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Harnessing the Power of Fear
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Fear can rule your mind, but it can also motivate and protect you. So how do you strike a balance? Get expert advice on managing your relationship with fear so that you feel more in control.
We're joined by Dr. Reid Wilson, a licensed psychologist and director of the Anxiety Disorders Treatment Program in Chapel Hill and Durham, North Carolina. He is author of the book, "Don't Panic: Taking Control of Anxiety Attacks."
As always, our expert guests answer questions from the audience.
Announcer:
The opinions expressed on this webcast are solely the views of our guests. They are not necessarily the views of HealthTalk, our sponsors or any outside organization. And, as always, please consult your own physician for the medical advice most appropriate for you.
Judy Foreman:
Hello, and welcome to HealthTalk Live [HealthTalk Live has been renamed Health Now with Judy Foreman]. I'm your host, Judy Foreman.
Fear can rule your mind, but it can also motivate and protect you. So, how do you strike a balance? Tonight you get expert advice on managing your relationship with fear so that you feel more in control.
I'm very pleased to welcome Dr. Reid Wilson, a licensed psychologist and director of the Anxiety Disorders Treatment Program in Chapel Hill and Durham, North Carolina. He is also the author of the book, "Don't Panic: Taking Control of Anxiety Attacks."
Dr. Reid Wilson, welcome to HealthTalk Live.
Dr. Reid Wilson:
Oh, thanks, Judy. Glad to be here.
Judy:
May I call you Reid?
Dr. Wilson:
I wish you would.
Okay. That will be easy. So tonight, as everybody knows, is Halloween, which brings up an interesting question. Why do little kids seem to like to get scared in certain situations? Is a little tingle of fear actually fun for kids if they know it's pretend?
Well, interestingly, at the moment of the scare, they don't know it's pretend, but seconds, milliseconds almost, later they can correct it, so scare is very much, viscerally, like excitement.
And so as soon as they get past that scare moment, they will laugh and giggle when they are through it. So there is a kind of attractiveness to that kind of excitement. We can go all the way back to primates with monkeys, learning all kinds of springing off one tree to another tree with each other, chasing each other. But it's all about training to get them to be able to escape later on. And I think in some ways there is a genetic predisposition for all little kids to be able to learn to tolerate this in such a way that the scare process itself doesn't scare them so much, that they can then use it. And, of course, as you know we have some people on the other end of the continuum that get frightened by that fear response.
So actually what is the difference between fear and excitement, or being scared and excitement? I mean, you are right. I think, subjectively, there is a lot of overlap, but why does excitement feel good and fear ultimately feel bad?
Great question. Who knows? It exhilarates you. It wakes you up. You know, it's a little like sometimes when you get angry, you feel it in every cell of your body. You know, "He said that about me?" So it will electrify you, so to speak, and so does excitement in that way. And, of course, when you get fear, it's that same kind of electrifying response that is now necessary to handle a situation that's in front of you that feels like a threat.
Yeah, so how do kids learn to separate something that's genuinely scary from something that's just kind of fun scary, and then milliseconds later they realize it's pretend, or they laugh and giggle?
Well, lots of different ways. You know, first off is feedback. You start to learn. There is a kind of conditioning response that goes on in threatening situations that you can say, "Oh, that's just mom. This is Halloween, and mom decided to pop out behind the door," and that's expected. There is training that we are going to do, that we're going to train kids to distinguish one from the other.
It's interesting. If you look at some people who develop phobias, if you look at their family structure, very often the parents of those adults or children who develop phobias were parents who did not process loss and conflict in that sort of way. You can handle loss when you process it. You can handle conflict when you can talk about it later on and what took place. You can handle trauma much better once your system, your environment and your community talks about it with you. When you start living in a situation where that kind of conversation is taboo or the parents are not very well-trained themselves in processing things, then your little mind begins to make up some of the reasons why you are scared at that moment. That's when things start to go haywire.
Interesting. What about adults and horror movies? I mean, personally I have never liked horror movies, but obviously they are very popular. What's the attraction there?
Well, I think it's the same. I think we are just big kids.
That's reasonable.
Some people will agree with that, and others don't. In the same way we have excitement junkies, we have adrenalin junkies. We have people who are clearly risk-takers.
It's interesting that there are two broad types of people who end up being therapists for people with anxiety disorders. And one is a group of people who have an affinity to anxious people, have some of that in their blood themselves. They kind of know what it's like and want to help them out because they have been there. And the other are the people who are more out there – risk-taking, rock climbers. And the people who tend to be the most powerful therapists are the risk takers because they are the ones that are pushing people into situations that will help them promote healthy growth out of fear situations.
So I think horror movies - I am like you, I could care less about them; I don't want the scare - but I think it's just another brand of ways of people getting stimulated and feeling excited and enjoying it. I will take caffeine myself. That's enough for me.
Or chocolate. In a more serious vein, explain to us what the difference is between fear and anxiety. I mean, my guess would be that fear is reality-based, while anxiety is a little bit more neurotic or internally generated or something along those lines.
Yeah. That's absolutely one way to look at it. The other way to think about it is the fear response actually has a beginning, middle, and an end. You are going to have a fear response based on some situation that you walk into that causes some kind of threat. Anxiety is much more insidious. It's like an unwanted houseguest that kind of breezes in quickly into your life, but it's kind of hard to get rid of them.
So anxiety can begin to have a life of its own after a while, and it doesn't seem so nice and clean and coupled with a threatening situation moment by moment, temporally, that the fear experience is.
Right. I mean, if you sort of have a close call in the car or something, and your heart will be pounding, and you will say, "Whew, that was a close one," and then once it's over, it's kind of over. But anxiety creeps in and eventually creeps out.
Well, you know, if I could just say one more thing about that fear response: When you are in that car, very often what you are saying is, "Oh, my gosh, here comes the ditch. I'm dead." But in that fear response your conscious mind has very little to do with your behavior at that moment. You basically go on automatic pilot. Your unconscious doesn't want to have anything to do with your analytic self in the moment. It wants to go in and handle things. And so, the more critical a threat is, the closer you are to a threat, the more temporally there is going to be moments between you and the threat, the more your unconscious circuitry simply takes over and says, "Conscious mind, take a back seat if you would like."
By unconscious, are you really meaning the limbic system, the kind of the more primitive processing system in the brain as opposed to the cortex, the more thinking part?
Well, it's a tremendous set of circuitry. The best way to start with that is just to say the amygdala really orchestrates most of this. A lot of stuff is going on in the brain stem. A lot of things are going on in the central affective regions. We're going to have a startle response. We're going to have a freeze response. We're going to have blood pressure that goes up. We are going to have our heart (rate)that goes up. All of those systems are going to tend to come in at once.
The limbic system can be a little behind in terms of its work. So if you've got a threat that seems to be coming up 300 yards from you or a threat that's coming up five minutes from you, the limbic system has a little more room to move because it's got a little more analysis going on.
When you are, as we just talked about, in the car, anything that's really immediate, the limbic system is just a few steps away from the accident. It kind of has to play catch up also. It ends up in the back seat, and we go into the more immediate responses that are controlled unconsciously often through the amygdala and the brain stem.
Amygdala - tell us what that is. And I was going to ask you anyway, what are the brain circuits that govern fear and anxiety? And are they the same thing? But amygdala may not be a household word in everybody's house.
Well, I think, simply put for us - and we can get complicated about the amygdala - we just want to say that is really the (part of the brain that is the)center of a lot of our emotional responses of what's going on. It's going to control the messages sent to the hippocampus which is going to help us remember and store things. There is going to be a signal that comes from the cortex to the amygdala that says, "Something is going on." That signal tends to be unconscious. You don't really hear it. It happens very rapidly, and there is very little signal that gets back up to the cortex from learning from the amygdala.
It just goes in and takes over control of the brain stem. It helps promote epinephrine (adrenalin)being secreted through the brain as well as the body. It's going to tell the hippocampus to begin to remember what just happened, so it can learn some things. So everything gets collaborated among a lot of different systems, but the amygdala is going to, typically, start things and keep track of things in its very simple manner.
I know that we are speaking loosely, but for people who aren't neurologists, the amygdala is kind of like the fear center of the brain. Would that be okay to call it?
Sure. It is the center of lots of things, but for what we're talking about right now, that would be a fine way to think about it. It provides emotional tone, and it does do some filtering of things as well. So it's paying attention to just the essential messages that are necessary for these kinds of situations.
So you mentioned a minute ago that fear has a sort of a beginning, middle, and end, and an anxiety kind of creeps in and kind of worms its way into your consciousness. Are the same brain circuits like the amygdala involved in both anxiety and fear?
Well, in the brain circuitry in those immediate situations, that is true. But over time, the anxiety process tends to take over even organs in the body and begins the neurotransmitter messages and so forth. There's a kind of hypersensitivity that begins to develop in people with anxiety. Some of that is actually genetic and is programmed for people. Some of it is familial. Some of it is learned. Some of it is through experiences and traumas. Obviously people who have post-traumatic stress disorder have a trauma that begins to signal it, but even as we look at some people who have actually been traumatized, there can be a genetic component of those folks as well.
So once the anxiety system has activated itself in the human being - whether it starts at six years old with a kind of school phobia or a fear of clowns, or it starts in the adults with other more traumatic events - it does again start to mess with lots of different organs in the body as well as in the brain.
You mentioned a familial origin for some anxiety, and I think you said something about parents or families that aren't comfortable talking about emotions. Is that why a lot of people wind up anxious? It was that their parents didn't let them talk about their feelings or wouldn't talk about their own feelings? Is that what you meant?
Well, that's one of the ways. I can, minimally at least, say when we look back in the history of people with phobias, they do have less experience in their family system where they process those kind of conflicts.
The other thing that we tend to notice is they either have a parent who is domineering, controlling, critical, or a parent who models anxiety. A good plurality of children who develop anxiety actually have one parent who is also anxious.
So, the normal parent may say, "Don't climb up in that tree, you may fall down and break your arm." The overprotective parent says, "Don't climb up in a tree, you may fall down and break your neck. Don't go down in that creek, you might drown." So, you're walking down the street holding the hand of your mom, and you hear a dog bark and you feel a little squeeze of your hand. Well, if you feel that enough, there is what we call a conditioned response where you start going, "Dogs must be dangerous," and then you are left on your own.
The domineering, controlling parent is very similar to the overprotective parent because they both are basically saying, "Listen to me. I will tell you how to behave so you will know how to be safe." So if I was raised in the family of an alcoholic parent who was aggressive, then I am going to be watching what's going on with my mom or dad more than I am going to be paying attention to my feelings. So the ability for me to pay attention to what's going on inside me tends to atrophy.
Well, if we pair that up with a kind of hyper-sensitivity, genetically where I am easier to be overexcited, some of that excitement comes halfway up into the system before I even notice it, and then it's not that hard for the rain to spill over in the rain barrel and me to even have a panic attack, because I have this built-in system that all of a sudden cracks through the surface and gives me a panic attack.
It's very interesting. I mean, we will get into panic in a second. I just wanted to again go to the difference between kind of good and bad fears, which is sort of our theme for tonight. So if I were living in Baghdad where it really is dangerous, it would be healthy to fear going out at night or even during the day because there is real imminent, external danger. But if I were just kind of fearful of my own feelings of sadness or anger or some other feeling, that's more anxiety rather than fear. Have I got that right?
Sure. You know, I saw a woman today for the first time, and she comes in and talks about her fear of being alone with other people and that someone is going to harm her. She would rather be with friends, and so forth. And she also had a social anxiety, and I understood that social anxiety, but this particular fear was a different one. Well, about 20 minutes into the conversation I find out "X" number of years ago, relatively recently, she was raped by two young men and has never processed that whatsoever.
And so here we have both good and bad fear. We have the message of, "Don't walk around on campus alone and go up on stairways, take the elevator." Those kinds of messages make good sense. And what's left over from this horrible trauma that she has hardly spoken to anyone about is that she has got a broad-based fear of crossing anyone. She got lost the other day with her parents and wouldn't allow the parents to pull over and ask anybody for help because it was raining and night for fear she would get harmed by it. So now we start taking a good fear, and it gets exaggerated.
It's the same thing you have to have a healthy fear of water out in the deep ocean, but you can have some people with phobias of water where they walk around puddles in great distance because it brings up a message of, "I'm not safe and the world is a threatening place."
Interesting. What about the fear of going crazy? Lay people kind of say, "Well, if you are afraid of going crazy, by definition you are not crazy." Is that right?
Well, I don't know that definition for that. I don't think that's a good clinical definition. I have a skewed population who I work with, of course, but I think the two most primary things that we are afraid of is, we are afraid of losing control and we are afraid of being trapped. If somebody came in and put you in a straightjacket and wouldn't let you out, I would want to struggle so badly to break out of that. I watched "The War," the 15-hour piece by Ken Burns, and they were talking about the gunners in those planes that got into a small space where their knees were up to their elbows, and they were there for hours. That sense of trappedness would really make me terribly uncomfortable. So, I think that's a pretty primitive fear of being trapped and then also out of control.
I can be out of control if my car starts skidding across the ice. I can be out of control if I have all of a sudden lost my PowerPoint slides moments before I give a talk. I can be out of control if I think somehow I'm going to make a fool of myself with people. So people have a variety of definitions. Lots of people who I work with are feeling trapped and out of control in social situations. Or, I am getting my groceries, and I am being rung up by the cashier, and I am feeling trapped. And socially, if I walked away right now, that would be humiliating to me.
So that's the kind of population I think about. That whole idea, I think all of us can resonate to the idea that I am not interested in being out of control, and "don't you hold me down."
It's interesting because I just today was reading a wonderful new book about schizophrenia, and it's a very eminent professional who has written it. She talks about a sort of a psychotic episode, and of course she gets taken to the emergency room. The first thing they do is tie her down with these restraints, and her terror magnifies tremendously.
And then they force drugs down her throat. She started out in bad shape, and then they made it a whole lot worse for her by tying her down and really making her out of control by force-feeding her these drugs.
Yes. And probably it was going to make her have a more difficult time turning to the health professional next time she is feeling crazy.
You know, I'd rather manage it by myself, which also can have its own problems.
Yeah. Well, are we as humans, as mammals, for that matter, born kind of hardwired with certain fears? I mean, I've read that mammals are afraid of snakes, and that animals in general are afraid of falling. What are we hardwired to be afraid of?
Well, there are a number of things that we are hardwired with, and many of them are associated with both mammals or with primates. We are afraid of heights. We are afraid of dark places, not just darkness but dark places. We are afraid of loud sounds - that whole startled response that all of us would have. And then, depending on what mammal you are, we are afraid of certain animals. Snakes are something that we are instinctually afraid of. It's just hardwired right on in there. And then in different species, they have predators that they are afraid of.
There is just beginning to be some interesting research out regarding the whole idea of, are animals afraid of their predators if they are not around anywhere? It's interesting to try to look at how they do that study. So, the sum of the results is coming up to say if the predator is not available, then they start to lose that fear.
That would be fascinating. If you have never seen your natural enemy, and you have grown up as an animal your whole life, and then you encounter that, maybe you would be like overly cozy with the predator or something.
Sure. Or even after they have been used to them in the past, then they withdraw them for a period of time, they are beginning to see some sense that that may disappear.
How does that apply to humans, or doesn't it? Is that anything like stranger anxiety? Would we be afraid of something we have never encountered? People we have never encountered?
Well, the fears that I just listed where we are hardwired, I think we are going to be pretty automatically conditioned to respond to them, and it will take some extinction for us to be able to not respond to it. Again, back in the day - you know how old I am - in Vietnam where they used to send the small, little, wiry soldiers into the hole to find the enemy, who are buried inside - that would just absolutely terrify me.
Well, I'm sure that person at some level had to go ahead and go against instinct, because we are the only mammal with that degree of intelligence that we can begin to undo some things that appear to be hardwired. Obviously lots of us can handle fear of heights. I wouldn't necessarily be one of those. So we can use our intellect and very often repetition of a behavior that will help us.
It desensitizes you to it, yeah.
It desensitizes you because the trauma is drama. It happens suddenly, and it's what we can call one-trial learning. I had an episode where I had nearly drowned at one point, and that will never leave my mind ever. And there are certain things I won't let myself do that I think is probably bright at this point because of that near experience.
So you can really learn something in a flash because of trauma. And we don't have a system that matches that in terms of intensity to flip that, so we have to combat trauma with repetition. It is our tool that we end up using, and that's the best we have, one of the best ways we have found so far.
Do you think we are hardwired to fear strangers or people who look different from us?
I don't know that we are hardwired to that. We are hardwired, you know, when we walk into a situation and we say, "Object received does not equal object expected." Then there is a kind of hardwire to that. And so, back years ago when we had some terrorist-seeming events in the United States, you know, the first time they were bombing the Trade Center. I had almost like a vicarious trauma with that. I can remember getting on an elevator and a kind of disheveled guy came on the elevator with me, and I was then saying to myself, "Hey, imagery received at this point is not imagery expected," and I went into a kind of alarm for a few moments around that.
So, I think it's a much more generic experience in this particular context, what's acceptable and what isn't. And of course we have had a tremendous amount of discrimination with anyone who wears a scarf on their head these days.
Because, you know, you go to the airport, and it is still today remarkable to see a family of little kids and mother and father and grandparents, and they are watched. And that's much more of a programming because of a past stimulus associated with trauma as opposed to being hardwired.
A lot of people these days seem to be afraid of chemicals in the environment, and God knows that's a hard thing to tease apart - what chemicals really are dangerous or what aren't? But what's your take on that? Do you think we are sort of overly worried about some of that stuff? Or underly worried?
We had a great editorial cartoon today in the paper because today is Halloween, at least when you and I are speaking. And heading up to this household to ring the doorbell were all these things that we are terrified about, whether it's Osama bin Laden or chemicals or Chinese toothpaste - you know, they recalled something called Ugly Teeth today because it had like ten times the amount of lead in it than is allowed. So we are inundated now with things to be afraid of, and chemicals are just one single thing that it is.
So I think we already know from the research, and it seems obvious to any of us, anybody who watches the evening news perceives the world is a more dangerous place than people who do not watch the evening news. So this global village has some nice connections in some ways, but it also brings too much home to us to be afraid of.
It certainly does.
We have some e-mails that have come in now. One is from Christine in Georgia. She writes, "It seems to me that a lot of religion is fear-based. If you don't do this or that, you are going to hell. Is this a healthy type of fear or an unhealthy one?"
That's a little tricky question because Christine is asking me about a religious faith and how they teach people to, I guess, follow some of their doctrines, and I'm actually hesitating to answer this question, Judy.
Well, I don't blame you, but it is interesting that--I mean, it makes you wonder why a whole system of thought would be set up that does seem to prey on people's fear. I mean, as opposed to, I don't know, maybe Buddhism on something that may prey a little bit more on joy.
Well, Freud said, our basic drive is to move toward pleasure and avoid pain. And so hopefully this particular spiritual practice includes, how you get to heaven and live in the glory next to God as well as how do you prevent yourself from ending up at the gates of hell and the burning fires for eternity.
Yuck. Yes. Well, let's not go there.
Well, I want to get a little bit more clinical. Can you explain to us what the different kinds of anxiety disorders are and how common they are and what the treatments are? Let's start with phobias. What is a phobia?
Well, phobia is by definition irrational.
Isn't all fear irrational? I mean, or isn't all anxiety irrational?
Well, no. I mean, again, that's a tricky kind of question. Certainly not all fears are irrational.
Right. Sorry.
There is the healthy fear of water, and if I take that to an extreme where I have to walk ten yards away from puddles, then I have taken that to an extreme. So a phobia, such as a phobia of flying, could be any of seven or eight different kinds of phobias. It is a threat enough about that situation that either I avoid it totally or I go into it with a tremendous amount of trepidation and fear.
So we used to think that the cardinal definition of phobia was you avoid that circumstance. But you can certainly go into water or get on a plane or go into a tight elevator with anxiety and still have a phobia of those arenas.
It reminds me, this is really not that funny, but some group therapy things about fears where the person had a phobia about elevators crashing, and they were all talking about it, and then this person actually was on an elevator that crashed. I imagine that would kind of set back the therapy a bit unless maybe it cured her. Who knows?
I have actually had that experience with somebody who was afraid of flying, and then had a plane crash and then recovered from her fear of flying out of that. So it does seem kind of paradoxical with that.
Did the crash help her, I mean, or him?
Somehow that caused her to break through from irrational to rational kinds of fear, that she survived that particular thing. You know, it's just she had her own kind of psychology about how that occurred, but it certainly woke her up to what is serious and what is not serious.
I had a second client who was actually in a plane crash where everyone was killed except six of them, her and her father and four other people. And she was out of the group therapy for a while and came back in, and as people were talking about whatever they talk about in group therapy, she was saying, "You know, I can't even relate to what you folks are talking about. What I think about is giving hugs to people I love and being close to the people who are important to me in my life, and these petty things that you are talking about…." She was not quite so crude, but that's the kind of waking up that she had after this terrible trauma.
And that's what people sometimes go through when they are diagnosed with a terminal illness. All of a sudden everything seems in perspective. So you can have traumas that in some ways wake you up and make you more resilient.
There must be an easier way to find inner peace.
That would be nice. Certainly it would be great to quit smoking before I got the emphysema instead of afterwards. We are still working on that.
What actually causes phobias? You were mentioning a family dynamic before. Is that the basic thing that happens?
There are a number of ways. One, you can have a literal trauma yourself related to that situation, like falling into a pool when you were young.
You can have a vicarious learning. People can watch or witness an event. My sister and her family were one block away from this horrible fire at the beach on Sunday where seven people were burned up, and so she saw that fire and didn't know that people were being burned up at the moment, but learned later. Now there will be some people out of that who will, by being in close enough proximity to that, develop some kind of trauma from it vicariously. Or they can watch it on TV and have it.
Some phobias just slowly creep in. You know, one of those can be, again, the fear of flying. It tends to be the phobia that shows up the latest in the lifecycle. The average person with a fear of flying is about 27 as opposed to about 21 or 22 for other kinds of phobias.
So there is a variety of ways. The most common way we think of is that you develop a phobia out of some kind of direct event.
So, how do you treat phobias? Or can people overcome phobias?
Oh, sure. It takes some work and effort. Our traditional way that's been around for a long time is called systematic desensitization where we teach people to relax and have a good skill at that - an ability to quiet the body and mind. And then we gradually introduce in a kind of a hierarchical fashion from a very simple representation of that fear to a pretty dramatic one.
I worked with somebody a while back in three hours, all at one time, her fear of snakes. And we started with her just looking at a little postage-sized pen and ink drawing of a snake on the couch with her where she could hardly even touch it with her finger. And by the end of three hours, she was holding one end of a boa constrictor at the Science and Nature Museum in Durham, North Carolina.
So, when I say gradually working, three hours is pretty darn fast to go from not being able to touch a piece of paper the size of a postage stamp representing a snake to holding a nine-foot boa constrictor in your hands. But that is the process that can occur. You just gradually do it and discover that it's uncomfortable, but you can manage it.
What about generalized anxiety disorder? I know millions and millions of people have that. What is it, and how do you treat it?
Well, we want to be clear about generalized anxiety because it's not just about, you know, "I walk around during the day, and my stomach is tied in knots, and I have got butterflies, and I have a headache, and my hands are shaking." The cornerstone of generalized anxiety is severe worry, and the main things people worry about are money, relationships with other people, work or school, and health-related issues. And then, 91 percent of the people with generalized anxiety worry about minor things. They get nickeled and dimed all day.
And you kind of think of generalized anxiety as the basic, simple kind of anxiety. It's one of the more difficult anxiety disorders to treat because it seems so insidious. It's almost like it's part of the character of the person. Very often they will say, "I've been a worrier ever since kindergarten," so the treatment can be somewhat elaborate, but we are pretty clear about the main things that we need to do.
And one of the things to start with is, when you have a worry, being able to distinguish whether it is noise or a signal. And if a worry is a signal, then you need to be problem solving it. If it is noise - some repetitious, unproductive thought that is of no use to me - then we have lots of tricks and gimmicks we can teach people. But that distinction is really the most important one.
Well, I am not sure everyone is familiar with the terms "signal" and "noise." What do you actually mean?
Because I made that up. So you know, a worry that is a signal would be: It's two o'clock at night, your daughter is out on a date, she was to be home at midnight, and she is only nine years old. Then you are going to be worried as a parent, and you are going to start calling around and trying to get help.
A worry as a noise would be: If I were spending all afternoon preparing for our talk tonight for an hour - I do this enough that if I were doing that, I am wasting my day because I can I can pull this off without a tremendous amount of preparation. I did prepare, but I wouldn't have spent all day. That would be noise.
Or if I have got a project tomorrow, and it's 11 o'clock at night, and it's time for me to go to sleep, even though there is a worry, that is a signal. Meaning I do need to do something about that project, I am scheduled to do it tomorrow, and I am declaring 11 o'clock at night as my bedtime. And so now if those thoughts pop up, "Oh, my gosh, how am I going to solve that problem?" I want to treat them as noise, meaning I don't need to pay attention to them. And once I know I don't need to pay attention to them, now I can kind of go into my bag of tricks and begin to respond to them.
Sometimes you can have people sing their worries in their mind and put it to a little ditty and start singing it in their head. Or make them write everything down because it's so laborious and irritating that they would rather just not worry about it than write it down. Or bring their attention somewhere else. When I go to sleep at night, I start counting backwards because I'm not a quiet person. My mind is kind of going, so I just count my exhales from 100 down to one. Every exhale, "100, 99, 98…" as a way to give my mind something simple to focus on so that it stops thinking about all of these quote-unquote, "important things" it thinks it needs to think about.
What number do you fall asleep at?
Oh, depends on how disturbed I am. I have got a writing project right now, so I might end up starting at a thousand and go every ten. So I have to play around with it. You know, when I am really having trouble, what I will do is say every letter of the alphabet on an exhale randomly and try to get all letters of the alphabet. It's a frustrating task, but I would choose that one if I tend to be pretty distracted by some worry.
Well, you're the expert, but may I recommend…
You want me to take Valium, don't you?
No, no, no, no, no. A far less pharmacological solution. May I recommend listening to books on tape or CD? Especially not very scary books. They have to be not too boring, because then you actually have to work to pay attention, but something that catches your attention, and you can just listen to it over and over and over.
That's another way to do it. You can do those kinds of things. But first you have to decide when that negative thought comes up, "I am not paying attention to it." And that actually, Judy, is the biggest task for most people.
That's very hard. I mean, you are essentially talking about cognitive behavior therapy at this point.
Yeah. Yeah. I mean, it's simple, but it's hard.
It's effective, but hard, yeah.
We have an e-mail from Lucy in Florida, and she writes, "My daughter is scared to go to sleep because she says the monster under her bed is going to get her. I try to reassure her, but nothing works. Any suggestions?"
Well, I would be curious as to what she is doing now because her daughter, I guess, eventually goes to sleep. Again, we are working with kids who want me to distinguish real versus imaginary, and that's one of troubles that she is having.
So, there are lots of metaphors that we can use, or examples in other parts of the day. Since you know it's real versus imaginary that we need to help her figure out, you can have her read story books to her during the day, not necessarily at night, in which she helps you to distinguish what fears are real and which are imaginary.
It is actually totally fine to go through a room and look for the monsters that might be there with her and confirm that they are not there, and then, as far as I am concerned, we play all kinds of games with that. We can actually have her get under there and pretend she is the monster, and have me simulate coming into bed, and let her grab my leg, so she becomes and plays the role of the bad guy sometimes.
Again with each different kid, you may have to do a variety of different things, and you want to be somewhat creative about it. You can't simply say, "Everything is fine, honey, you'll be okay." But be active like that.
And then the second major area that we go to is that we bring her focus of attention to something else, like we were just talking about.
Where she does have a ritual, where she begins to pay attention to things, or she counts backwards or those sorts of things.
Another big category of anxiety is OCD or obsessive-compulsive disorder. I know even some dogs have this where they chase their tails endlessly or lick their sides. What do we know about OCD? And actually, for that matter, whether it's inherited - does it run in families?
Well, obsessive-compulsive disorder is the most genetically predetermined of all the anxiety disorders. We pretty much know that. You know, when I see somebody with OCD, there is very little family history I bother taking in the initial session. We can basically get to work on the treatment because there are no developmental things that we need to look for, not how the parents were raised and so forth. The interesting thing about that is, this is also the only anxiety disorder that we've proven that cognitive behavioral therapy works better than medication.
So we have got a genetically predisposed condition that is more effective when we utilize the skills, self-help skills and cognitive behavioral skills to overcome it. So when you start talking about genetics, people almost always say, "Well, therefore you must have a chemical intervention," and that's simply not true.
Well, that's amazing, because I was going to ask you - I know there have been studies where they put people in these brain scanning machines and then show them the object that they are obsessing or scared of or compulsive about, like a dirty towel or something, and these very distinct regions of the brain light up. I mean, it's obviously a very real anatomical, biochemical thing that's OCD.
And then you treat them with cognitive behavioral therapy, do that brain scan again, and it looks like the normal brain.
So, tell us a little bit about how you do this therapy. How do you do this?
Well, as almost all the treatment of anxiety disorders, it is paradoxical in nature, which means you are going to go toward the thing that you are afraid of. The number one thing that we need to understand with obsessive-compulsive disorder is that the content of the obsession is irrelevant. It has nothing to do with germs or having somebody break into my house or leaving my curling iron on and burning down the house or running somebody over in the road. Those are the tricks that the anxiety disorder generates in order to make me anxious.
So, the number one trick that we start with or the point of view that we start with is that content is irrelevant. And then we do two things primarily: seek out uncertainty and seek out discomfort.
Again, you want to have a paradoxical intervention. So what I mean by seek out uncertainty is, we want to in lots of ways and hierarchical ways, some clever, interesting ways, we do it. We want them to not know if their hands are completely clean if they are focused on germs, or not know for sure that they have locked the door. And they want to have that feeling voluntarily.
Okay, just pretend? I don't think I do have OCD, but suppose I did, and suppose I were washing my hands however many times a day, too many. So I come to you, and you tell me not to pay attention to how dirty I think my hands are?
Well, let's back up. Let's say you are afraid of salmonella. And you have gone, you are afraid you are going to go to…
Well, how about MRSA, the phobia du jour?
Sure. But it's easier to think of salmonella because everybody knows that it's raw chicken and meat and so forth. There's ways to clean your utensils and not mixing things up.
But if, like a phobia, you get overly focused on salmonella when, for instance, you have had no contact with salmonella, not been around any kind of raw meats and so forth, and yet you find yourself coming home and having to wash so frequently, what you want to do is - now you know your theme. So anytime when I haven't been directly exposed to salmonella, and I don't have to do my typical rituals that would be appropriate, then as I am exposed to that theme, and I begin to worry about the possibility that my hands are contaminated, I want to find ways to change my response to that.
Now, you don't instantly have to not wash your hands, but if you were washing your hands for 20 minutes, we might have you begin by having a little timer, and every one minute, take your hands out of the water and dry them off and wait three minutes, and then wash again - any kind of breaking up of that pattern to begin to give you a little sense of control. But the most important thing is in your mind. Your disposition is, "I want to be uncertain about whether my hands are clean because that's what rules me. The obsessive-compulsive disorder requires me to be certain."
And if I can flip that on there and say, "I am looking to feel doubt," then I am doing exactly opposite what the OCD wants. Well now, if you are going to be doubtful about whether your hands are clean enough, you are going to be anxious. And so the second piece is, "I want to be anxious. I am looking to be anxious. And I am trying to stretch it out and be anxious as long as I can."
We can't instantly do that, but we have got lots of different ways that we approach it. Those are the cardinal ways that I am going to go towards it with someone.
I mean, don't people look at you and say, "What are you talking about?"
Absolutely. They laugh out loud. But, we stay with it. Fortunately in that first session, I've got 45 minutes, and very often, what I call it is persuasive therapy. I have got to talk someone into a mindset opposite of their own. And one particular client who said, "You know, when I would do that practice, I kept saying in my mind I hope that good doctor knows what he is talking about," think about the logic of somebody washing their hands, "well, all I have to do is spend ten minutes washing my hands, and I am going to keep myself from contaminating my children with salmonella. Why would I be so selfish as to not wash my hands thoroughly?"
So, you are going to absolutely lose if you operate at the level of content. That's why we have to have people elevate above content to go, "This is anxiety disorder. It's all about not being willing to tolerate uncertainty."
But I don't even know what to ask you about that.
What do you mean, "but," Judy? It's simple, totally easy.
But there is so much uncertainty in life. How do you relax in the face of that? I mean, no one knows whether they are going to get cancer or not, get hit by a car, whether we are going to invade Iran, whether their kids are going to get into Harvard, you know?
Well, that's right, but we all handle that, don't we?
Well, to greater or lesser degrees.
To varying degrees. And these people with obsessive-compulsive disorder handle it in all these other arenas where they are not certain about things, and that's what we are talking about. Here we have a theme. In this theme, we are now going to operate with uncertainty. You know, if I think I have just run somebody over in the highway, I am not going back and walking the ditches all night. I am just not going to do it, and I am willing to take the risk that I accidentally hit someone and they are lying the ditch dying.
It's the same way if you are afraid to fly, Judy, because you are afraid the plane is going to crash. There is no way I am going to convince you that your plane will not crash because even if I tell you…
Judy: That's right, because it could.
The statistic of one in 11 million chances of that - you would have to fly every single day of your life for 26,000 years before your number would be up, and you would die on a plane, but that is not going to help you much.
So if you are going to learn to overcome your fear of flying, if it's about death, then the message you have to give yourself at some point is, "I am willing to take the risk that one day I get on a plane that crashes and I die. I want to overcome this phobia badly enough that I am taking that risk," because you can't get closure on certainty. You can't. You have to have a reasonable amount of certainty and then move on, and that's what I want to take care to help people to get to. I am being cold and crisp with you, but we are going to take some time to help understand that.
So, I mean, essentially you are telling people there is no such thing as certainty.
Absolutely. And that's where people are in trouble. "I want to know," they essentially say, "I will do whatever it takes, whatever you want me to do to get better as long as you will guarantee me 100 percent that I will have zero symptoms ever again, or that you will promise me that this is not going to harm my children."
You know, I work with people who are afraid that they are going to - with obsessive-compulsive disorder, not some violent tendency - that, "I am going to stab my child. Well, can you assure me that I won't harm my child?" That is not my business. I am not going to assure you.
What I am going to assure you of is, you have obsessive-compulsive disorder, and people with obsessive-compulsive disorder have these kinds of violent fantasies and don't act on them. It's all about scaring themselves.
Am I going to promise you you won't act on harming your child? I can't promise you that because that's against the therapy. Then I would be reassuring you, and that's against the treatment protocol. I cannot reassure you.
What did you mean about people scaring themselves? I mean, it almost sounded like you were saying they are intentionally scaring themselves or there was some kind of secondary gain from scaring themselves?
I don't remember saying it that way, so tell me what I said more specifically.
Oh, no, no. I mean, maybe I just misheard you. You said they are scaring themselves as if they were doing it on purpose to scare themselves.
Yeah,I certainly didn't mean to say that, and I am not recalling having said that. So, sorry.
Oh, no, okay. What about panic disorder? I mean, again, that affects millions of people. And my understanding is that that, like OCD, has a strong biological underpinning that some substances like carbon dioxide can trigger panic attacks. Some brain circuits, again, light up with people who are prone to panic attacks, and there is even some thought that there is a kind of a suffocation alarm in the brain that people think they can't get enough air. There is air hunger, and that that's physiologically real and causes panic attacks. Is that right?
Sure. Well, let's work our way backwards on some of that. The suffocation alarm fear was really proposed by Donald Klein years and years ago, and it was a pretty simplistic way of thinking about it. I think it fits a certain percentage of people with panic disorder who get this fear of not being able to get a full breath. But interestingly, I have worked with lots of people who are afraid they can't get a full breath, well, can you imagine what the treatment is for somebody who can't get a full breath? The treatment is exhale all the way. Here we go again, this paradoxical response. If you are afraid you are not getting your full breath, and I tell you, "Please exhale all the way," you will think I am crazy.
And yet when you exhale all the way, you will then automatically get a full, complete breath. But you have to take this risk which is, "I'm not sure I'll breathe again, and now I am going to let the air go that I have."
So a panic disorder is this fear of the fear response itself, and it is the epitome of this fear of being out of control or trapped. They need to sit on the back aisle of the movie theater, see where the exits are. You know, not say yes to somebody about having a dinner engagement with them because I might not be able to show up. They have to drive themselves instead of being a passenger in the car. You know, not go too far into Wal-Mart because they might get trapped and not be able to escape. So that's the tendency of panic disorder.
And there is a genetic predisposition to some degree. And then there's some developmental issues that we would look at, similar to what I talked about earlier regarding not developing a sense of what my own feelings and needs are because of that, what we call, "external locus of control" and paying attention to other people instead of paying attention to my own feelings.
So, the people who we call with panic disorder and agoraphobia - which means that they severely restrict their lifestyle in order to prevent having a panic attack - these people may have had one single panic attack and then stopped driving, stopped going out alone and so forth to make sure they don't have another panic attack. That's pretty darn frightening because very often your first panic or two, you end up in the emergency room. So it's like a near-death experience. Of course, people are going to brace against that. So we are undoing a kind of natural response, and that takes a little bit of time.
Well, we are almost at the end of our time here. Do you have a final message that you would like to leave us with?
I would say, we have a website that is a free, self-help site, and they can just go to that website and work, without paying any money to anyone, on panic disorder, on fear of flying, on generalized anxiety. It's called anxieties.com. It's a good way to kind of educate yourself about what's going on and also begin to do some self-help. Studies from across the world are finding that self-help techniques and books or small groups of self-help people can work effectively, similar to being in therapy with someone. So it is a good way to kind of go out and get information, like listening to this particular show.
Okay. And maybe you were to modest to mention it, but you are the author, Dr.Reid Wilson, of the book "Don't Panic: Taking Control of Anxiety Attacks."
I would like to thank you very much, Dr. Wilson, for being on the show tonight. And I would like to thank you, the listeners, for joining us. Until next week, I am Judy Foreman. Good night.
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text:
Actor: Jonathan Majors, Michael B. Jordan, Tessa Thompson
Director: Michael B. Jordan
Genre: Action, Coming soon, Drama, Sport
Release: 1/03
From Metro Goldwyn Mayer Pictures comes "Creed III," with Michael B. Jordan making his directorial debut and returning in the role of Adonis Creed in the third installment of the hit franchise. After dominating the boxing world, Adonis Creed has been thriving in both his career and family life. When a childhood friend and former boxing prodigy, Damian (Jonathan Majors), resurfaces after serving a long sentence in prison, he is eager to prove that he deserves his shot in the ring. The face-off between former friends is more than just a fight. To settle the score, Adonis must put his future on the line to battle Damian—a fighter who has nothing to lose.
The film also stars Tessa Thompson ("Creed" franchise, "Passing"), Jonathan Majors ("Da 5 Bloods," "Lovecraft Country"), Wood Harris ("Creed" franchise, "Blade Runner 2049"), Florian Munteanu ("Creed II," "Shang-Chi and the Legend of the Ten Rings"), newcomer Mila Kent, and Phylicia Rashad ("Creed" franchise, "Soul"). Jordan directs from a screenplay by Keenan Coogler ("Space Jam: A New Legacy") & Zach Baylin ("King Richard"), from a story by Ryan Coogler ("Black Panther: Wakanda Forever") and Keenan Coogler & Zach Baylin. It is produced by Irwin Winkler, Charles Winkler, William Chartoff, David Winkler, Ryan Coogler, Michael B. Jordan, Elizabeth Raposo, Jonathan Glickman and Sylvester Stallone. The executive producers are Sev Ohanian, Zinzi Coogler, Nicolas Stern and Adam Rosenberg. Jordan is joined behind the camera by director of photography Kramer Morgenthau ("Creed II," "Thor: The Dark World"), production designer Jahmin Assa ("mid90s," "Angelyne"), editor Tyler Nelson ("The Batman," "Rememory"), costume designer Lizz Wolf ("Creed II," "PacificRim: Uprising"), with a score by composer Joseph Shirley ("Jackass Forever," "The Book of BobaFett").
Phone: +32 (0)2/240.78.58

redpajama_set_name: RedPajamaCommonCrawl


text:
Reitbrook () is a quarter of Hamburg, Germany, in the borough of Bergedorf. It has a population of only 522 people (2020). It is popular for its wind mill.

Geography
Reitbrook borders the quarter Kirchwerder, Ochsenwerder, Neuengamme and Allermöhe. It is located at the Dove Elbe.

Politics
These are the results of Reitbrook in the Hamburg state election:

People from Reitbrook
• Alfred Lichtwark (* 14. November 1852; † 13. January 1914 in Hamburg) his father was the owner of the Reitbrook Mill.

References

Quarters of Hamburg
Bergedorf

redpajama_set_name: RedPajamaWikipedia


text:
The New I.Q.
Innovate or die. In 1997 American business writer Tom Peters coined this famous phrase. It was true then and rings even more true now. For CEOs worldwide it's obvious: Innovation is critically important to an organization's success, and it is imperative that it remains a key corporate strategy.
To move beyond survival and actually thrive, leading organizations know that innovation is the way to supercharge an organization and shift it to growth. In fact, 33% of global business leaders rank "the innovation of new products and services" as their companies' top focus in the next three years, according to a recent study by McKinsey. But the reality these organizations confront, notes McKinsey, is that innovation faces ongoing challenges, such as increasing global competition, short-term priorities, and the need to integrate it into key organizational objectives. As a result it remains elusive, and leading organizations are looking to uncover every possible way to boost their I.Q.—i.e., their innovation quotient.
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text:
Historical Commission Meeting Minutes - June 17, 2020
Caln Historical Commission Meeting Minutes
Via Zoom, Wed June 17th, 2020 (7:00-8:00 PM)
Historical Commission Member Attendees: (4 – Quorum)
Lorraine Tindaro, Vice-Chair
Mark Evans, Secretary
Dawn Coughlan
Tony Wagner
Historical Commission Member Absent (4):
Catherine Callahan, Chair (Excused)
Paul Stephens (Excused)
Leah Jennings (Excused)
Patty DeFroscia (Excused) Historical Commission Guests (4):
Paul Mullin
Mike Bedrick
Licia Carini
Tony Disario
OPENING: Mark E stated that Chair Cathy C had been called out of town unexpectedly and had asked that he fill in as chair for the evening. The meeting was then called to order by Acting Chair Mark Evans at 7:05PM, followed by the Pledge of Allegiance. Mark E then announced that the meeting was being recorded to expedite transcription of minutes, and continued with Members Roll Call, and Introduction of Guests.
Approval of 5/20/20 MinutesMark E asked for a motion for approval of the minutes of the 5/20/20 Meeting. Motion moved by Lorraine Tindaro, second by Dawn Coughlan.
Tony W asked if there had been any more responses to 30-60-90 day priorities since last meeting, Mark E answered there were not. Tony W asked if the roof work will impede the ability to conduct Schoolhouse Tours, which are already on hold due to Covid-19. It was stated that the repairs "should" be no more than a one day job, and that once the contractor is notified of the awarded bid, work should begin soon after, so there should be no disruption of tours once reopened to the public. Tony W clarified that what he meant was "are there any conditions (other than Covid-19) that could prove dangerous to the public being in the Schoolhouse. Dawn C confirmed that the current condition of the roof does not present any danger to the public. Vote called by Mark E.
Motion passed 4-0
Approval of 2/26/20 MinutesMark E stated that at the 5/20 meeting the Commission had failed to approve the 2/26 minutes.
Mark E for a motion for approval of the minutes of the 2/26/20 Meeting. Motion moved by Lorraine T, seconded by Tony W.
Vote called by Mark E.
MEMBERSHIP AND ATTENDANCE
Mark E stated that one of our prospective new members had put her application on hold after reading disparaging commentary regarding the Caln Historical Commission, Board of Commissioners, and Township that was being posted on the Caln Watch Facebook Page. She is reconsidering whether or not she wants to get involved with any Township Commission, and will let us know what she decides.
The BOC will attempt to interview Mike Bedrick before the July meeting of the Historical Commission.
Mark E had questions about members still listed as active who do not attend meetings. Dawn C replied that Patty DeFroscia is the wife of a former long-time Commission Chair who had grown disillusioned with the Commission, but would probably be very interested in being part of the Commission based on the new energy and solid plans for progress; and added that she would be a great resource to the Historical Commission. Lorriane T. concurred, as did Mike B. Both Lorraine T. and Dawn C offered to reach out to her with hopes that she'll rejoin us at the July meeting. Since Dawn is a close friend of Patty's, she will make contact.
SPACKMAN FARM UPDATE
Mark E stated that the Township has agreed to have to Arro work with Paul Stephens on preparing a bid to replace the Barn Roof. They had attempted to have a Zoom meeting between all parties, but suffered a communication issue with the group email not reaching Mr. Stephens, resulting in a delay. Mr. Kulikowski does have Paul's specs, and with these issues resolved, a meeting will be scheduled for next week. Mark E asked for a Motion to request that Township prepare cost estimates for:
The Purchase and Installation of "Landscape Lighting" around the Spackman Farm House and Barn, to make it harder for vandals to get close without detection
The running of a power line to the exterior of the Spackman house, and installation of an outdoor switchbox to provide power for the lighting
The Purchase and Installation of security cameras around the Spackman Farm House and Barn
Discussion followed. Guest Paul M was asked if making such a request would be reasonable. He believed so, especially since this could be a low-cost project. He questioned the stability of the house's wiring to handle electric. Mark E responded that the intention was not to run power into the house, only to an outdoor switchbox. Paul M stated that he had been around the back of the house and it was obvious where the kids were partying, drinking beer, and throwing rocks from. Lighting could be a very beneficial deterrent. Mike B asked about security cameras. Paul M said there is one focused on a shed where supplies are kept. Dawn questioned if the use of solar powered lighting was off the table. Mark responded no, but at the 5/20 meeting Mr. Stephens had said that in most cases, solar power requires an electric back-up. The group decided to include solar options and security cameras to the motion to request a cost estimate.
Mark E asked for an amended Motion to request that Township prepare cost estimates for:
The Purchase and Installation of "Landscape Lighting" around the Spackman Farm House and Barn
A Solar Powered option for the lighting
The Purchase and Installation of security cameras around the Spackman Farm House and Barn
Motion moved by Lorraine T, seconded by Dawn C. Vote called by Mark E. Motion passed 4-0
Mark E noted that at the 5/20 meeting Cathy C. said she would reach out to Township Manager Denne, who had offered to coordinate with Mr. Fragile to help Cathy "stage" the porch with furniture and plants so that the Farmhouse would appear to be "occupied". Mark E asked if Cathy C had been successful in staging the porch. Paul M stated that it could be too dangerous for any resident to be on the porch. Dawn C concurred, and added that it did not appear as if anything had yet been staged. Mark E suggested they table this option for now. No vote needed, all members agreed to table the staging.
Mark E reported that a formal request for the Farmer's rent money to be re- directed for repairs and improvements at the House and Barn has been prepared and is ready to be sent to both the Finance Committee and the BOC.
SCHOOLHOUSE UPDATE
Mark E announced that at their 6/11/20 meeting, the BOC approved G.P. Martini's bid of $4,750.00 to replace the schoolhouse roof. Although the Township doesn't have a timeline on when work will begin, it should be very soon.
MEETING WITH THE OLD CALN HISTORICAL SOCIETY
Dawn C reported that President Joan Ciarlone is not set up for Zoom Meetings. Lois Demchak and Old Caln are eager to meet with Paul Stephens and Mark E, but due to Covid-19 concerns, we should play it by ear. Lorraine T asked if it would be possible for Joan to dial in by phone. Dawn C responded that Joan has reception problems so that may be too difficult. Dawn C said that she is in touch with them once a week, and will continue to keep them assured that we're ready when they are.
Tony W reported that he had gone back-and-forth with Abbey at the Township, and that we are not permitted to manage our own subpage. It is unfortunate, but we can work with it. He and Abbey got a couple of updates done: Changed the Meeting Time, added that Schoolhouse Tours are not being offered due to Covid. He was still waiting for Historical Site Listings to be added to the page, will follow up with Abbey, and also address the orphaned page. Other updates are still a little ways out.
30-60-90-DAY PRIORITIES
Mark E. asked that this topic be moved to later in the meeting. Consensus agreed. No vote necessary.
Mark E proposed formation of 3 sub-committees: Spackman Farm, Historical Preservation, and Friends of Lloyd Farm Exploratory. Mike B suggested a Marketing Sub-Committee. Tony W expressed interest in serving on a Marketing subcommittee.
Mark E asked for a motion to create 4 Sub-Committees:
Spackman Farm Sub-Committee
Historic Preservation District Sub-Committee
Friends of Lloyd Farm Exploratory Sub-Committee
Marketing Sub-Committee
Motion Moved by Lorraine T, second by Dawn C.
Tony W asked if a Commission with only 8 active members could fill 4 sub- committees. Dawn C inquired about the Historical Preservation District Sub- Committee. Mark E stated that the Township Zoning Update is about to be undertaken, and that the Historical Commission could have a hand in how it is changed, including getting the existing Historical District Overlay written into the actual zoning. Paul M suggested consolidating to 2 Sub-Committees. Tony W suggested prioritizing Sub-Committees to comply with 30-60-90 day plans. Mike B concurred. Mark E suggested 3 Sub-Committees by folding Spackman and Lloyd Farm into 1 Sub-Committee, and keeping the Historical Preservation District Sub-Committee and Marketing Sub-Committee as already discussed.
Mike B suggested committees within sub-committees. Mark E suggested a poll be taken on preference. Tony W said he could go either way, and that since each Sub-Committee should have 3 people, and we have limited membership, we can form additional Sub-Committees as needed in order of priority. Dawn C stated that she likes Sub-Committees with specific achievable goals within manageable timeframes. She likes the idea of grassroots outreach. Offered to serve on the Spackman Farm Sub-Committee. She also suggested Paul Stephens (if he agrees) would be great for that Sub-Committee. Dawn C also suggested that with her passion, Cathy C could spearhead Historic Preservation District, and that Leah J could be great for that Sub-Committee as well. She thought Tony W would be perfect for a Promotional Sub-Committee, and that we have the venues to get the word out – FB, Instagram, etc. that could be used to attract outsiders to get involved. Licia C suggested workstream approach rather than Sub-Committees and agreed with Dawn C's preference for actionable projects with timelines that show results. Lorraine T stated her interest in the Marketing end of things. Mark E commented that everyone's comments were very helpful, and explained his reasoning for "formalizing" sub-committees - that if things aren't in stone, they disappear. Mike B suggested that Sub-Committees can cross-pollinate over time.
Mark E withdrew his earlier motion and asked for a motion to form 3 Sub-Committees:
Spackman/Lloyd Farm
Historic Preservation District
Motion moved by Lorraine T, second by Tony W.
Licia C asked to confirm that Sub-Committees can bring in outside resources to help build out their plans. Mark E confirmed, and stated that the group had grown from 4 to 8 active members in 6 months, and that if we continue to take action and accomplish things, we will continue to grow to fill those Sub- Committees. Paul M reminded us that we are allowed to have up to 15 members. Dawn C responded that this is in the Township Ordinance and that the Historical Commission should be operating by. Paul M recommended everyone download the Ordinance. Licia C encouraged everyone to recruit for membership.
Vote called by Mark E. Vote passed 4-0
Impending Demolition of vacant house at Golf Course (not Buchanan House)
Mark E noted that there is a grant available to demolish the structure, and thought it would be a good idea to check with The Old Caln Historical Society regarding any historical significance the house may have.
Dawn C offered to ask The Old Caln Historical Society.
Tony D mentioned that is was the old Zinn House, and didn't think it was historically significant. Discussion followed about Zinn Diner and their wonderful Strawberry Pie.
Mark E asked the members if we should hold off on discussing 30-60-90 Day Priorities until he completes the spreadsheet. Lorraine T suggested that we table it. Consensus agreed. No vote necessary.
OTHER BUSINESS:
Dawn C asked for confirmation that the Schoolhouse and Open Houses are completely on hold until all Covid restrictions have been lifted. Mark E confirmed. Dawn C stated that is was the same case at the Old Caln Meeting House, all tours and visits have been cancelled. Mark E shared Chester County's up-to-date Covid numbers and hoped that things would improve so we can find our new normal. Dawn C shared that Covid is one of the reasons she really likes Tony W's idea of starting to work the promotional aspects digitally. Mike B and Lorraine T reiterated importance of promoting safe social practices.
Mark E said that he would send out a list of the Sub-Committees and member's preferred assignments.
Paul M asked to be kept informed of Spackman Farm Sub-Committee Meetings.
Mike B suggested adding 6 month and 1 year goals to 30-60-90 Day plans. Mark E responded that the goals themselves will grow into 6 month and 1 year goals. He feared that if a one year goal is targeted, one year later you will have never started working on it. But if you keep it at manageable chunks, you get there. Mike B agreed with objectives vs goals and that 30-60-90 constantly keeps things moving forward.
Dawn C asked to go on record for the minutes in thanking Mark E for the progress that's being made at Spackman Farm.
Mark E asked for a motion to adjourn. Moved by Tony W, second by Dawn C. Mark E called the vote.
Motion passed 4-0.
Meeting adjourned at 8:04 PM.
2020-06-17_chc_minutes__2_.pdf
Read through approved minutes from Historical Commission meetings. You may also download a pdf file for each meeting.
Agendas for upcoming meetings can be found here.


text:
'Summer Salon' exhibit on display at Watson MacRae
By SHANNEN HAYES The new Summer Salon exhibit at Watson MacRae Gallery that includes work by artists Harriet Marshall Goode, Darby Bannard and Hollis Jeffcoat.
The Southwest Florida temperatures have heated up, natives slowed down and island restaurants are happy to accept walk-in patrons, but most important is left turns are possible – all signs of summer on Sanibel.
This also means Maurueen Watson, owner of Watson MacRae Gallery has a new exhibit "Summer Salon" on display. The wonderful exhibit features several pieces from artists shown at Watson MacRae this season turning the small gallery in The Village Shops into a little museum with artwork for everyone to enjoy.
"It is snapshots of the season that work together in this space," said Maureen about the Summer Salon exhibit. "I do this every year, as a way to start over for another season."
Work by artist Darby Bannard, an initiator of the Minimalist movement, is part of the gallery's Summer Salon. Bannard has made significant original contributions to the field of art throughout his career. He began to use the new acrylic medium, which evolved into his ground-breaking paintings of colorful expanses of richly colored gels applied, due to a fortuitous lack of brushes, with squeegees, rakes and brooms.
Today, he is professor and head of painting at University of Miami and, always the innovator, is working with a group of painters creating the Miami School of Abstraction. For more than 45 years, people across the world have enjoyed his pictures starting with his first solo exhibit in New York City in 1965.
Now his work is in collections of all the major New York and United States museums and several overseas. In addition, he is a prolific writer on art with more than 100 published essays and reviews in ArtNews, Art Forum, Art in America and the NY Times. Bannard has received six national awards including a Guggenheim Fellowship and Clement Greenberg proclaiming him one of the best five or six living painters.
As Bannard often says in his artist statements, "I hope you enjoy the pictures."
Along with Bannard's work, is art by Sanibel artist Hollis Jeffcoat. Known as an extraordinary colorist, the work in Jeffcoat's exhibit showcases the dexterity of her paint handling that can only be called masterful. While Jeffcoat's lineage goes back to the New York School, she goes beyond abstract expressionism creating a style that is hers alone.
The vibrancy of Florida color and light found in her earlier work returns, but there is maturity to the work that goes beyond making beautiful paintings. Look closely and you will see the nuance and layers of color, the direction and size of the brush stroke, the edges and you will learn about Jeffcoat's incredible technique; sit with it for a while and you will have experienced a masterpiece of abstract painting.
"As I painted this series it was a very visceral experience," Jeffcoat's once said about creating this collection. "I felt like I did as a child swimming underwater through grasses in the Gulf of Mexico and seeing the creatures I might encounter."
This Florida native has had 19 solo exhibits and been in 35 group exhibitions in the country, Canada and France. Her work can be found in several New York and Canadian museums including the Metropolitan Museum of Art, Brooklyn Museum, Morgan Library and in the Pierre Matisse Collection.
Harriet Marshall Goode rounds out the Summer Salon exhibit with her storytelling through brush strokes and paint. The stories she tells are about women – some she knows and some she would like to know. Goode's paintings are quiet, yet her women are large, elegant and frontal.
The paintings in this exhibit have an otherworldly quality with bright light that illuminates the graceful figure in the largest work. Of particular interest is the presence of string or rope in every painting. This string is often tied to the key symbol and in many forms a Catenary Arc. The women in Goode's paintings look us straight on – they have a deeper story to tell. It's a treat to explore these paintings and to get to know these women better.
"For years I painted imagery that was easy, safe and almost came off my brush like honey oozing from the hive," said Goode, a South Carolina native. "Now, I'm making what I believe is a more courageous mark, full of renewed commitment. I simply want to leave my mark."
Goode's paintings of women have won top awards in juried competitions across the country since the mid-1980s. She has had extensive experience in the arts and has received the Medal of Honor in the Arts presented by Winthrop University, a Career Achievement Award by Converse College, along with several other honors. She paints and resides in Rock Hill, S.C. with her husband Martin.
Watson MacRae Gallery is closing its third season on Sanibel Island with this wonderful collection of artwork by masters of their craft. It is the first gallery owned by Maureen, who studied art in New York and helped start an art school in Naples with Jeffcoat.
"Art is important to the human experience," said Maureen. "Art in a gallery created by passionate artists is beauty and beauty heals – that is idea behind Watson MacRae."
Visit Watson MacRae and experience tremendous paintings, sculptures and handcrafted jewelry. The gallery, or sanctuary of art, is located at 2340 Periwinkle Way in unit B3.


text:
Jesper Kyd Jakobson (Hørsholm, 3 februari 1972) is een Deens componist en klankontwerper. Hij heeft gewerkt aan diverse computerspellen, televisie- en filmprojecten. Hij schreef onder meer voor de computerspelseries Hitman, Assassin's Creed, Borderlands, Darksiders II, State of Decay, en vele andere. Zijn muziek is een mix van orkest, koren, akoestische manipulaties, en elektronische soundscapes.

Biografie
Kyd leerde al op jonge leeftijd piano spelen, en was hierin autodidact. Op 14-jarige leeftijd begon hij muziek te componeren voor de Commodore 64, en later voor de Amiga. Mikael Balle en Kyd werden lid van de demogroep Silents DK en werkten samen met programmeurs onder de naam Crionics. Uiteindelijk maakten zij de productie Hardwired voor de Amiga.

Jesper Kyd verliet de demogroep en startte als componist van computerspelmuziek. Hij werkte samen met spelontwikkelaar Zyrinx voor het Mega Drive-spel Sub-Terrania, dat uitkwam in 1993. Hierna schreef Kyd nog muziek voor vier andere Zyrinx-titels; Red Zone, Scorcher, Amok, en The Adventures of Batman and Robin. Zyrinx hield uiteindelijk op met bestaan nadat het moederbedrijf failliet raakte.

Ex-leden van Zyrinx keerden terug naar Denemarken, maar Kyd verhuisde naar New York en startte hier zijn eigen muziekstudio op, genaamd Nano Studio's.

Voor het spel Hitman: Contracts gebruikte Kyd moderne elektronische klanken, gemixt met symfonische- en koormuziek. Hiermee ontving hij in 2005 de British Academy of Film and Television Arts-prijs (BAFTA) voor Beste Originele Muziek, en Beste Cinematische Audioscène tijdens de G.A.N.G. Awards.

In 2012 schreef Kyd voor het spel Darksiders II zijn eerste niet-digitale spelmuziek.

Werken

Computerspellen

Films
 Death of a Saleswoman (2002)
 Pure (2002)
 Night All Day (2003)
 Sweet Insanity (2006)
 La Passion de Jeanne d'Arc (1928, nieuwe partituur) (2007)
 Staunton Hill (2008)
 A Perfect Soldier (2010)
 Chronicles of the Ghostly Tribe (2015)

Externe link
 Officiële website

Deens componist
Computerspelcomponist


Would it be possible to configure MangaRack down the road? I don't want the volume numbers - makes a mess in ComicRack for Android and confuses the missing issue extension. Right now I just make everything V0.
Can I download a manga using MangaRack from a second site to fill in the "holes" the first site has?
cYo is aware of the issues for eastern-style comics and will introduce a setting in 1.69 allowing you to stack based on the series name again, as was the case in 1.67 and previous. Once this setting goes in, you'll love the volume notation for series that number per volume; I'm sure of that, so this behaviour is not to be changed. With some patience CRA will work beautifully again.
Sorry, I didn't get that. Please elaborate.
Not right now. I will think of a way to allow this situation. Do you have a good example I can test with?
Last Edit: 6 years 2 months ago by Deathspike.
With the volume numbers included, it creates lots of false positives.
Batoto is missing chapters 32, 33. In addition, MangaRack missed chapter 36 totally. It's a v2.
When mangarack fetches multiple items if the connection times out or any error is brought up it stops all of them and saves the current items even if the are incomplete.
It still doesn't handle subchapters well.
It called chapter 1.5 3.5 somehow.
It doesn't close all the process when pressing the close button.
It doesn't scan for what is already there in your database. So if you delete an item because of an accident and try to reset the library by deleting the json file it starts from the 1st one even if it already exists.
A solution to the library problem could be adding an item to scan the library beforehand and generate the json file for mangarack.
Testing goes quite well when you are downloading multiple items at the same time on different protocols.
Last Edit: 6 years 2 months ago by Mike43110.
Question: what language is mangarack built in?
Thanks for the feedback! If you still desire to disable writing of volumes, you can now disable this by opening the MangaRack.json file and adding "MangaRack": ["DisableWritingOfVolume"], after the opening braces.
- Corrected issue causing existing archives to be overwritten (B6).
- Corrected issue allowing a connection time-out to bypass archive clean-up (B6).
- Corrected Batoto synchronizer to allow chapter entries with version numbering (B6).
- Corrected Batoto synchronizer to allow chapter ranges (i.e. 100-200) (B6).
- Implemented setting to disable volume numbering ("MangaRack": ["DisableWritingOfVolume"]) (B6).
This is a feature. When the master process dies, which is the window you are closing, it will not take the child processes with it. This is because a child process might be in the middle of writing an archive and killing that process would leave the uncompleted archive on your hard disk. Instead, each child process is aware when the master process dies and will terminate themselves after finishing writing their current chapter.
MangaRack is written for the 3.5 .NET framework with the C# programming language. It relies on ICSharpCode.SharpZibLib for archiving, Newtonsoft.JSON for persistent storage, AForge.NET for image manipulation and HtmlAgilityPack for HTML scraping.
Is there anything that can be done about scanning for already existing archives?
I say this as I had to delete the incomplete archives and as a result couldn't re-download them, as a result the library file was removed to see if it would allow for me to download them and it started at v1 c1 again.
If I had to give a series to a person who also uses mangarack and that person wants to continue from where that person has up to, there is no way to check what already exists in the library.
Adding a second utility to modify the library file with different commands such as -createnew, -re-add deleted items witht he default just adding extra items to file.
EDIT: I hadn't actually opened the json file until now, I had assumed that it was a database of every chapter that was in the library vs just the latest version.
- Corrected issue causing first chapter #0 entries to be skipped (B7).
- Corrected visual-feedback of re-adding archives into tracking (B7).
With B6+ (The ones just released, get them), MangaRack will first check if the archive it intends to download already exists. If so, it will track the completion of the archive but will not re-download the archive at all. You can delete the MangaRack.json file completely and run MangaRack and everything will be re-added to the tracking mechanism.
Great catch! I just ran the fix on my collection and it found 14 chapters that I missed..


text:
Homes . Kitchens + Baths
Grand Prize Winner
Flair for the Dramatic Glass tiles, stainless-steel surfaces and spectacular lighting make this space shine.
The Vision: The clients had high expectations for this renovation, says Jim Meloy of Kitchen & Bath Concepts in Roswell. "The space had to be fun—unique like the rest of the house—and it had to have good access to the pool and patio. They needed to fit in a small office for her and wanted an audio-visual system. Plus, a dramatic lighting system was a priority." The challenge? Fitting all of those requests into the existing 120-square-foot kitchen.
The Result: Plans went through several incarnations, but in the end the decision was made to move the kitchen entirely—and a couple of other rooms, too. "We moved the kitchen to the former dining area, which allowed us to open up a wall and install a door that accesses the pool and backyard," Meloy explains. "The original kitchen is now a breakfast area plus bar, and what was the bar became an office." Just as important as function, though, was the ambience. The owners were looking for an "old Hollywood" feeling, achieved with this kitchen's dramatic use of red and black, spectacular lighting, glistening glass tiles on the wall, and stainless-steel surfaces with a gleam of their own. "It's a 'wow' space," says the designer, "which is exactly what the owners wanted."
Essential Elements:
1. Listen to the client; inventory requirements.
2. Create tailored solutions; come up with several different ideas based on the client's criteria.
3. Provide interpretive drawings, perspectives and elevations; show the client exactly what to expect.
4. Put yourself in the client's place; imagine how you would feel if the same work were done in your home.
5. Meet—and exceed—expectations; how the project gets delivered means everything.
Jim Meloy, CKD
Kitchen & Bath Concepts
Cabinets, Holiday Kitchens IDC Series
Countertops, CaesarStone
Lighting, C Lighting
Door, Castle Entries
Refrigerator, Freezer, SubZero 700 Series
Double ovens, warming drawer, cooktop, Wolf
Dishwasher, Bosch
Trash Compactor, KitchenAid
Microwave, GE
Glass tile, Traditions in Tile
Design and lighting: Rose Arispe Black and Scott Black, GO Productions.
Visual Weight
A former cookbook editor gets the ample storage space she'd always wanted in the form of floor-to-ceiling, furniture-like cabinetry with decorative details.
The Vision: The client of Mary Kathryn Calonje had especially close ties to her kitchen. As a former cookbook editor, she needed ample storage space for all kinds of dishes and serveware—as well as the many cookbooks she's collected. To that end, she requested to-the-ceiling cabinetry in an elegant space befitting her Georgian-style home.
The Result: Installing cabinetry all the way to the ceiling wasn't the challenge, says Calonje. Keeping it from feeling overwhelming in this high-ceilinged space was. The central island helps provide the much-needed balance, its honed black marble top adding even more visual weight. At the same time, decorative details—fluting in the columns, the bases, the frieze—tie everything together into one cohesive whole. The cabinets themselves, featuring recessed panel doors in beaded frames, are lightly glazed and accented with oil-rubbed bronze hinges, elevating their status from functional to fine furniture. So it's only fitting that a pair of chandeliers illuminates the space, providing the finishing touches.
1. Respect the architect's vision; come up with a plan that supports the design.
2. Take an element from the architecture (interior and/or exterior) and repeat it throughout the kitchen.
3. Create a kitchen design that's timeless, not trendy, because kitchens are typically remodeled only every 15 to 20 years.
4. Provide a beautiful focal point as well as a place for the eye to rest, so that focal point can shine.
5. Be mindful of the scale of the space and surrounding rooms, and choose materials with the appropriate visual weight to complement the space.
Mary Kathryn Calonje
Design Galleria Kitchen & Bath Studio
Contractor, Braxton Construction
Cabinetry, Downsview Kitchens
Faucets, Perrin & Rowe
Refrigerator, freezer, refrigerator drawers. SubZero
Range, AGA
Systematically Social
A mix of freestanding and built-in cabinetry makes for a personable, minimalist design.
The Vision: The client of Bulthaup's Adrienne Grzeskiewicz was looking for a new kitchen that "she could take with her if she ever moved," says the designer. "It's a very European concept, and that's what drew her to us—Bulthaup is a European system." At the same time, the client wanted lots of counter space and a room conducive to interacting with friends, too.
The Result: "The client liked both lines that we carry, so we ended up blending the two," says Grzeskiewicz. "The island is 'System 20,' which is freestanding, while the base cabinets were created from our 'b3' line of built-ins." The result is not only a hybrid collection of cabinetry but a hybrid layout, too. The orientation of the space is like a galley kitchen, but it's open, giving it a social aspect as well. The finished kitchen responds to the architecture of the loft space.
"It's an incredibly functional kitchen, but it also provides the framework to interject personality with her collection of art and pottery," the designer says. "There's a way to display and use everything. It proves that minimalist design doesn't have to be cold and uninviting. You can have something that's minimalist and personable at the same time."
1. Allow the architecture to inform the kitchen design but also allow the needs/desires of the kitchen to inform the architecture.
2. Pursue a kitchen design that meets your needs and lifestyle but also embraces aesthetics and functionality.
3. Think about kitchen design in terms of space planning—not just kitchen planning; today's kitchens are really living spaces at the central core of any home.
4. Select appliances carefully; they are your essential "tools."
5. Personalize your kitchen, creating a space for memory-making moments.
Adrienne Grzeskiewicz
Bulthaup
Warm & Inviting
Well-chosen, textural materials and architectural elements make this space as visually pleasing as the adjacent living room.
The Vision: Architect John Hopkins was asked to create a timeless kitchen, one that was warm and inviting but had a more spacious feeling, too. The challenge was to keep it within the kitchen's existing footprint. At the same time, the space needed more light to make it a brighter, cheerier place.
The Result: Vaulting the once 8-foot ceiling up to the hipped roofline immediately makes this a more spacious place. White-washed knotty spruce ceiling boards are accented with antique timber beams, adding Old World warmth while visually connecting the kitchen with the adjacent family room. But the ceiling doesn't get all of the credit for this kitchen's success. Equally important is the light that now floods the room, thanks to a new window. Hopkins took an existing window as a starting point and expanded and arched it. The result is not only more daylight but also a better view of the owners' garden.
The new window also allowed the architect to reorient the kitchen, putting a farm sink in front of the window and a commercial-style gas cooktop on the side wall, topped by a hand-hammered hood. The gleaming copper reflects the light, as do the white-washed ceiling and new limestone floor. "It's a very functional kitchen," says Hopkins. "The cook can be working in the dedicated zone and socialize with others sitting at the island or dining table, too."
1. Listen carefully to the client.
2. Consider options that are creative, ways of looking at the space that the client probably hasn't thought about.
3. Integrate the renovation into the existing house so it looks like it belongs, so you don't recognize it as an addition.
4. Take into consideration the light and views from the space.
5. Focus on traffic circulation, how the space is used.
John Hopkins
John Hopkins & Associates Inc., Architects
Interior design Nancy Warren Interiors Inc.
Cabinetry Kitchen Designers Inc.
Contractor J.V. Page Construction
Our Judges
Jackie Naylor, Interior Designer, CMKBD
Known for her dramatic design and decorative flair, interior designer Jackie Naylor founded her company, Jackie Naylor Interiors Inc., more than 20 years ago and has won various awards and recognitions at the local and national level. A Certified Master Kitchen and Bath Designer, Naylor's projects have been published in House Beautiful, Better Homes & Gardens, Atlanta Homes & Lifestyles and other magazines.
Stanley Kopkin, CKD
For 35 years, Stanley Kopkin has been in the business of remodeling kitchens and baths and has been a Certified Kitchen Designer since 1987. He has designed rooms for a wide range of homes, from high-rise condominiums to single-family and custom-built homes. He is currently a designer with CSI Kitchen and Bath Studio.
Joye Hirsch, Interior Designer
Interior designer Joye Hirsch has turned her two loves, cooking and design, into a successful business. She received her degree from Georgia State University and has owned her own company for more than 22 years. She loves designing kitchens and baths, so much so that she once took on a home with 12 bathrooms! She has completed projects all over Georgia, in Tennessee, North Carolina, New Jersey and New York.
William T. Baker, Architect
Founder and principal of William T. Baker and Associates, William T. Baker has designed classic homes since the mid-1980s. Known for his timeless designs and family-friendly living spaces, Baker has been published in various national and regional magazines. He's participated in the Atlanta Syphony Associates' Decorators' Show House and the Golf Digest Show House at Reynolds Plantation.
Mindful Makeover
Exploring ADAC's 2017 Award-Winning Architect of the Year
Fresh Approach
Freshly Focused
Calm & Collected
Contemporary Charm
Architecture, Kitchen of the Year Winners


Twenty-three runs to get. Twenty-one balls to get them in. Seven wickets in hand. But Still Delhi Capitals lost the match in dramatic manner in an exciting finish against Kings XI Punjab Twenty-three runs to get. Twenty-one balls to get them in. Seven wickets in hand. Two set batsmen at the crease. You can't lose T20 games from there, right?
Well, Delhi Capitals did. In an insane collapse that even the old Daredevils would have been embarrassed of, this revamped Delhi team lost their last seven wickets for eight runs, as Mohammed Shami and Sam Curran produced death overs that even they might never have thought could be so productive. Curran was a monster, claiming 4 for 11 from his 2.2 overs – his last eight deliveries yielding all of his wickets, and only four runs.
Kings XI Punjab batted first and made 166 for 9 in 20 overs.
In Reply Delhi Capitals were bowled out for 152 in a dramatic change.
The skiing world is embroiled in a 'blood doping' scandal.


text:
/**
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import { Class, Validator, Enum } from 'meteor/jagi:astronomy';
import { Match } from 'meteor/check';

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redpajama_set_name: RedPajamaGithub