, I think, he has a fair understanding of the politics—rather than the history—of life in the biosphere. But the fact that he knows what is wrong does not disqualify him from guiltless pleasure in the meantime.
All the features of Pettena's art are lucid and explicit. They are not all obvious, but they are all set out aboveboard. Siege (A Red Plot); Situation No. 6, which is covered in the last segment of the film, was sufficiently obvious for the governor of Utah to fully grasp. His Excellency said he liked the idea but not the color. The piece consists of the painting (or "plotting") of a line entirely around the city limits of Salt Lake City. Altogether obvious, you might say, yet the more you think the more you understand. The line starts and finishes at the University of Utah (itself somewhat suspect because the Utah equivalent of An Eton Boy really ought to go to Brigham Young U.). Actually, it begins and ends right between the university and a U.S. Army base—a base established during the campaign to get rid of the Mormons. Well, Ingres did say that line was the probity of art.
The film is not in itself a work of art, as Smithson's Spiral Jetty is; simply a record, it is just something to tack down the facts. But it does serve a real artistic function, insuring and guaranteeing that these works are not sterile "concepts." They are acts, considered and responsible perpetrations which tax the esthetic airwaves with about as much political content as they can be expected to bear without causing a shutdown, or, what might be worse, a premature showdown. I admire Pettena's work very much because he has along with comprehension of political urgencies a lively interest in making things that, without capitulating, can be engaging and worthwhile . . . meanwhile.
—Joseph Masheck

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Situated in beautiful countryside location and yet just a few minutes into the village is this delightful 2 bed property with room for expansion, plus outbuilding for conversion to a gite. The property comprises of entrance door into summer room, kitchen, ground floor bathroom and toilet, lounge with wood burner set in fireplace, staircase to 1st floor where there are 2 bedrooms. Next to the house is a utility room and large garage that could be used to provide further accommodation.


The Catlins Kiwi Holiday Park provides exceptionally good facilities for campers and travellers - whether you are in an RV, camper or a tent.
There are tables and chairs for playing cards or board games and it is a great place to stop by and catch up with others.
We also have a great outdoor area, with plenty of comfortable seating.
Close to the communal lounge is a clean and well equipped kitchen, complete with all utensils so that you can prepare your meal with ease.
Toilet and bathroom facilities are also clean and have piping hot showers..there is also plenty of space to put your towel and toiletries. We do have wheelchair access toilet and bathroom facilities.
If you don't feel like cooking, wander over to The Whistling Frog Cafe and Bar - beer on tap and a great selection of Kiwi beer, wines and fantastic coffee.
Be warned, the food and atmosphere is addictive - a great place to kick back by the log fire and meet other people from all around the world.


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APPENDIX ALEPH: GEORGE WASHINGTON'S HEMP CROP
Many readers will assume that this book consists of nothing but fiction and fantasy; actually, like most historical tomes, it includes those elements (as do the works of Gibbon, Toynbee, Wells, Beard, Spengler, Marx, Yerby, Kathleen Windsor, Arthur Schlesinger, Jr., Moses, et. al.); but it also contains as many documented facts as do not seriously conflict with the authors' prejudices. Washington's hemp crop, for instance, is mentioned repeatedly in Writings of Washington, U.S. Government Printing Office, 1931. Here are some of the citations:
Volume 31, page 389: October 1791, letter from Mount Vernon to Alexander Hamilton, Secretary of Treasury: "How far… would there be propriety, do you conceive, in suggesting the policy of encouraging the growth of cotton and hemp in such parts of the United States as are adapted to the culture of these articles?"
In the next three years, Washington evidently settled the matter in his own mind, whatever Hamilton thought of the "proprieties." Volume 33, page-279, finds him writing from Philadelphia to his gardener at Mount Vernon to "make the most you can of the India Hemp seed" and "plant it everywhere." Waxing more enthusiastic, on page 384 he writes to an unidentified "my dear doctor," telling him, "I thank you as well for the seeds as for the Pamphlets which you had the goodness to send me. The artificial preparation of the Hemp from Silesia is really a curiosity…" And on page 469 he again reminds the gardener about the seed of the India Hemp: "[I] desire that the Seed may be saved in due season and with as little loss as possible."
The next year he was even more preoccupied that the seeds be saved and the crop replenished. Volume 34, page 146, finds him writing (March 15, 1795) to the gardener again: "Presuming you saved all the seed you could from the India hemp, let it be carefully sown again, for the purpose of getting into a full stock of seed."
Volume 34, page 72, undated letter of Spring 1796, shows that the years did not decrease this passion; he again writes to the gardener: "What was done with the seed saved from the India Hemp last summer? It ought, all of it, to have been sewn [sic] again; that not only a stock of seed sufficient for my own purposes might have been raised, but to have disseminated the seed to others; as it is more valuable than the common Hemp." (Italics added)
Volume 35, page 265, shows him still nagging the gardener; page 323 contains the letter to Sir John Sinclair mentioned in the First Trip.
The Weishaupt impersonation theory, congenial as it may be to certain admirers of the General, cannot account for all of this. A diary entry of August 7, 1765 (The Diaries of George Washington, Houghton-Mifflin, 1925), reads: "Began to seperate [sic] the Male from the Female hemp at Do- rather too late." This is the passage quoted by Congressman Koch, and remembered by Saul Goodman in the novel; the separation of male from female hemp plants is not required for the production of hemp rope but is absolutely necessary if one wants to use the flowering tips of the female for marijuana. And at that time Adam Weishaupt was very definitely still in Bavaria, teaching canon law at the University of Ingolstadt.
All of this data about General Washington's hobby, originally researched by Michael Aldrich, Ph.D., of Mill Valley, California, was rediscovered by Saul Goodman while he and Barney Muldoon were employed as investigators by the American Civil Liberties Union on test cases seeking to have all remaining anti-marijuana laws repealed as unconstitutional. The Goodman-Muldoon Private Investigations Agency (which had been formed right after those two worthy gentlemen had resigned from the New York Police Department amid the international acclaim connected with their solving the Carmel disappearance) was offered a lion's share of the best-paying business accounts possible. Saul and Barney chose, however, to take only the cases that really interested them; their most notable work was performed as investigators for lawyers defending unpopular political figures. Goodman and Muldoon, it was agreed everywhere, had an uncanny knack for finding the elusive evidence that would demonstrate a frame-up to even the most hostile and skeptical jury. Many political historians say that it was in large part their work which kept the most eccentric and colorful figures of the extreme right and extreme left out of the prison hospitals during the great Mental Health/Social Psychiatry craze of the late 1970s and early 1980s.
In fact, Rebecca Goodman's memoir of her husband, He Opened the Cages, written during her grief after his heart attack in 1983, is almost as popular in political-science classes as is her study of comparative mythology, The Golden Apples of the Sun, the Silver Apples of the Moon, in anthropology classes.
THE APPENDICES | The Illuminatus! Trilogy | APPENDIX BETH: THE ILLUMINATI CIPHERS, CODES, AND CALENDARS


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Madore A, Rosenberg J, Dreisbach T, Weintraub R. Positive Outlier: Health Outcomes in Kerala, India over Time. Harvard Business Publishing. 2018.Abstract
Download GHD-042 Positive Outlier Kerala India
This case explores how Kerala, India developed a reputation for exemplary health outcomes despite low per capita income. After providing historical background, including the social, political, and health system factors that contributed to a culture of seeking health care, the case describes Kerala's health system and outcomes. The case describes how the fiscal decline in the latter half of the 20th century led to decreased spending on public services, including health, creating an opening for private-sector providers to meet a growing share of the demand for health services and the impact on out-of-pocket health spending. Readers must think about how emerging health threats such as noncommunicable diseases should be addressed in the 21st century, including the health department's response and a new initiative to increase capacity in the public health sector, including efforts to improve the quality and reliability of health data through an electronic medical record system. The case concludes with Additional Chief Secretary for Health and Family Welfare Rajeev Sadanandan wondering if the new strategy will succeed and if Kerala can maintain its status as a positive outlier in health for the decades to come.
Teaching Note available for registered faculty through Harvard Business Publishing and the Case Centre.
Learning Objectives: to appreciate the relationships between education, literacy, and health; what the components of a health system are; the limitations of health indicators as measures of a national health system's effectiveness; and, the challenges of sustaining demand and maintaining the supply and quality of public health services over time.
Key words: health care policy, universal health care, demand generation, health care delivery, health system, health outcomes, social determinants of health
Madore A, Rosenberg J, Weintraub R. Project ECHO: Expanding the Capacity of Primary Care Providers to Address Complex Conditions. Harvard Business Publishing. 2017.Abstract
Download GHD-036 Project ECHO: Expanding the Capacity of Primary Care Providers to Address Complex Conditions
This case takes place in the United States (US) and traces the inception and growth of Project Extension for Community Healthcare Outcomes (Project ECHO)—a web-based "guided practice" model for primary care providers—from 2003 to 2016. After providing background on the US health system, including medical education, health care financing, and the supply and distribution of primary care and specialist providers, the case explores what motivated Project ECHO founder and liver specialist Sanjeev Arora, MD to train primary care providers in rural New Mexico in hepatitis C treatment and management. It describes early replication of the ECHO model in the US and across medical conditions and what the Project ECHO model entailed—including leveraging technology to expand access to specialty resources, best practices, case-based learning, and outcome monitoring, as well as good will among participants. A professional communications campaign, ongoing research, and persistence supported Project ECHO's growth. The case displays three dimensions of Project ECHO's early work: creating a new mode to redistribute the expertise of specialists to primary care practitioners, scaling this new care delivery model and measuring its impact, and identifying sustainable funding sources. The case concludes with the US Congress passing the ECHO Act to promote research on the model and Arora contemplating what else he might need to continue to scale to reach his goal of touching 1 billion lives.
TeleECHO Clinic. Source: Case writers.
ECHO Institute. Source: Case writers.
Learning Objectives: To understand what is needed to design a service model; the potential for redistribution of expertise among practitioners to enhance value; the role of operational effectiveness in enabling scale up; and the importance of measuring impact for stakeholders.
Keywords: Public health, health care delivery, scale-up, resource-limited settings, human resource, information technology, primary care, information management, data collection, mentorship
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The Patrol Division is responsible for the prevention and suppression of crime. They are generally the first contact that Citizens have with the Police Department. The division consists of sworn officers who answer calls for service and conduct self initiated activity.
Preservation of the public peace, protection of life and property, and prevention of crime.
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Feel, sense, describe – don't just tell!
Put some Tuba in it!
Who is your audience? What do you want them to do?
Why do I have to practice 25 times?
Raising the bar on yourself. What does that mean? Well, "to raise the bar" simply means, "to set a higher standard".
Raising the bar on yourself just means setting a higher standard for yourself.
At first, it sounds intimidating, but it doesn't need to be. You see, raising the bar doesn't have to mean raising the bar a lot, it can mean raising the bar just a little.
That, I think is the secret.
Don't raise the bar a lot, just raise it a little. Break big goals down, further and further, until they are small and specific, something you can do easily.
Nowdays I teach business English, freelance private lessons.
I get a lot of students who come to me with big goals. When I ask them, what do you want to accomplish, many people tell me "I want to speak better English".
Well, yeah, but don't we all. I mean, I'm 39 years old, and I've been speaking English all my life, and I want to speak better English, too!
So that goal is too big. It's not going to help you at all. Break it down, into something smaller that we can work with.
So they tell me, "I want to speak better English at work". Still too big. What does that mean?
"I want to communicate with my vendors". There we go, now we're getting somewhere.
But it's still too big. Break it down, further and further and further, until it's so specific it's almost ridiculous.
"On Tuesday next week, I want to email my German vendor to tell them how to write the invoice, so the goods clear Turkish Customs faster". Now, that's a good one. Why? Because it's tangible, measurable. We can hit it quickly, and when we hit it, we'll know it.
"I want to speak fluently". It's too big. Break it down.
"I want to speak better at work". Still too big. Break it down.
"I want to speak well at meetings". Getting closer, but still too big. Break it down.
"I get nervous introducing myself at meetings". Ah, now we're getting somewhere. A meeting might last an hour, but your introduction only lasts 2 minutes, and you can control it. So write your introduction, and practice it, over and over and over. Practice it yourself. Then practice it with me. Then practice it with your husband or wife. Then practice it staring into a camera (because camera's almost always make people nervous).
When you're so tired and bored with your introduction that you want to fall asleep, then you're ready to go. Do it for real, at your next meeting.
Here's another example. Let's use Toastmasters for this one.
When you first start at Toastmasters, maybe you're nervous. No problem. But keep coming to Toastmasters, and keep breaking it down until you find something you can do.
How about coming up here to give a prepared speech for 6 minutes. Too big? Fine, break it down. How about Table Topics, coming up here to speak for 2 minutes? Too big? Fine, break it down. Do one of the jobs, like Listener. Too big? Fine, break it down even further. Be the Timer, the Timer speaks less than just about everyone!
These small steps are the key to progress. They might seem small, and some of them even seem ridiculous. But do them.
Sometimes, the tool you use to break down the wall seems totally irrelevant. That's fine, that doesn't matter. The only thing that matters is, does it help you break down the wall?
A few months ago, I started recording myself speaking Turkish, and putting it on the web. Do you know why I started that? I started that because I am nervous speaking to my father-in-law. I get nervous about making mistakes in front of him. Now, with that recording on the web, I make mistakes, every Tuesday and every Thursday, in front of hundreds of people. Mistakes don't embarrass me as much anymore. So now, when I talk to my father-in-law, I am more relaxed. Yes, of course, I still make lots of mistakes with him. But I talk to him more, because I got used to the nervousness.
Some people obsess about the big goal, about being perfect. They take a small step, and then look at the huge distance remaining to the big goal, and they get discouraged. But the key is not to compare today to the future. Compare today to yesterday. Ask yourself, is today at least a tiny bit better than yesterday? If the answer is yes, congratulations. If the answer is no, that's fine, don't worry, just change your tactics a little bit and keep trying.
Raising the bar is not the point. Getting better is the point. If a high bar makes you intimidated, if a high bar makes you sit down and do nothing, it's completely worthless. Lower the bar, and keep lowering the bar, until you are comfortable enough to stand up and try.
If you take this approach in life, I've got to warn you, there are a couple pitfalls, things you need to watch out for. In particular, there are three I want to tell you about.
The first one is overpromising. If you get used to raising the bar on yourself, then when people come to you and ask for big things, you're more likely to say, "Sure, you bet, no problem". But in reality, you can't do them. Maybe you don't have the time, or you don't have the knowledge. Two weeks later, the other person gets angry, and asks you why you didn't do it. You tell them, honestly, "Sorry, I didn't have the time", but in reality, they don't care. All they know is, they were counting on you, and you didn't do it. I make this mistake all the time. Because of this, I probably piss off 3 people for every one that I make happy. So you've got to be careful about what you promise.
The second one is tiring yourself out. Each goal seems small, and when you reach it, you think, that was so easy, I'll set another one. Then you reach that, and you think, I'll set another one. Then you think, "I'll take a break after this one", but then you finish that one, and you think, I'll just do one more thing, THEN I'll take a break. Pretty soon, the whole year is gone, and you never took a break. You've got to watch out for that, for tiring yourself out.
And the third one is, tiring OTHER people out. If you get stuck in this cycle, of small goal, after small goal, after small goal, you might get excited that you're finally making progress, and you might want to keep going, but the people around you are going to want to take a break, or they are going to want you to take a break with them. So watch out for that, too – keep a close eye on how you are affecting other people.
So watch out for those three things. Don't go overboard. But when your big goals seem too far away, break them down into smaller and smaller pieces. Stop sitting on the sofa dreaming about the big huge goal, and stand up and start reaching the tiny, tiny little ones that will eventually get you there.
It reminds me of something my grandpa used to tell me. He said, even if you only have a 1% chance of success, that means if you are willing to fail 99 times, you can have what you want. No one else is willing to fail 99 times. So if you are, you'll be the only one left standing at the end, holding the big prize.
These words are on almost every CV. They are popular, and everyone thinks they should use them.
Why are they empty, and what should you say instead? Click here for the answers.
Want to be more engaging? Want people to think you are more interesting?
"God gave us two ears, but only one mouth."
Use them in that order.
Listen twice as much as you speak. And when you do open your mouth, use it to ask a question.
People like to talk about themselves. Use this to your advantage.
When someone else talks, what's a good way to make sure you understood?
"Let me repeat what you said, to make sure I understood you correctly…"
I'm a native English speaker. I still use this phrase 10 times a day.
Want to improve your language and communications ability?
Use that phrase. Your listening ability will improve, and your connections to other people will improve, too.
"I want to do XYZ, but I am so nervous."
I'm sorry, but being nervous is not a good excuse.
You can either love your desire ("I want to do XYZ…"), or you can love your fear ("…but I am so nervous.").
But you have to choose. Which one are you going to love more?
When you are on your deathbed, you will look back at your life.
Do you want to say, "I got what I wanted", or do you want to say, "I let fear rule my life"?
You only get to choose one. Which one will it be?
A short 33 second video on public speaking.
One of my favorite lines: "Public speaking is abnormal. No one is born a great public speaker, so practice, practice, practice, and then practice some more."
This video was brought to us by the good people at ethos3.com.
It's a popular phrase: "Perception is reality".
However, it is completely untrue.
Perception is how you see things, how you feel about things. It is your opinion about things.
Reality is how things really exist, outside of your head.
Sure, perception influences reality. Perception often becomes reality. But perception is not reality.
If you understand perception, you have one powerful tool.
If you understand reality, you have another powerful tool.
If you understand both perception, and reality, you have two powerful tools, and you can work more creatively than someone who only has access to one tool.
If you say "perception is reality", you are being intellectually lazy. You are telling the world, "I only want to understand one thing, my brain is not strong enough to manipulate two separate ideas at the same time".
Why would you handicap yourself like that?
Long term goals require short term actions, too.
Your boss brings you an urgent project.
With one, you will feel pain tomorrow.
With the other, you won't feel the pain for another 10 years, but when it comes, it will hurt worse.
Urgent does not always mean important. Do not confuse the two.
There will always be an excuse to postpone the things you really need to do.
People ask me all the time, "Matt, how can I write longer sentences," or "Matt, I want to use bigger words."
Then I ask them, "Why?"
You don't write to impress other people with big sentences, or big words.
You write to express yourself. You write to communicate.
Big words, and big sentences, get in the way. They interfere. They hide your idea in a thick layer of junk.
Do you want to sound like a professor, with a bunch of big words, and complicated sentences?
Or do you want people to understand you?


text:
HomeBMWNewsSpy Shots
2014 BMW X5 (F15) Spy Video
2014 BMW X5 (F15) Spy Video product 2012-01-29 11:13:53 https://www.motor1.com/news/29585/2014-bmw-x5-f15-spy-video/ BMW Spy Shots, bmw x6, bmw x5, x5, x6, next-generation bmw x6, 2014 bmw x5, 2014 bmw x6, 2014 x5, next-generation bmw x5, 2014 x6, luxury
By: Clinton Deacon
Caught while doing some pretty heavy driving in winter conditions in northern Sweden.
The 2014 BMW X5 prototype has been caught in the past but we have been limited to static images so far, but we are now able to bring you the first video which gives us the first glimpse of the model in motion. It was caught while doing some pretty heavy driving in winter conditions in northern Sweden.
The next generation mid-size SAV is looking to boost fuel economy and emissions with new updated engines and by losing a bit of weight. It will use a modified version of the F10 BMW 5-series platform that results in an immediate weight loss of around 330 lbs (150 kg). Engineers are targeting a final kerb weight of 4,000 lbs (1,814 kg) which is 680 lbs (311 kg) lighter than the current X5 xDrive30i.
Engines will comprise of the six and eight cylinder units currently found in the X5, but they will also be joined by new gasoline and diesel four-cylinder options with power outputs of around 245 PS (180 kW / 242 hp). Additionally, BMW will launch hybrid versions of the X5 that will use a similar system to the ActiveHybrid 5. Combining a 3.0 liter twin-turbo six-cylinder petrol engine with 302 hp (306 PS / 225 kW) and a 55 hp (56 PS / 40 kW) electric motor.
The new X5 is expected to debut at the 2014 Detroit Auto Show.
bmw x6 bmw x5 x5 x6 next-generation bmw x6 2014 bmw x5 2014 bmw x6 2014 x5 next-generation bmw x5 2014 x6 luxury


text:
Q: How to start c program at start up in beaglebone black I want to start the c program automatically in beaglebone black when my beaglebone black start-up. I am able to start my c program for blinking the external led on start up but i am unable to start another c program.
After starting the service i am getting following output when i see the status of service
enter code here
Loaded: loaded (/etc/systemd/system/hello.service; disabled)
  Active: inactive (dead) since Mon, 24 Nov 2014 12:48:04 +0000; 2s ago
 Process: 3074 ExecStart=/usr/bin/hello.sh (code=exited, status=0/SUCCESS)
  CGroup: name=systemd:/system/hello.service.

It is showing that service is loaded but it is inactive
Anyone plz help...

redpajama_set_name: RedPajamaStackExchange


1. Glocks with the standard magazine release can use all generations of Glock magazines, because all generations incorporate the right side mag release cut.
2. Glocks with the ambidextrous magazine release can only use the Gen 3 and Gen 4 mags that have the front side mag release cut. Note, the front side cut is not included on all gen 4's, double check the "magazine release cutouts" in the product description above.
3. Glocks with the reversible magazine release set up on the standard side can use all generations of Glock magazines, because all generations incorporate the right side mag release cut.
4. Glocks with the reversible magazine release set up on the non-standard side can only use the Gen 4 Glock magazines, because that is the only generation that incorporates the left side mag release cut.


text:
Student Associates
Student-Alumni Engagement
Institute Team
Executive Committee / Princeton Associates
Non Resident Fellows
Wolfgang F. Danspeckgruber
The Arctic initiative is an interdisciplinary, multiphase project focusing on issues that include energy, natural resources and environmental concerns, strategic interests of the Arctic States, law and policy development, self-determination of indigenous peoples, and the global shipping trade.
Still in its formative stages, LISD's Arctic initiative is an interdisciplinary, multiphase project focusing on issues that include energy, natural resources and environmental concerns, strategic interests of the Arctic States, law and policy development, self-determination of indigenous peoples, and the global shipping trade. This Arctic region project will incorporate the perspectives of various groups, including state and nonstate actors as well as great, medium, and small powers. The multidimensional aspects of this study of the Arctic demand an interdisciplinary approach and will include collaborators from a variety of Princeton University departments as well as collaborators from other domestic and international organizations and universities.
Arctic & Antarctica: An Introductory Session (GDSC)
GDSC Seminar on "Environmental Security Challenges and the Arctic"
Lawson Brigham
Tomas Ries
Public Roundtable: The Arctic and the Belt and Road Initiative – The LISD 3+1 Silk Road Project
Dr. Lawson Brigham, CPT, USCG (ret.)
Mr. Knut Hammarskjöld, '93
Mr. Emery T. Real Bird, '17
POSTPONED: The Arctic in Strategic Perspective
Lawson Brigham, University of Alaska
The Arctic: Territory of Dialogue - A Russian Perspective and The New Geography and Geopolitics of the Central Arctic Ocean
Lawson Brigham, University of Alaska, Fairbanks
The Arctic: Strategic and Security Considerations
Feb 11, 2011, 10:00 am
Col. Sam Gardiner, US Air Force (retired)
The New Maritime Arctic: Crossroads of Globalization, Climate Change, and Geopolitics
Feb 10, 2011, 4:30 pm
Bendheim Hall
Email: lisd@princeton.edu


text:
Those arrested on Thomaston St. identified
By Staff Writer on October 5, 2012
Several – perhaps as many as four – arrests were made on Thomaston Street in Barnesville Friday night. Details are sketchy but initial reports indicate four people were arrested in the vicinity of the former Yantis home on Thomaston Street. There were indications of a break-in there. Reportedly, those arrested were in possession of methamphetamine and a firearm. The home has been long abandoned and was recently foreclosed upon. UPDATE: Lt. Al Moltrum of the BPD has identified three of the four arrested as Tommy Crews, Mark Crews and Janet Woods. Tommy Crews had the meth and a weapon Moltrum said. The fourth suspect's first name is Debra.


The Honeymoon Effect: A state of bliss, passion, energy, and health resulting from a huge love. Your life is so beautiful that you can't wait to get up to start a new day and thank the Universe that you are alive. Lipton describes how the Honeymoon Effect was not a chance event or a coincidence, but a personal creation. He reveals how we manifest the Honeymoon Effect and the reasons why we lose it. With authority and eloquence, Lipton covers the influence of quantum physics (good vibrations), biochemistry (love potions), and psychology (the conscious and subconscious minds) in creating and sustaining juicy loving relationships.
He also asserts that if we use the 50 trillion cells that live harmoniously in every healthy human body as a model, we can create not just honeymoon relationships for couples but also a "super organism" called humanity that can heal our planet.


FAISALABAD, (UrduPoint / Pakistan Point News - 16th Apr, 2019 ) :Three pedestrians including a woman were killed while crossing roads in separate accidents, here on Tuesday.
According to police, Imran of Chak No 321-GB was crossing the road when a speeding vehicle hit him. As a result, he was seriously injured and died on-the-spot.
In the second incident, a speeding car hit Salamat Bibi of Chak No 110-GB when she was crossing a road near Chak 65-GB. She sustained serious head injuries and died on the way to hospital.
In third incident, four-year-old Ali Hasan, son of Ramzan, was hit and killed by a speeding car when he was crossing a road with his father near Mohammad Wala.
The police handed over the bodies to the families after completing necessary formalities.


If you are looking for a handbag with attitude then look no further than this super stylish and very cool stud clutch bag. The bas of the bag is made from faux leather with is completely covered in sliver studs.
Inside is a long chain strap which is perfect to wear on your shoulder why you dance the night away.


This term refers to an official copy of an original record or a copy of said record that is not a duplicate, convenience or working copy.
Did you find this definition of RECORD COPY helpful? You can share it by copying the code below and adding it to your blog or web page.


You can view this video with a free account.
Didn't know about that trapezoid profile of the plough plane blades yet and the explanation for the "going backwards" ploughing technique dawned a light on me.
Thank you for that very educational video!
Great to see this tool revisited, Paul – I'd love to see a Part 2 to this video, maybe expanded to cover rebate and especially combination planes, explaining common problems and methods to fix them… Perhaps things like hand positions, keeping the plane controlled and upright, making sure the fence is parallel, what to do with tearout, knots and the plane stepping out when rebating.
I would agree with that. Having used a plow plane a few times, most of my mistakes have had to do with not keeping it plumb (which is especially hard when ploughing a groove on a wider board), or having starting the cut when the sole isn't flat down (resulting in a deeper groove at both ends of the cut).
I was hoping I'd be able to learn a few more tips regarding those aspects.
More please Paul – how to keep the plane 'straight'? side movement and 'waggling' which I find very difficult.
Fixing a deeper and longer wooden Fence helps. The screw-holes under the Bridge are for fixing one. Then use your left hand, pressing towards the right, to keep everything aligned. Once you're started, maintaining alignment becomes easier.
I just had the opportunity to purchase a Record 044 off eBay so this was perfect timing and coincidently specific to the same plough plane I bought! I wasn't sure about the sharpening so I appreciate that you covered that.
The weld on my depth stop has come apart at the weld so once I figure out how to reattach it, I should be set.
Try buy a product called chemical metal ……from a motor spare part shop? Comes in a small yellow tube.
It's a common fault Bill. Enlarge the Bottom side of the hole slightly with a countersink. Secure the post upright in your vice. Fit the Depth-stop sole. Then simply peen over the end of the post with a nail-punch & hammer. File/sand it smooth. You can use a bolt, or a window -arm post, as a makeshift depth-stop at a pinch.
Thank's for the demonstration, very instructive!
You mention that you can buy blades individual or i packs. I do have a 044 myself, with a set of cutters, in imperial widths, but they don't exactly fit millimeter sized plywood that I sometimes use. It is mentioned in the plane's manual that there exists mm sized cutters, but I haven't been able to find such.
Do you know a source for millimeter sized blades?
Paul quite often buys additional plough plane blades on eBay. As far as getting plough plane blades to exact width, it often involves grinding a spare blade to dedicate it for that use, so it's worth getting some cheap spares if possible.
Thank's for the advise! For that task, Paul's information about the blades being trapezoidal in cross section seems crucial.
Previously I thought that the reason that the 044's on eBay and elsewhere oft come with one cutter only was that the other blades had gone missing during lengthly storage. Now I speculate that they might have been reshaped and are in use with another plane.
Ray iles makes plough plane blades suitable for the records, I'm not sure if this is in your price range / overkill, but its worth taking a look at if you need some blades.
Yes, I have been looking at these blades, primary because I find it hard to divorce the blades from another 044…. Quite silly considering that most planes are just collecting dust and rust, but that's how I feel abut it.
Thank you so much for your time and effort to produce these excellent learning opportunities.
Thanks for this review. I purchased an 043 and an 044 as well as as craftsman combination plane after seeing one of your earlier videos on the use of the plough. The 043 worked right out of the box and I made up a few cutters for it out of tool steel, O1 I think.
The O44 though would not cut a good groove for me. As it turned out something in the casting or machining was keeping the blade below or dead flush with the right hand side of the skate. Digging around these forums I found a discussion about the blade location and using a shim on the upper part of the blade I was able to get a few thousands of protrusion on the RHS of the skate.
The plane without this change would cut a kind of staircase groove. Each pass the cutter would cut more to the left.
I wonder if you have encountered this and if so how you would have corrected the issue? Initially I was quite disappointed about the 044 after having such a great experience with the 043. I suspect this was a factory defect as the 044 had few signs of use so I guess was set aside in frustration. Now it cuts fine although the original defect remains.
I have the exact same problem: a staircase effect in the groove.
The blade tip doesn't protrude past the right edge of the skate on any of my blades!
Is this a defect or am I doing something wrong?
If you have an 044 it has a side screw that clamps the blade tight against a machined recess on the body of the plane.
My solution was to place a shim on the side of the plane body above that screw. This has the effect of tipping the blade towards the right. Placing a shim below that screw tips the blade to the left.
In my case the amount was very small. There were mixed recommendations in other forums on this site about how much protrusion was needed. In my case a 0.005″ (5 thou) shim was used. That is basically two pieces of paper thickness. I think aluminum flashing might be thin enough though thicker than 5 thousands.
I considered filing the recess or even milling it to allow the blade to protrude but hesitated to do such a permanent modification. I'd be curious to hear what Paul or others have done to correct this problem.
The other issue you might find is that someone may have sharpened the side of the blade towards the cutting edge. As Paul noted in the video there is a small relief angle on the blade sides. I put one on my some of my home made blades but not all so I'm not sure how necessary this is. I doubled checked my blades to make sure they were full width at the cutting edge.
Good luck. Post a reply with your solution. Once the plough is set up correctly it is a total joy to use and compared to using a power router fast, clean and simple.
Hello Ian, it certainly is possible. Things that Paul recommends checking is that the cutter is straight. You could also file into the groove with the corner of a fine saw file to nudge it over a little. This may help. Some great info there Ian, thanks.
Thanks Paul. For clarifying the sharpening angle we went taught that in wood work class in the 60s.
Thanks for the great instruction. I bought a complete package at an antique shop last summer but have yet to use it. I'm headed to the shop now to practice.
Thanks to Paul and the team great video I started with a Stanley 50 not for me it had to go, I picked up a 050 instead much better great tool ,take care all.
Very helpful. Good confidence builder. Thanks.
I've wanted a plough plane for a while. I have a 100+ year old wooden "fixed" plough plane. That is, it doesn't have the ability to accept multiple sized blades so, the width is fixed. It makes a groove 3/8 in. wide and does have a depth stop and a knicker blade with two points on either side. It works fairly well. However, Veritas is making a small 044 style plough plane for under $300. Definitely on my wish list!
$299 is a big ticket item for woodworkers. Do you think Veritas would consider suppling us with 35% discount coupons?
Thank you for this video, Paul (and thanks to your team, too). I had read how to tune and set the Plough Plane in your book, but still I had some doubts. This video is the perfect complement.
Paul, I know you are showing the sharpening for consistency and beginners, but is there a reason someone should not sharpen freehand? I don't trust my guide to be straight and square (it wasn't for plane blades), so I just all my blades freehand. Is that causing me a possible problem I'm not aware of?
Keep these type of videos coming, they're great.
I might add, as Prof Sellers has said at one point and I'm paraphrasing, that freehand is fine for wide plane blades like the stanley 4 and 5 and so on, and even beneficial due to the natural camber. So you are ok doing most of your plane blades freehand, just not this one for reasons Keith and PS have mentioned. (full disclosure: I don't actually own a plough plane, but I've seen some videos. I do own a Stanley Bedrock, however, and always sharpen it freehand).
Hi Paul, the Stanley 50 just doesn't seem up the job. I bought it on eBay with only one blade. Should I persevere with it or get a record 043?. The plane has been sharpened and from what I can tell, set up right, it just chokes under the minutely stubborn grain of any other wood but pine..
Hello Nathan, the Stanley 50 should work just as well as the Record versions when set up well and is very similar in setup, so I would encourage you to persevere and double check it take it through the steps outlined in the video.
Alright Phil, most of the Stanley tools I have work and well, however I have read some info about the 50 which suggests it was a sub par tool.
I'll set as per Paul's vid see how that goes.
Is the plough plane used for cutting across the grain too?
Love my plow plane. Just getting ready to use it to make a bunch of family Christmas presents. I did just sharpen my 4 and 5 mm blades freehand. Tedious. Forgot I had a side clamping jig that could handle small blades. Thanks for the timely video Paul!
Nicely done Mr. Sellers. I really enjoy the instructional videos. I think you touched on it some in the picture frame videos some years ago, but a video showing how to make moldings/mouldings with one of these would be awesome.
I did not know those details Paul shared,..that was invaluable!
I managed to pick up a rusty old no44 on ebay and cleaned it up, bought some blades and it's a great tool, I've sharpened mine to 35 degrees though, I found that 30 didn't work as well, but now I've seen this video it looks like I've had the blade protruding too much, just tried adjusting it back and it cuts way better than before so thanks for the info.
I can't see which model of honing guide you are using but it looks pretty well identical to the Eclipse 36 I've had for decades (apart from the colour – the Eclipse is unpainted).
I'm finding it something of a pig to get the cutters seated flat so I don't grind the edge on the huh (as we say here in Norfolk). Is it just me?
I would think they do. I don't have their plough plane but every other Veritas device I have came with good instructions. Maybe not the detail about the trapezoidal shape of the blade but I think Paul only included that as information. It isn't something you would normally need to do something to anyway. The cutters for my Stanley 45 have enough relief that if you lay two of them side by side on a flat surface (bevel up) you can see the gap between the two on the top side. If you don't have calipers, that's an easy way to tell if your blades have a side relief bevel ground on them.
Go to the veritas web page for the small plow plane. In the table of products at the bottom of the page, where you would add the item to your cart, you will see a link, "Instr," that brings up the instruction manual.
My veritas plow blades are not trapezoidal. Dead square as best I can measure. Never been an issue for me that I know of.
I have the Veritas small plow plane and also noticed the cutters are dead square front to back….no relief. I found it got very difficult pushing the plane once any appreciable depth was reached….say 1/4" or so. So I just relieved the back edges of the cutter at the grinder, trying to be careful not to alter the cutting face and edges. It's a very small alteration but works like a charm. The other thing that really helps is, when grooving in difficult grain, use Paul's trick of taking your knife and running it along the bottom corners of the groove to help sever the fibers, then continue plowing.
Record and Stanley were making these things long before Veritas was ever thought of, and I have to believe if both of those guys though it was needed, it must be. I really like the quality of Veritas products but I try to keep in mind that they are modern day tool makers, not woodworkers.
Hi gents what about a guide for sharpening router blades?
please ignore that last comment, I thought you meant sharpening for the plough plane, I use diamond files for sharpening the router blades on a block of wood.
I picked up a 44 after having seen Paul use it on a previous video. It works just as it's supposed to. The problem is that it's uni-directional. I keep thinking that it would have been worth spending more money for one of the combination planes that would have allowed me to attack the piece from either end and avoid tear out.
Could you please share an example of this bi-directional plough plane?
A Stanley 45 supposedly has that capability. You can reverse the fence, but it's awkward to use at best and other than as an experiment, I've never tried to use mine that way on actual work. This is not a perfect solution, but I try to keep track of grain direction and try to layout the pieces so that I'm plowing with the grain, but that's not always an option. The 45 and many other models have cutter spurs that are meant for cross grain work, but I have used them to help keep the top edges of the groove or bead from tearing. Torn grain in the bottom of a groove is usually hidden anyway. Torn grain in a bead is a problem. All I know to do with that is sharpen the cutter and take very shallow cuts. Here's a link that will let you see the manual for several of the Stanley models.
Using a cutting gauge or similar to establish the edge of the groove can be very helpful in avoiding tear-out as well.
I have a Stanley #45 and us it almost exclusively left-handed as I'm left handed. As mentioned , the fence is reversible and there are depth stops and nickers on both sides of the plane. I just used it today to ploughing grooved for 2 raised panel doors that I needed for a cabinet. As usual, it worked like a charm.
Is there any plane that will cut a dado ( cross grain) in the same fashion as the plough plane? I've only chopped my dado's with a chisel and a router plane. Now that I think about it, a router plane with a fence might work.
I've looked into this and it seems be caused by this page linking to another page where the video is hosted. I'm still looking for a cause and cure.
I'm trying to view it = as I've viewed many other videos from you – using Windows 10 and Firefox 61.0.2.
Hello Bob, sorry to hear you are having issues with our website. I had a look and everything seems to be working as normal on our end so what I can suggest is to clear the cache and cookies from your browser or try using a different browser to see if the problem persists.
If you still have an issue, please contact us through the contact tab at the top of the page or the contact us here link below. I will delete this comment in a few days as we try to avoid technical issue comments here.
Today when I was testing out Pauls technique in the video using short strokes and I was testing it in some pine and as I progressed back on the board the front of the skate dug in and made a notch, the plane would get stuck on unless I lifted it up making it harder to do. Am I just pushing too hard with the short strokes or do I need to slightly round the nose of the skate? Or is it something else?
Great video. Very Helpful for the new to me Record 044 I just got in the mail.
One Problem-the depth skate does not hold a consistent depth, I've not been able to cut a groove to a specific depth when practicing in pine scraps. The knob does not have a slot for a screw driver, so I hesitate to put the pliers on it to bear down on the skate post. Is this a matter of technique or finesse, or do I need to put more pressure on the skate post. I've backed the blade out, so I have a pretty small bit of the blade protruding from the sole.
Hello Blaine. Couple of options that Paul recommends. You could make a slot for a screwdriver using two hacksaw blades in the same hacksaw to make a wide enough groove. Otherwise you could file a flat on the outside face of the stem of the shoe which will give greater registration for the end of the screw to tighten against.
It did in that I took the slot advice, screwed my courage to the sticking place, just tightened with the pliers. Worked like a charm! What a beautiful tool! I'll cut that slot this week. Thanks for the help.
I haven't seen any thing on the Stanley No 51 Combination plane. Any reason for this?
I own one and use it as a plow as well as a molding plane. Although difficult at first to set up properly, it gets easier with time.
Paul if you could comment on this plane it would be much appreciated.
I don't know how long I can afford to watch your channel Paul! The more I watch the more tools I buy and the more skills I develop. Just purchased a very nice 044 from Ebay….sharpened all the blades to a very nice finish and now have a very useful plough plane. Just need to extend the fence in order to improve it's lateral stability….something you don't appear to have a problem with! Maybe it's just practice hey? Once again thanks.
One last comment. The original blades were ground with a 35 degree angle rather than 30. Probably makes them slightly more durable and less likely to dig in excessively. What are your views Paul ?
I just checked with Paul, and 30-35 degrees is fine. It's when people start at 35 and the bevel gets steeper with subsequent sharpening that the issue appears, as the heel of the bevel sometimes contacts the wood first. That is why 30 is the recommended angle, as even if you go a bit steeper it doesn't cause a problem.
Thanks for another informative video. So much information we never got in shop class… of course ploughing was done with an electric router, but I digress.
I have the Veritas Small plough plane and a Record combination plane and beading irons for both. I would be interested is seeing a video or project using the Beading blades. And a run down on sharpening them. The Record irons were in rough shape when I got it, and I ended up using a small round file to clean up the hollows before sharpening. Wondering whether there is a better way?
Keep up the great work team. It is appreciated by so many.
Thank you for your video suggestion.
You can use appropriately sized dowel with sandpaper wrapped around it and this will both remove the rust and sharpen. Simply change the grit from coarser to finer and you end up with a sharp cutting iron.
Beading irons don't have to be razor sharp to work ok and often aren't very dull because they just didn't get used much.
But you can sometimes sharpen them up nicely by just using a stone and hone on the flat side, so you don't have to worry about changing the profile.
For that reason I'd suggest you give most of your attention to the flat face.
Oh my goodness! A beautiful tool. This is on my list now.
Thanks for this video. I have a Stanley #46 Combination plane that I use to plough my grooves. At times it wouldn't work correctly then other times it would. I saw Paul point out at 6:14 on video about blade slightly protruding skate and now I make sure blade is installed correctly . Works great now.
Hi, i have a stanley 50 combinaiton plane. Looking in the instrucions i saw that i can use the 1/4 tonguing cutter wiht the 1/4 plow cutter in order to make tonguing and groovin but i've noticed that the dado 1/4 cutter and the 1/4 tonguing has different measures: the tounging cutter is less than 1/4 so the resulting tongue is to small to make a proper joint. Any suggestion? did i miss something?
The tonguing cutter usually leaves the tongue slightly undersized, or less than the depth of the groove it will fit into, thus ensuring the surface joint line is tight.
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text:
LIM Yeon-kyoung / Independent Publishing in South Korea in the 2010s (1): The Cultural Movement Reinventing Feminist and Queer Intimacies 南韓的獨立出版運動(2010以來):重整戰友的親密
PhD candidate and researcher Yeon Kyoung Lim seeks to claim the relevance of her activist pursuit in Feminist/Queer self-publishing to serious academic publishing. Her activism addresses the battle for social-cultural survival for the Feminist/Queer movement specific to Seoul on the one hand, and tactical appropriation of digital technology to sustain discursive spaces on the other. Post-consumerism could be understood differently in the light of activism, whereby a specific form of agential potential emerges. Doings and actions are more important than representational practices. 出生及成長於南韓的博士研究者林妍卿在後消費主義的藍圖裡重新理解「獨立出版」的政治性、創作上的實驗性,以至對南韓本土的女性主義、同志及酷兒運動的推進所作出的貢獻。獨立出版似乎注定被拒於嚴肅的學術出版的門外,林卻用新唯物主義和演述理論的高度去討論獨立出版的追求,並以個人「實戰」去說明。
/… part 1 of 2
**feature image: the 3rd issue of The Journal of Queer and Humanities Vvira | Book Design – Sung Kim | Photo – Yeonsook Lee
Independent Publishing, a Cultural Phenomenon 獨立出版, 一個文化現象
In the first year of my Ph.D. studies, a scholar advised me, "Please do not submit your paper to a strange journal because it won't help your academic career." It was friendly advice with regards to my academic advancement, and it is probably true. I could not help thinking of my commitment to a small press project for publishing a journal as a part of the new wave of the Independent Publishing Cultural Movement.
Independent publishing (interchangeably known as self-, small publishing) has been booming in Seoul since the late 2000s (and likely even earlier). It has been a crucial medium for a socially-engaged cultural movement. On the socio-cultural level, the rise of young feminism and LGBT/queer discourses plays into the independent publishing boom. On the techno-cultural level, the impact of digital media culture is far-reaching in the independent publishing boom. I, with my friends, have worked on producing a journal, The Journal of Queer and Humanities Vvira, based in Seoul. I am going to share my personal experience with an independent publishing movement related to this journal and the technical conditions.
the 1st issue of The Journal of Queer and Humanities Vvira (Book Design – Sukji Jeon)
Independent publishing is to publish an independent publishing project, led by small publishing houses running with little capital and low circulation, but with a large scale of autonomy. It deals with various themes in print forms, such as books, zines, records, and other design products.
The independent publishing boom emerged under the imbricate influence between indie/subculture, DIY (do-it-yourself) culture, and hipster culture in the late-2000s in Seoul. The cultural platform of art spaces-cum-bookstores empowers the boom. The opening of art/independent bookstores around 2010, such as The Book Society and YOUR-MIND, prepared the boom of the 2010s. In such bookstores, the role of distributors, particularly for independent publishing, intensifies because they function as the key agent to "move" books to the potential readers in the niche market of small press. [1] Individual groups and creative collectives also emerged discursively. Among them, feminists and LGBT/queer artists, designers, writers, and editors came to be critical contributors for independent publishing. There are two different strands: in one strand, feminists and queer subjects took haste to publish their writings rather than merely wait for acceptance by an accredited journal or a publishing house. Within the other strand, feminists and queer subjects make their artistic products in the form of printed and recorded publications, rather than merely wait for acceptance by formal art institutions and production venues. With these activities on-going, independent publishing often blurs the boundary between traditional books and other commodities, between artistic practices and making products. Independent publishing, therefore, entails cultural processes of consuming, from programming and participating in fairs and exhibitions, to selling and exhibiting their books and goods. [2]
In the current economic situation of Seoul, independent feminists and LGBT/queer artists, designers, writers, and editors often find themselves in an ambivalent position. First, they are suffering from material impoverishment. The gentrification phenomenon in Seoul has expelled them continuously to the edge of the city. For example, Hong-Dae district was once a heterogeneous hub for creative activities in Seoul. But with an expanding floating population, the subcultural zone has turned into a commercial zone. At the same time, the rental fees within the district skyrocketed. Many tenants – including young feminists and LGBT/queer creators of independent publishing – could no longer afford to pay the rent. They often found themselves unemployed, unmarried, living in the capital in the low-income bracket, or their rights outside the provisions of the legal system. There are yet other material difficulties marring among content contributors' input to subcultural activities, such as the lack of money for the rent for studio spaces or storage areas. Very often, they maintain their contribution to independent publishing by working in temporary spaces. On top of the flexibility they manifest for mobile offices, sizable stocks of books remain tough challenges as they frequently occupy their residential dwellings.
Second, they position themselves as post-consumerist and embrace the above conditions often for the sake of poiesis and praxis. What I call post-consumerism here refers to a contemporary cultural phenomenon in which creators and contributors produce their books and goods in alignment with their politics and aesthetics; at the same time, they do not rule out selling and buying these things as commodities. Post-consumerism changes the role of conventional customers and the mode of their practices. They become participants, not mere customers, with the slogan: "We are tied therefore we buy." Young feminists and LGBT/queer subjects take great satisfaction in visiting fairs for buying books and other goods, and sharing their transactional behaviors with others through social media, thereby producing their cultural memes as by-products. Indeed, many times the priority is reversed: they buy not only to enjoy the contents of books and goods themselves, but also to share their cultural experiences of the whole process on social media.
Materialist, Performative, Agential Power of Independent Publishing 唯物的、演述式的主體行使權
Independent publishing in Korea in the 2010s reminds us of a new kind of materialist agency. In Posthumanist Performativity, [3] Karen Barad tackles the issue of the paradigm. Barad shifts the focus from matters of "correspondence between the description and reality" – that is, representational practices – to that of doings and actions. Barad links the concept of performativity to the "production of the matter of bodies," and "discursive practices to the materiality of the body" (808). Indebted to this definition, I argue that the independent publishing cultural movement also tackles the ever-changing relationships between materiality, agential bodies, and discursive practices: independent publishing deploys a complex set of natural resources, media infrastructure, and social funding; it affects the collaborative shapes between comrades through the form of participation; it is a continuous attempt for modeling the sustainable structure of cultural movement and knowledge production.
For feminists and LGBT/queer culture, independent publishing resonates between a consumerist activity and a cultural resistance to the power domination of social relationships dictated by consumerism. Independent publishing resting on post-consumerism invites an anonymous subject to a broader community of feminist and LGBT/queer culture. There is a conjoined aspiration toward self-expression as cultural intervention to improve the visibility of the minorities. The mode of participation in independent publication encourages an audience or a reader to take up a role in the cultural production of gender and sexuality, self, and collectivity. In the meanwhile, contributors or participants of independent publishing can traverse multiple agents as a reader, a producer, a collector, a supporter, an aficionado, and even an archivist. Thus, the agential performance and the process of independent publishing takes a performative role of feminist and queer subjectivity. It consists of a critical set of relations of the independent publishing boom, which I propose to call the independent publishing cultural performativity.
Independent Publishing in the Technical Milieu 科技紀元的獨立出版
The procedures of producing small press seems no different from mainstream practices according to technical standardization in publishing. In making prints and recordings in our technical milieu, digital functionality affords us to manipulate and transform texts, images, and sounds. Data, once digitized as immaterial forms available only on a computer screen, could live on in paper forms. Publishing in print in this way is making the transition back and forth between the digital and the analog possible. Technical environments allow creators and contributors to deal with enormous amounts of texts and images with ease collectively. Cloud platforms, mobile messengers, and social media have helped our meetings, public relations to be actualized online. These tele-technologies give us a chance to escape from the tyranny of time and space with only the minimum resources to deploy.
Independent publishing led by feminist/queer collectives is indebted to the online subculture, its survival and flourish integral to the digital milieu, in which agential relations are intensified by the simultaneous use of multiple technological things.
My personal experience with Note in-Between (2011~present), a small press, illustrates this. Note in-Between aims to contextualize LGBT/queer discourses in South Korea and, subsequently, to re-contextualize against the concept of "queer" in East Asia. On the one hand, the collective adopts cultural politics that overturns the power relationship and knowledge base in discourses on gender and sexualities. On the other hand, their practices rely on online social networking to gather potential authors and readers' attention to our small press projects. Another prominent case is Baume à l'âme (meaning "News of Spring" by its Korean title). Baume à l'âme is a feminist publishing house launched in 2016, led by four young women, as of this writing. They tackle real issues of feminism in the context of South Korea and beyond, such as abortion rights, surrogacy and sexual crimes. [4] One of their publishing projects, which concerns sexual violence in the literary world, was a critical response to the #MeToo movement of 2017, spawned by Korean feminists on social media, alongside a hashtag, #SexualViolenceInTheLiteraryWorld (#mundan-ne-sūngpokryeok in Korean pronunciation). These publishing projects are to generate critical readership and participant-ship to tackle feminist/queer politics and aesthetics with critical literacy. In this sense, social media and their technical support offset a viral machine that calls scattered potential comrades to come together around independent publishing projects.
As a queer bookshop and a small publishing house, SunnyBooks has published a series of queer zines and products since 2015. To celebrate its launch and the Queer cultural festival of Seoul of that year, SunnyBooks gave festival-goers a "fan" as a gift. The metaphoric design of the fan aroused a controversy on Twitter as it reminded people of anal sex among gays. On Twitter, some expressed disgust toward its design, and others enjoyed it as a subcultural internet meme. The vernacular hashtag of the meme showed the participants of the discourse a kaleidoscopic view of queer politics. It reveals a certain aspect of the independent publishing subcultural meme, such as how it produces a point of view on a cultural practice at hand in real-time. Tele-technologies provoke our imagination of sexual politics and practices up-front. Technical things act as viral machines to spread the issue, dissent feelings and sensations, and rearrange our common sense toward beauty, familiarity and fun via subcultural memes.
Online critical literacy and internet subcultural memes are not merely derivative enjoyment of independent publishing, but they manifest performative agency: feminist and queer identities are performed, not just represented. Independent publishing foregrounds the mediational role of digital things in sustaining the processes for feminist/queer subjectivities to play out, repeatedly, dialectically and engaging endless dialogues and critical exchange alongside publishing.
/… part 1 of 2, to be continued…
[1] Lim, Kyung Yong. "The Production and Distribution of Europe Artbook Market." The Artro. 20 Jan. 2015. https://www.theartro.kr:440/kor/features/features_view.asp?idx=1052&b_code=10e. Accessed 27 May 2020.
[2] UNLIMITED EDITION (2009-present), programmed by YOUR-MIND, is one of the famous art book festivals in Seoul, showcasing small-scale and independent publications. Unlike other mainstream art book fairs or markets, this kind of art book festival allows creators/participants themselves to visualize practices, discuss their publications, as well as sell these publications. Many young feminists and LGBT/queer creators have also participated in or held those types of annual art book festivals.
[3] Barad, Karen. 2003. "Posthumanist Performativity: Toward an Understanding of How Matter Comes to Matter." Signs: Journal of Women in Culture and Society 28 (3): 801–31. doi:10.1086/345321.
[4] Baume à l'âme http://baumealame.com/. Accessed 27 May 2020.
Yeon-kyoung Lim 林妍卿 is a writer, moving image maker, and co-editor of the Journal of Queer and Humanities Vvira based in Seoul. She is a PhD candidate at the School of Creative Media, the City University of Hong Kong, currently working on human-machine Intimacy at the crossroads of Media Art and Cultural Studies, Gender Studies, and Critical Theory.
digitality doctoral research doctoral researcher Feminist movement Feminist movement in Seoul field notes field work Independent publishing LGBT/queer LGBTQ Lim Yeon kyoung post consumerism Queer activism Queer activism in Seoul research notes self-publishing Seoul small publishing South Korea 2010s technological affordance The Journal of Queer Humanities Vvira
Yeon-kyoung Lim 林妍卿	Author
FieldNotes 考察中, Seriously Speaking 大聲發表
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Wednesday, 1 April 2015 - Pininfarina has made its debut in the eyewear world with De Rigo Vision, with which it has presented the worldwide preview of the Lozza by Pininfarina capsule collection to the press. This innovative designer collection is 100% made in Italy, produced under the banner of Italian excellence.
It is no surprise that two all-Italian icons of the calibre of De Rigo and Pininfarina have come together, sharing the same core values: with a continuous search of exclusivity, true passion for beauty, and an innovation rooted in tradition and craftsmanship.
On the one hand, there's the De Rigo Group, owner of the Lozza brand; which in just a few decades has grown from a local interest to now one of the most important companies in the "overcrowded" eyewear sector. On the other, there's Pininfarina, which started out in Turin and soon made it big on the international design scene, creating veritable cult objects, not just connected with the automotive industry.
Lozza by Pininfarina embodies the heritage and experience of these two important family-run and innovation-driven Italian businesses. The result is a capsule collection featuring innovative, dynamic designs and strikingly sporty, modern lines, matched with innovative materials, such as aluminium, for stylishly elegant yet exceptionally light and durable eyewear.
This unique and exclusive collection, comprising of five clean and linear styles, is destined to make its mark. The models are veritable objects of design in its purest form. They meet the highest standards of quality and functionality, while also being aesthetically beautiful, for an experience of true hedonistic pleasure.
"We strongly believe in the union of these two Italian brands, each boasting a strong global presence," says Michele Aracri, CEO of the De Rigo Vision. "With the Pininfarina line, we intend to penetrate the luxury market yet further, targeting the more sophisticated consumer with a keen eye for detail."
"The distinctive elements of the Lozza by Pininfarina collection are design and emotion, combined with a strong Italian allure," says Paolo Pininfarina, Chairman of the Group. "These models are designed especially for those who enjoy a sporty kind of elegance; for those who love to assert themselves with a distinctive look; in short, for those who admire and follow the Pininfarina style."


Quintessentially British clothing manufacturer Barbour will launch its new range of watches at Basel later this month.
Helen Barbour, chairwoman and fifth generation member of the 120-year-old -family business, will be at Basel to introduce the range which will go on sale in the autumn.
Swiss made movements will be at the heart of the collection while straps will be crafted from Barbour's own British-made fabrics and case designs will use the brand's motifs.
The collection of ladies and men's watches will be designed, marketed and distributed by Zeon Limited under the Barbour and Barbour International brand names.
Zeon Limited will initially offer the watches through Barbour retail stores, select, high-end UK department and jewellery stores before moving into similar outlets across Europe, the US and Asia.
Richard Tibber, Managing Director from Zeon said ""As a British Company we are delighted to be associated with such an iconic British Brand. The Barbour and Barbour International watch collections will be totally designed in Britain. We are excited to be launching the collection at the BaselWorld Watch fair on March 27th".