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Secret Menu Items You Can Order At Panera
By Ian Mikrut/June 15, 2020 2:31 pm EST
It might seem odd to find Panera Bread, the bakery-café chain that boasts a "healthier" fast food choice, would offer a secret menu. Especially since the restaurant's current menu full of soup, salad, sandwich, and pastry choices offer plenty of customization.
Secret menus at restaurants aren't exactly new, either, especially at popular fast food chains. But typically, they're a manifestation of customers getting creative with unlimited free toppings, or the result of Frankenstein creations that run for limited, promotional purposes but gain cult followings.
Additionally, secret menu items often trend towards the extremely over-the-top variety. Quadruple burger stacks, mountains of extra cheese, or strange flavor combinations (peanut butter and bacon burger, anyone?). This swing to extravagant excess runs a little contrary to Panera's core beliefs of offering clean, nutrient-rich choices for customers. Which is why it's probably unsurprising that their secret "power" menu subverts the usual trends in favor of protein packed bowls and salads, minimizing processed carbs.
And yes, that means a lack of bread for your Panera Bread order.
Panera's secret menu isn't new... or secret
Interestingly enough, Panera Bread's secret menu isn't the result of creative customers or a loophole in topping choices, but a dedicated effort from the company. And it was introduced in 2013 through its customer loyalty program and social media channels.
At the time of its rollout, former chief concept officer Scott Davis explained that the move to feature secret, breadless menu items was an effort to target new customer demographics: anyone avoiding gluten, looking to lose weight by cutting carbs, or diabetics.
"This is probably the most extreme anti-kind of Panera diet you can have, right? It doesn't include bread and flour and that sort of stuff," said Davis. "If someone never considered Panera before because the name 'bread' is in it ... this is a way of opening that door."
To gain access, all you had to do is mention you'd like to order from the secret menu and the staff would handle the rest, opening the doors to a world of "power" items. These days, the secret menu no longer officially exists — at least according to Panera Bread. Of course, you can still order these secret menu items from most Panera locations, you'll just have to tell the staff exactly what's in each item.
Panera's power breakfast egg white bowl with roasted turkey
There are a few excellent breakfast options on Panera Bread's secret menu, starting with a protein-packed egg white bowl with roasted turkey. In keeping with the low-carb treatment that each item on this menu gets, this bowl also includes warm baby spinach, roasted peppers, and basil pesto. It's not fancy, and there really isn't much to it. But as far as fast food breakfasts go, this is almost as clean as it gets and certainly doesn't skimp on flavor. It's even available on the normal menu board in some locations — though most locations prefer to keep these one secret.
Plus, how often do you get an opportunity to eat turkey for breakfast? Sure, you can find turkey-based sausage or bacon fairly easily these days, but actual roasted, sliced turkey over egg whites feels a little more unique. And with Panera Bread's commitment to responsibly sourced food, you can expect the turkey to be antibiotic free.
Nutritionally clocking in at 180 calories, seven grams of carbs and 25 grams of protein, the additional protein should be more than enough to carry you through the start of the day.
Panera's power Mediterranean roasted turkey salad
Let's keep the turkey talk rolling with the power Mediterranean roasted turkey salad from Panera Bread's secret menu. This salad feels like something like this should be included among Panera Bread's usual salad offerings, but that's not the case. While it might lack the Fuji apple or strawberry poppy seed pizzazz of what's expected from Panera, the added protein from the tukey makes this a great choice while cutting out the added sugar and carbs of too many toppings. Not to mention the flavor layers from red onions, tomatoes, and Kalamata olives, as well as olive oil dressing, all on a bed of baby spinach and romaine lettuce.
Panera originally rolled the secret menu out to MyPanera loyalty program members as part of its "Panera Lose It! Challenge" in 2014. The event encouraged consumers to lose five pounds in six weeks. A low-carb salad isn't exactly a surprising feature of a weight loss challenge, but at least this one is tasty. The nutritional value of this secret menu salad lands at 320 calories, 12 grams of carbs and 22 grams of protein.
Panera's power breakfast egg bowl with steak
Looking to up the ante with your breakfast bowl? Panera's power breakfast egg bowl with steak includes a few ounces of seared sirloin steak, two sunny side up eggs, avocado, and tomatoes. Panera does offer a steak and egg sandwich on its normal breakfast menu, but the bowl simply cuts the carbs from the everything bagel in favor of healthy fats from the avocado and egg yolk.
Even at a slightly reduced 20 grams of protein, the extra jump in calories to 230 make it the perfect fuel for a morning workout. Plus all of those healthy fats make an ideal morning choice for those on the Paleo diet.
And if that's not enough to convince you of the power of steak and eggs, the combo is the traditional breakfast choice of NASA astronauts. With that in mind it's safe to make terrible puns and call this bowl out of this world.
Panera's power Mediterranean chicken salad
Panera Bread offers an impressive array of Mediterranean-style salads, and they tend to cycle specials as it is. But in the case of Panera's power Mediterranean chicken salad, you're getting another simple, clean choice for a healthy lunch. It mirrors the base of the power Mediterranean turkey salad in that it starts with a base of baby spinach and romaine lettuce. This one, though, is topped with antibiotic-free chicken slices, diced tomatoes, hard-boiled eggs, and bacon, as well as a drizzle of olive oil.
Again, these salads aren't designed with unique flavor angles in mind. In fact, they probably look closer to something you might create in your own kitchen, but that's partly the point. This menu was designed with weight loss goals and dietary restrictions in mind.
Panera's power Mediterranean chicken salad has higher nutritional stats than the turkey salad, with 360 calories, 12 grams of carbs, and 35 grams of protein. But if you're worried about those numbers, hold off on the olive oil dressing. And as with all Panera Bread salads, you'll be able to customize your greens.
Panera's power chicken hummus bowl
Back to the bowls! The power chicken hummus bowl adds a much-needed kick to the secret menu listings at Panera Bread with its cilantro jalapeno hummus topping. The unique hummus flavor combined with chicken, baby spinach, diced tomatoes, and chopped cucumber, and red onion, finished with a squeeze of fresh lemon and chopped fresh cilantro, make it a true standout.
"The hummus brings a unique bite to this dish," says John Taylor, a member of the restaurant's food team in a blog on Panera's website. "The flavor is truly unmatched."
This is another secret menu item that was moved to Panera Bread's normal menu board in some locations — but if your location wasn't so lucky, you'll have to order it on the sly. It's a little higher in carbs than the other secret menu choices, but the protein makes it worthwhile in this case, with 330 calories, 23 grams of carbs, and 33 grams of protein.
Panera's power steak lettuce wraps
It still feels a bit like heresy to order something at Panera Bread and not receive any bread, but that doesn't mean you still can't order a sandwich. The power steak lettuce wraps from Panera's secret menu let you build your own wrap for a more hands-on experience.
Even if for some reason the Panera Bread you land at doesn't recognize the secret menu, most locations should still be able to provide the necessary ingredients. Ask for a few cuts of sirloin steak, some giant lettuce leaves, tomatoes, red onions, cucumbers, and basil pesto. Add cilantro and a squeeze of lemon juice to top it off.
The DIY nature of the power steak lettuce wraps compared to the other secret menu items actually make it more similar to the customer-created items found on the secret menus at other establishments. Regardless, it's another low-carb, high protein choice with 280 calories, 7 grams of carbs, and 28 grams of protein.

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Identification of highly expressed host microRNAs that respond to white spot syndrome virus infection in the Pacific white shrimp Litopenaeus vannamei (Penaeidae)
D. G. Zeng, Chen, X. L., Xie, D. X., Zhao, Y. Z., Yang, Q., Wang, H., Li, Y. M., and Chen, X. H., "Identification of highly expressed host microRNAs that respond to white spot syndrome virus infection in the Pacific white shrimp Litopenaeus vannamei (Penaeidae)", vol. 14, pp. 4818-4828, 2015.
MicroRNAs (miRNAs) are known to play an important role in regulating both adaptive and innate immunity. Pacific white shrimp (Litopenaeus vannamei) is the most widely farmed crustacean species in the world. However, little is known about the role miRNAs play in shrimp immunity. To understand the impact of viral infection on miRNA expression in shrimp, we used high-throughput sequencing technology to sequence two small RNA libraries prepared from L. vannamei under normal and white spot syndrome virus (WSSV) challenged conditions.
Read more about Identification of highly expressed host microRNAs that respond to white spot syndrome virus infection in the Pacific white shrimp Litopenaeus vannamei (Penaeidae)
A new reliable reference gene UBA52 for quantitative real-time polymerase chain reaction studies in pyloric cecal tissues of the starfish Asterias rubens
A. F. Sadritdinova, Dmitriev, A. A., Snezhkina, A. V., Belenikin, M. S., Krasnov, G. S., Manylov, O. G., Kudryavtsev, A. A., Melnikova, N. V., Speranskaya, A. S., Darii, M. V., Lakunina, V. A., Uroshlev, L. A., Smurov, A. O., Stepanov, O. A., and Kudryavtseva, A. V., "A new reliable reference gene UBA52 for quantitative real-time polymerase chain reaction studies in pyloric cecal tissues of the starfish Asterias rubens", vol. 13, pp. 3972-3980, 2014.
The starfish Asterias rubens is one of the most abundant echinoderm species in the White, Barents, North, and Baltic Seas. This species is an important component of marine ecosystems and a model object for certain biological studies, in particular those requiring quantitative estimation of gene expression. As a rule, expression at the transcriptional level is estimated by real-time qPCR using the ΔΔCt method, which allows the comparison of the copy number of target gene transcripts in samples with unknown mRNA/cDNA concentration.
Read more about A new reliable reference gene UBA52 for quantitative real-time polymerase chain reaction studies in pyloric cecal tissues of the starfish Asterias rubens
Discovery of a large set of SNP and SSR genetic markers by high-throughput sequencing of pepper (Capsicum annuum)
M. Nicolaï, Pisani, C., Bouchet, J. - P., Vuylsteke, M., and Palloix, A., "Discovery of a large set of SNP and SSR genetic markers by high-throughput sequencing of pepper (Capsicum annuum)", vol. 11. pp. 2295-2300, 2012.
Genetic markers based on single nucleotide polymorphisms (SNPs) are in increasing demand for genome mapping and fingerprinting of breeding populations in crop plants. Recent advances in high-throughput sequencing provide the opportunity for whole-genome resequencing and identification of allelic variants by mapping the reads to a reference genome. However, for many species, such as pepper (Capsicum annuum), a reference genome sequence is not yet available. To this end, we sequenced the C. annuum cv.
Read more about Discovery of a large set of SNP and SSR genetic markers by high-throughput sequencing of pepper (Capsicum annuum)


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SOTU: Water Council CEO to join Baldwin at State of the Union
Washington, D.C – Today, U.S. Senator Tammy Baldwin announced that Dean Amhaus, President and CEO of The Water Council, will join her as a guest at President Obama's State of the Union address on Tuesday, January 20, 2015. Headquartered in Milwaukee, The Water Council aims to establish the region as the World Water Hub for water research, economic development, and education through their convening of leaders in the fresh water research community and water-related industries.
"Containing over one-fifth of the world's freshwater, the Great Lakes are a critical asset for our quality of life in Wisconsin, but also for our nation's long-term economic security. That is why I will continue to carry the banner for investing in Wisconsin science, research and innovation," said Senator Baldwin. "The Water Council's efforts are a perfect example of how we can grow public-private partnerships to create jobs and build a pro-growth 'Made in Wisconsin' economy. I have seen firsthand the important work Dean and The Water Council are doing to help transform Milwaukee into the world hub for water research, education and economic development and I am proud to be a voice for their efforts and have him as my guest as the President addresses our nation next week."
View the full story from the Office of Wisconsin Senator Tammy Baldwin


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Vision Model
Corporate Introduction
Ethic Management
Information On The Protection Of Personal Data
Acrylic Impact Modifiers
Acrylic Processing Aids
Metallic Soaps
Co-Stabilizers
Anti-Corrosive Pigments
Human Resources Applications
Career in Akdeniz Kimya
Company 1) About Us 2) History 3) Vision Model 4) Certifications 5) Corporate Introduction 6) News and Announcements 7) Policies 8) Ethic Management 9) Information Society Services 10) Information On The Protection Of Personal Data
In 1976 Akdeniz Kimya was incorporated in İzmir, Turkey to manufacture and sell PVC stabilizers and various industrial chemicals. Today, Akdeniz Kimya is one of the world's leading producers of PVC stabilizers and specialty chemicals.
Akdeniz Kimya is a company with the world's most advanced integration, and is a leading PVC stabilizer brand that manufactures many of the raw materials (like calcium/zinc and lead-based stabilizers) at its modern facilities, which are constantly being developed with more than 40 years of experience. Akdeniz Kimya has developed its product range to meet the increase of the use of PVC in the world, and currently manufactures stabilizers and other additive materials. In this field, Akdeniz Kimya is one of the world's leading companies and meets all customer demands with its integrated production plants that are able to produce top quality products.
Akdeniz Kimya leads the sector with its broad vision, believes in continuous development in quality, human resources, and resource selection and use, and maintains its investments in this regard, and it has earned both domestic and international trust with its quality. Akdeniz Kimya was the first and only company to produce many of the raw materials it uses within its own facilities (vertical integration), and it continues to grow with its wide product range.
Akdeniz Kimya, who has pioneered the sector with its broad vision, believes in continuous improvement in quality, human resources, selection and use of resources and continues its investments in this direction, to build up trust in Turkey and abroad with its constant quality.
Akdeniz Kimya, the first and only company that produces many of the raw materials it uses, continues to grow with a wide product range.
Akdeniz Kimya joined OYAK Group companies in 2012. OYAK supports Akdeniz Kimya to develop and produce innovative solutions with its corporate structure, transparent stance, strong financial infrastructure and growth commitment in chemistry.
Kemalpaşa O.S.B. Mah.
İzmir Kemalpaşa Asfaltı Cad.
No: 45 35735
Kemalpaşa / İzmir / TÜRKİYE
T + (90) 232 877 01 44
+ (90) 232 877 01 50
@ info@akdenizkimya.com.tr
Sales Agreement
©2018 Akdeniz Kimya
www.oyak.com.tr


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My thoughts on "The Decision"
Unless you have been in a cave for the last few weeks or simply don't read the news, chances are you have certainly heard about all the drama surrounding LeBron James and his eventual decision July 9 to sign with the Miami Heat after 7 years with the Cleveland Cavaliers. Not only was this dragged out about as long as it possibly could with new rumors seemingly every day or more, but it culminated with a ONE HOUR ESPN special that James himself named "The Decision" and announced he was "taking his talents to South Beach" in addition to an entire program about himself. There was quite a negative reaction as you may have guessed from Cleveland fans, even though a lot of us had been expecting that he'd leave anyway.
As a Cavs fan of course I'm disappointed to see a player of this magnitude leave. As a Cleveland sports fan I've seen it all before: Albert Belle, Manny Ramirez, Jim Thome, CC Sabathia, Cliff Lee, and more. It seems if a Cleveland player in any sport does well, off they go. I have a hard time believing LeBron would've ever played for the Cavs if he hadn't been drafted. But even then, most people (myself included) aren't so upset he's leaving but HOW he decided to leave: dragging everyone through a drama-filled dog and pony show that was all about him. On top of that, now there's just tons of misinformation out there about WHY he left.
"The Cavs has 7 years and didn't do anything." Yes, the Cavs had 7 years, but to say they didn't do "anything" is incredibly misleading and inaccurate. The first 2-3 years don't really count because we have to remember the Cavs were only able to draft James because they were bad enough to be in the lottery. It's pretty difficult to go from a 17-65 team one year to a championship team the next. In James' first season, the Cavs improved quite a bit, but still didn't even make the playoffs. The Cavs didn't even make the playoffs until James' third season. Changing a team involves not only good management, but also players on market who want to come to the team or are available from other teams via trade. On top of that, the current owner didn't arrive until 2005, so there was a total change in management and direction at that point. Finally, just take a look at how well the Cavs have done the last few years, the last 2 seasons in particular. Both seasons they finished with the best regular-season record in the NBA and were the HEAVY favorites to win the title, only to lose in the playoffs. How convenient we have hindsight to say the team "wasn't that good" when in reality most people (not just Cavs fans) were stunned how easily the Cavs were beaten by the Magic in 2009 and the Celtics in 2010. The fact the Cavs didn't win the NBA title in '09 or '10 was not the fault of management for assembling the team. The only group to blame with the overall number one seed falls early is the team itself.
"LeBron doesn't owe fans anything." This is the biggest fallacy of all. Basketball (and all pro sports) is ENTERTAINMENT. They exist ONLY because of fan support, so athletes and entertainers DO owe fans A LOT; they owe fans their very existence. Fans are willing to spend money on game tickets, merchandise, TV packages, and more. If fans didn't spend the money, a team wouldn't pay someone MILLIONS of dollars to play basketball the same way a film company wouldn't pay an actor millions to star in a film if it wasn't going to draw fans. All businesses have to appreciate their customers or they will lose them, but especially non-essential business like entertainment. I don't think anyone expects LeBron to give us free tickets or anything; most people just wanted a simple "hey thanks for all the support. It means a lot and I will miss you all. This isn't because of you..." kind of thing. And not just Cavs fans either, but those fans who have cheered him on from grade school through high school in Akron. Don't forget, fans regularly filled the 5,500-seat Rhodes Arena in Akron while James was in high school and his team played there. In fact, his school, tiny St. Vincent-St. Mary High School, regularly outdrew the NCAA Division I University of Akron Zips in their own building while LeBron played there.
The more I see of professional sports like this, the more I question the point of it all. Don't get me wrong, I LOVE watching sports and "getting into the game." Even then, I can only go so far and have little sympathy for professional athletes making statements regarding "what's best for my family" when the two choices they have both involve making millions of dollars a year. As long as we accept, as a culture, that it's OK to live in absolute excess, we will always have poverty; the "haves" and the "have nots". By no means am I arguing for socialism or communism, no, what I'm arguing for is a voluntary change in our mindset as opposed to a legislated change (i.e. "redistribution of wealth"). As long as there are people willing to spend big bucks on entertainment, entertainers will continue to be paid outrageous salaries. Not just athletes, but all entertainers. And remember, I LOVE being an entertainer; I love performing and would love to entertain for a living. But can I honestly say I think an entertainer plays the same important role in our society as, say, a teacher? Not at all. If the NBA went bankrupt tomorrow and shut down, yes, a lot of people would be out of work from food vendors to executives. But would the world stop turning because we didn't have pro basketball? Hardly. Now, say the schools go bankrupt and shut down. How would that affect our world? I'd say quite a bit. Substitute any of our "essential" services (healthcare, law enforcement, military, etc.) into "schools" and you can see my point. In the end, pro sports and entertainment are great outlets for people, but we don't NEED them in their expensive "professional" states to entertain ourselves.
In the end, I'm still a Cavs fan as I learned long ago not to get attached to certain players because you end up getting burned more times than not. I could totally relate to Cavs owner Dan Gilbert's open letter to the fans criticizing LeBron James. Not sure I would've said the same things or in the same way, but heck, he paid the guy millions of dollars and pretty much did everything he could to build the franchise around him, so I'd be pissed too! Yes, LeBron has the right and ability to take his "talents" wherever he wants, but as fans we also have the right and ability to express our opinions on the matter. All I can say is go Cavs and I hope James has the same "success" he had in the playoffs with the Cavaliers!
Labels: Basketball, Cavs, Cleveland
That's pretty much exactly how I feel too. Thanks for putting it into words for me so I don't have to. :)
Natasha and Jesse said...
Very well said! I found your blog through Mormon.org and hope you don't mind me commenting. I'm originally from Ohio and my parents went to Kent State too.
Thanks! I love seeing comments and am happy to see that my Mormon.org profile is being seen. Hurray! Also happy to meet some more Kent and Ohio connections :).
On my way up
This is Kirtland! 2010


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Parafia Świętego Leonarda w Mircu – jedna z 10 parafii dekanatu Starachowice-Północ diecezji radomskiej.

Historia
 Mirzec w średniowieczu był własnością klasztoru w Wąchocku. Pierwotny drewniany kościół pw. św. Leonarda powstał wraz z ustanowieniem parafii ok. 1326. Obecny zaś zbudowano w latach 1844–1850 na miejscu poprzedniego. Konsekrował go 13 czerwca 1886 bp Antoni Franciszek Sotkiewicz. Przed kościołem znajduje się figura Matki Bożej Niepokalanej. Kościół jest budowlą trójnawową i orientowaną.

Terytorium
 Do parafii należą: Mirzec Czerwona, Mirzec Korzonek, Mirzec Majorat, Mirzec Malcówki, Mirzec Ogrody, Mirzec Podkowalów, Mirzec Podborki, Mirzec Poddąbrowa, Mirzec Stary, Mirzec: ul. Langiewicza, Modrzewiowa,  Ostrożanka, Prędowskich, Trębowiec Duży, Trębowiec Mały, Trębowiec-Krupów, Tychów Nowy, Tychów Stary.

Proboszczowie
 1920 - 1952 - ks. Aleksander Cegłowski
 1952 - 1953 - ks. Czesław Dąbrowski
 1953 - 1960 - ks. Walenty Ślusarczyk
 1960 - 1963 - ks. Leon Rafalski
 1963 - 1977 - ks. Jan Żelaśkiewicz
 1977 - 1992 - ks. Eugeniusz Cieślakowski
 1992 - nadal - ks. kan. Daniel Kobierski

Przypisy

Bibliografia
 Rocznik Diecezji Radomskiej - 2007
 Rocznik Diecezji Radomskiej - 2018,
 Informacje na stronie diecezji radomskiej

Religia w gminie Mirzec
Parafie diecezji radomskiej
Parafie pod wezwaniem św. Leonarda
Mirzec

redpajama_set_name: RedPajamaWikipedia


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Home / About us / Isabelle Hutton
Follow Isabelle:
Isabelle Hutton
R.N., Nationally Certified Reflexologist
Referenced Doctor
Isabelle Hutton is a R.N., and Nationally Certified Reflexologist and owner of the Academy of Natural Healing in Colorado.
She specializes in Alternative Medicine, Classes, Natural Healing Therapies, and Reflexology.
The Academy of Natural Healing is a privately held company in Greenwood Village, CO established in 1996 and incorporated in Colorado.
Isabelle Hutton is a Registered Nurse and maintains a private practice in alternative medicine , specializing in Reflexology and other therapies as well as searching for natural solutions to disease within her own vast experience.
Her other natural healing solutions are methods such as: Jin Shin Jyutsu (Acupressure), Aromatherapy, Reiki, Hopi Therapy Technique, Kinesiology, High Touch Jin Shin, Axitonal Alignment, and Therapeutic Touch Healing.
She is responsible for teaching hundreds of nurses and massage therapists throughout the United States and Canada the true science of Reflexology, and other alternative healing methods. She puts a strong emphasis on self-healing awareness. Isabelle taught Reflexology at the Colorado School of Healing Arts in Lakewood, and the Utah College of Massage Therapy in Salt Lake City. Isabelle is committed to teaching alternative therapies, holistic, natural healing methods and the self-help approach to all. She currently teaches Reflexology classes, from Level I to Master, and two Jin Shin Jyutsu classes.
Isabelle's formal training is that of traditional, or conventional medicine. However, her intuitive, holistic approach to health originated, and was nurtured by her mother's belief and practice that the body, when working at it's most harmonious level, is capable of healing itself. Isabelle combines her expertise in conventional medicine and holistic health with a gentle and intuitive approach.
Isabelle has over 30 years of study and practice in alternative medicine. She is well known and very respected thoughout North America for her expertise in Reflexology. In addition to regularly teaching four levels reflexology, Isabelle has teaches Jin Shin Jyutsu and High Touch Jin Shin. Classes for these healing arts are very popular. In her seperate alternative medicine pratice practice, Isabelle has created, nurtured and now developed a powerful healing technique. She combines several healing methods in a single treatment. Her vast experience in healthcare combined with a creative ability are very apparent when viewing the her reflexology charts, as well her anatomical and very technical muscle chart. She is currently writing a book on reflexology.
Reflexology, jin shin jyutsu, Reiki, etc., are obviously not in the same field as conventional, or western allopathic medicine in which a variety of methods are used to treat illness. Conventional medicine, however, is necessary for many reasons. Reflexology is considered to be in the ever-growing family of natural, or alternative medicine.Essentially, reflexology is a science that maps out the reflexes to the entire, or whole human body on the feet and/or the hands. By pressing specific areas (slightly or deeply into the specific muscle) on the feet/hands with your thumb or fingers, every organ, gland, and body part is affected.
What is Alternative Medicine?
Alternative medicine practices are used instead of standard medical treatments. Alternative medicine is distinct from complementary medicine which is meant to accompany, not to replace, standard medical practices. Alternative medical practices are generally not recognized by the medical community as standard or conventional medical approaches.
Alternative medicine, the treatment and prevention of disease by techniques that are regarded by modern Western medicine as scientifically unproven or unorthodox. The term alternative medicine can encompass a wide range of therapies, including chiropractic, homeopathy, acupuncture, herbal medicine, meditation, biofeedback, massage therapy, and various "new age" therapies such as guided imagery and naturopathy. Although many alternative therapies have long been widely employed in the treatment of disease, the scientifically oriented modern medical establishment has typically been skeptical about, and sometimes strongly opposed to, their use. Despite this, Americans spend billions of dollars on alternative treatments each year. In 1993 the U.S. National Institutes of Health established the Office of Alternative Medicine to examine the merits of such techniques.
Complementary and Alternative Medicine (CAM)
Complementary medicine is usually not taught or used in Western medical schools or hospitals. Complementary medicine includes a large number of practices and systems of health care that, for a variety of cultural, social, economic, or scientific reasons, have not been adopted by mainstream Western medicine.
Complementary medicine is different from alternative medicine. Whereas complementary medicine is used together with conventional medicine, alternative medicine is used in place of conventional medicine. An example of an alternative therapy is using a special diet to treat cancer instead of undergoing surgery, radiation, or chemotherapy that has been recommended by a physician.
Complementary and alternative medicine (CAM) can include the following:
Alexander technique,
Aromatherapy,
Ayurveda (Ayurvedic medicine),
Biofeedback,
Chiropractic Medicine,
Diet Therapy,
Herbalism,
Holistic Cheirology, (Palmistry)
Holistic Nursing,
Homeopathy,
Hypnosis,
Jin Shin Jyutsu,
Massage Therapy,
Naturopathy,
Nutritional therapy,
Osteopathic Manipulative Therapy (OMT),
Palm Therapy, ~ courtesy of humanhand.com
Qi gong (internal and external Qiging),
Reiki,
Spiritual Healing,
Tai Chi,
Traditional Chinese Medicine (TCM), and
U.S. National Center for Complementary and Alternative Medicine
The National Center for Complementary and Alternative Medicine or NCCAM, is a United States government agency. NCCAM is dedicated to exploring complementary and alternative healing practices in the context of rigorous science, training complementary and alternative medicine (CAM) researchers, and disseminating authoritative information to the public and professionals.
Academy of Natural Healing
5114 S Emporia Way, Greenwood Village, CO 80111


text:
Rules of Engagement: America's Asia-Pacific Security Policy under an Obama Administration
William Tow, Beverley Loke
The United States' strategy in the Asia-Pacific stands at a historic juncture. How the new Obama administration conceives and implements its Asia-Pacific policy during its first term of office will have major and enduring ramifications for America's future. The new administration must have a clear vision of its country's national security interests in the Asia-Pacific as well as a better appreciation of the evolving dynamics of the region. To this end, it should continue to underwrite its bilateral security commitments, albeit through a less threat-centric lens, and be more cognisant of the region's multilateral overtures by further anchoring US participation in regional multilateral institutions. This shift from a position of bilateral primacy to one of engaged bilateral and multilateral partnership-a 'convergent security' approach-is the best strategy for Washington to advance its strategic interests in the Asia-Pacific.
Australian Journal of International Affairs
Dive into the research topics of 'Rules of Engagement: America's Asia-Pacific Security Policy under an Obama Administration'. Together they form a unique fingerprint.
security policy Social Sciences 100%
Asia Earth & Environmental Sciences 76%
national security Earth & Environmental Sciences 32%
participation Earth & Environmental Sciences 20%
organization Earth & Environmental Sciences 17%
commitment Social Sciences 15%
threat Social Sciences 15%
Tow, W., & Loke, B. (2009). Rules of Engagement: America's Asia-Pacific Security Policy under an Obama Administration. Australian Journal of International Affairs, 63(4), 443-457. https://doi.org/10.1080/10357710903312546
Tow, William ; Loke, Beverley. / Rules of Engagement: America's Asia-Pacific Security Policy under an Obama Administration. In: Australian Journal of International Affairs. 2009 ; Vol. 63, No. 4. pp. 443-457.
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Rules of Engagement: America's Asia-Pacific Security Policy under an Obama Administration. / Tow, William; Loke, Beverley.
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AB - The United States' strategy in the Asia-Pacific stands at a historic juncture. How the new Obama administration conceives and implements its Asia-Pacific policy during its first term of office will have major and enduring ramifications for America's future. The new administration must have a clear vision of its country's national security interests in the Asia-Pacific as well as a better appreciation of the evolving dynamics of the region. To this end, it should continue to underwrite its bilateral security commitments, albeit through a less threat-centric lens, and be more cognisant of the region's multilateral overtures by further anchoring US participation in regional multilateral institutions. This shift from a position of bilateral primacy to one of engaged bilateral and multilateral partnership-a 'convergent security' approach-is the best strategy for Washington to advance its strategic interests in the Asia-Pacific.
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text:
USA.com / Pennsylvania / Woodland Heights, PA
Woodland Heights, PA
Woodland Heights is located in west Pennsylvania. Woodland Heights has 1.63 square miles of land area and 0.05 square miles of water area. As of 2010-2014, the total Woodland Heights population is 1,167, which has shrunk 16.76% since 2000. The population growth rate is much lower than the state average rate of 3.89% and is much lower than the national average rate of 11.61%. Woodland Heights median household income is $52,440 in 2010-2014 and has grown by 64.52% since 2000. The income growth rate is much higher than the state average rate of 32.44% and is much higher than the national average rate of 27.36%. Woodland Heights median house value is $90,800 in 2010-2014 and has grown by 61.85% since 2000. The house value growth rate is lower than the state average rate of 70.00% and is higher than the national average rate of 46.91%. As a reference, the national Consumer Price Index (CPI) inflation rate for the same period is 26.63%. On average, the public school district that covers Woodland Heights is better than the state average in quality.
Population Growth -16.76% since 2000, rank #1162
Population Density: 693.76/sq mi, rank #1238
Median House Price: $90,800 at 2010-2014—61.85% increase since 2000, rank #1159
Accommodations: Woodland Heights Hotels
Fastest / Slowest Growing Cities in PA
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The Unmarried Partner visa (also known as the UK defacto visa) allows the unmarried partner to enter or remain in the UK on the basis that they are in a relationship with a person who is present and 'settled in the UK'. 'Settled in the UK' means that you are ordinarily resident in the UK with no immigration restrictions on the length of your stay.
Want to know if you qualify for an Unmarried Partner Visa?
If your application for an unmarried partner visa is successful you will be eligible to work in the UK as soon as the visa is granted.
Your unmarried GBR or settled partner must be earning at least £18,600 per annum or savings to be able to sponsor you. If also sponsoring children as dependents then the financial requirement will increase.
The unmarried partner visa will be initially issued for a period of 33 months (if applying from overseas) or 30 months if applying from within the UK. A further extension must be sought for an additional 30 months to take you to five years. Once you have spent a period of five years on a spouse probationary visa, you will be eligible to apply for Indefinite Leave to Remain in the UK provided that you are still living with your partner in the UK and can continue to meet the maintenance requirement as mentioned above.
If you are seeking to enter the UK on the basis of your relationship with a 'settled person' you must apply for entry clearance before you enter the UK.
It is possible to switch to an Unmarried Partner visa while you are in the UK provided that you have leave to remain here on a visa that was granted for a period exceeding 6 months. Please note that you cannot switch into the Unmarried Partner visa category if you are already in the UK and were initially admitted to the UK for a period of less than six months - for example, as a visitor or a short-term student.
All partners, spouses, civil partners, fiancés and prospective civil partners are required prove that they can speak and understand English. Therefore you will need to provide evidence with your visa application to show that you have passed an English language test with an approved test provider.
If necessary we can arrange relevant tests for most countries around the world - please contact us for more information regarding the English language requirements for UK immigration.
If you and your spouse have children who are under 18 years of age they are allowed to enter the UK as your dependants. You should make an application for your dependants at the same time that you make your UK spouse visa application. However, you must demonstrate income of a particular amount in order to enable sponsorship. This amount varies depending on the number of children being sponsored.
Want to know if you qualify for an Unmarrried Partner visa?
Talk to one of our specialists and get a FREE UK visa assessment.


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No. 57, Spring 2015
Ann Klassen Wiens: Missionary Advocate and Friend
Written by Susan Huebert
A Mennonite missionary holding a spear with a sharp and deadly point is probably not a sight that many people would expect to see. Yet Ann Klassen, missionary to the Lengua (now called Enlhet) and Chuluppi (now Nivacle) people of the Paraguayan Chaco, is often pictured holding a Moro spear much like the one used to kill a missionary some years earlier (see Profiles of Mennonite Faith: No. 19). That spear shows only part of what made Ann such a well-loved missionary in Paraguay.
Ann Klassen Wiens (1930–1988)
Anneliese Klassen was born on November 9, 1930, to John and Gertrude Klassen in Winnipeg, Manitoba. She was the third in a family of six children. Her family farmed in Manitoba at Culross, Newton, and Poplar Point, while Ann attended the Mennonite schools in Gretna and Winnipeg. At the age of thirteen, Ann became a Christian and was later baptized in Newton, taking another step in her early commitment to becoming a missionary. Following high school, she graduated from the Winkler Bible Institute and then the Mennonite Brethren Bible College in Winnipeg. Next came nursing studies at the Grace Hospital in Winnipeg and then further education at Tabor College in Hillsboro, Kansas.
In 1960, Ann applied to work with Mennonite Brethren Missions and was accepted for service in Paraguay at Yalve Sanga, Chaco. Her task was to use her training in the area of nursing and later to serve as a social worker among the women of the indigenous tribes, jobs which she did faithfully for the next eighteen years, with the exception of a brief assignment at Bethany College in Hepburn, Saskatchewan. During that year (1971–1972), she served in various roles, including dean of women and campus nurse.
The timing of Ann's term of service in Paraguay likely caused her family some anxiety. In 1958, just three years before Ann began her work, a missionary named Kornelius Isaak had encountered a group of Ayoreo (or Moro) tribesmen. This meeting proved to be fatal for Isaak, who received a stab wound from a Moro spear and died the next day.
Despite the danger, the missionaries still tried to make contact with the Ayoreo people. One day, Ann joined a group setting out with gifts to give the Ayoreo. As the missionaries approached a group of Ayoreo tribesmen, Ann's group began offering candy and other gifts. When one of the Ayoreo leaders noticed Ann's necklace, he indicated that he wanted it. Ann managed to convey the idea that she would give him the necklace, but only in exchange for the spear that he was carrying. He agreed, and Ann gave up her pearls to obtain a spear much like the one that had killed Kornelius Isaak only a few years before.
This encounter was probably one of the most dramatic events in Ann Klassen's missionary career. She took the spear back to Canada with her and often used it to illustrate her stories about South America. That spear is now at the Centre for Mennonite Brethren Studies in Winnipeg. Those who remember her life in Paraguay, however, say she was known especially for her deep connection to the people she was serving. Ann loved to laugh, a characteristic that endeared her to the indigenous peoples, as well as the Mennonite settlers.
She became friends with many of the local people, remembering them throughout her life and distributing most of her belongings to them before she died. She had a strong concern for the indigenous women of the region, and she was an advocate for projects that helped the whole family. Throughout her time in Paraguay, Ann exhibited an open and joyful spirit that the people around her found compelling.
Besides her friendliness, Ann was known for her bravery and determination. One Christmas when she was left alone at the mission station, she rode thirty-seven kilometers on her bicycle to go visit some missionaries. She drove cars and trucks when they were available, which few women in the Chaco did at the time, and even fixed potholes. When she wanted to bring electricity to Yalve Sanga, she helped to raise the money herself. Whenever something needed to be done, she did it.
On September 28, 1979, Ann Klassen entered a new era of her life in Paraguay when she married Peter Wiens, a minister from the Filadelfia Colony in the Chaco. During her life as Ann Wiens, she served as the director of nursing in the Filadelfia hospital and later set up the town's first nursing home. Peter was a widower with six children, and Ann took on the task of being a mother to them. Even after the children grew up and left home, she would frequently invite them over for meals and help them in many ways. She also expressed concern for her nephews and nieces, saying, at the end of her life, "Tell them to be Christians."
At the beginning of May 1988, Ann began to experience health problems, including a bad cough, headaches, and fatigue. On consulting doctors in Asuncion, she received a diagnosis of cancer in her lungs and a tumor in her brain. She died of her illness on June 23, 1988, and was buried under a bottle tree in Yalve Sanga, the community where she had served for so many years. The funeral took place on June 25 in the Filadelfia Mennonite Church, with a memorial service on July 3 at the Community Fellowship Church in Newton.
Ann's life was characterized by dedication, friendliness, and advocacy. Long after her death, the people of Yalve Sanga still remembered the worker who had lived and laughed with them. Her desire was that "my life have real meaning; I find that as I know and grow in the knowledge of Jesus Christ, and God the Father, there is joy and purpose to life."
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The seventh annual Frieze New York Art Fair, which ran May 4-6, featured more than 190 galleries, curated awards and special sections, a robust talks schedule, and vibrant performance art. The fair, just one in Frieze's multinational series that includes both a masters and contemporary edition in London and a new iteration in Los Angeles, was housed in a redesigned, labyrinthian temporary structure that stretched across New York City's Randall's Island Park. Frieze's program presented a breadth of curatorial concepts, with galleries organizing solo artist features, group exhibitions, and thematic booths. The fair also highlighted emerging galleries and 20th century art history vis-a-vis special sections.
Frieze added several new platforms this year, including "Live," a series of activations, performances, and time-based works, curated by Adrienne Edwards of the Whitney. Highlights here included luminary artist Raúl de Nieves in collaboration with Erik Zajaceskowski processing through the fair in de Nieves' signature dazzling and detailed costumes, which doubled as musical instruments. De Nieves and Zajaceskowski's work, "THANK YOU/THANK YOU," was presented by Company Gallery. Laura Schnitger's "Suffragette City," for Anton Kern Gallery, was also a highlight. Schnitger led a band of compatriots through the crowded fair aisles. They carried Schnitger-designed banners and sculptural objects, channeling both change and mythos in a ritual worthy of the #metoo moment and the urgency of contemporary feminism.
Photo by Mark Blower. Courtesy of Frieze/Mark Blower.
Another strong component in this chock full, if nearly overwhelming fair, was the first ever "Frieze Artist Award." Kapwani Kiwanga won the open call prize, which was also curated by Edwards. Kiwanga's commission, "Shady," was a brightly colored, interactive site-specific sculpture. Though Frieze's size and breath at times seem unfocused or sprawling, when the fair adds platforms it does so judiciously, as evidenced by Kiwanga's work and Edward's curatorial insight. These initiatives demonstrate Frieze's greatest strength—its role in artistic and cultural production, alongside traditional art fair gallery display.
Nicole Restaino is an arts administrator, project manager, and programs and performance curator. She's trained in Art History and Public Humanities, and has a deep interest in the interpretation, circulation, display, trade and curation of art and cultural production.


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text:
package com.google.common.util.concurrent;

import com.google.common.base.Preconditions;

import java.util.concurrent.ThreadFactory;

/**
 * Wraps another {@link ThreadFactory}, making all new threads daemon threads.
 *
 * @author Charles Fry
 * @author Harendra Verma
 * @since 2009.09.15 <b>tentative</b>
 */
public class DaemonThreadFactory implements ThreadFactory {

  private final ThreadFactory factory;

  public DaemonThreadFactory(ThreadFactory factory) {
    Preconditions.checkNotNull(factory);
    this.factory = factory;
  }

  public Thread newThread(Runnable r) {
    Thread t = factory.newThread(r);
    t.setDaemon(true);
    return t;
  }
}

redpajama_set_name: RedPajamaGithub


CEC uses Advanced Metering Infrastructure (AMI) technology to enable you to see how much electricity you are using. CEC members can review their energy use online. To get started, log in or create a new account.
SmartHub includes robust energy use analytics tools, which allow you to compare energy use over time and against weather data. Tracking your energy use like this lets you see if you're using more energy than usual and empowers you to make adjustments if necessary.
Following are some key energy monitoring tools within the My Usage area of SmartHub.
Usage Explorer gives you a detailed look at your past and current usage, all in one place. View your usage and weather trends by month, day or hour.
Another great way to utilize SmartHub is through the app right on your smart phone! Click here to learn more about the app or how to download it.


text:
Q: Is storing values of a unique field shared between many web forms bad practice? I am curious if it is considered a bad practice to use a unique table to store values asigned to a unique field that is shared between several webforms.
The site with webforms will carry thousands or hundred of concurrent visitors, I want to know performance implications of this practice.

A: I think that what you're really asking is twofold:

Is it general practice to make a table with a few custom fields that are accessed by many pages in the app specifically for those few custom fields on many pages.

While it's unusual, this is rather part of the whole intent of having databases in the first place. A central location to store data that can be retrieved from consistently and easily, and that is abstracted from the design of the site.

Is it going to cause performance issues to have [many of these tables|tables with such small sets of data]?

No, not at all. Database engine designers know that these things will happen, and they're usually smarter than you or I. We can discuss this more if you like, by discussing the mechanics of database engine design, but it should be sufficient to say that "the smart guys thought of all this already".

redpajama_set_name: RedPajamaStackExchange


text:
GUEST PERSPECTIVE: Charlie Stickney... Writing For Animation
If you enjoyed Charlie's advice, be sure to check out his web comic, Vince Germain, at www.vincegermain.com!
Hey, screenwriters--
One area of entertainment I've never worked in-- but often get questions about-- is animation. And with all the booming animated projects out there-- Family Guy, The Simpsons, Drawn Together, The Incredibles, The Triplets of Belleville, etc.-- I decided to spend a few minutes with my friend Charlie Stickney, a screenwriter, artist, and producer here in L.A.
Charlie spent several years developing shows for Mike Young Productions, a successful production company specializing in children's animation like Growing Up Creepie, Pet Alien, and Dive Olly Dive! Charlie wrote and produced Horrible Histories, where he was also the voice director and directed voice talent like Billy West, Cree Summer, Jess Harnell, Steven Rea, and Billy Idol. He also developed Voom HD's Cosmic Quantum Ray, Junk TV at MTV, and the Irish series Dumped for Telegael Media. Charlie recently set up screenplays at Revolution Studios and Abu Media, and in what little spare time he has, Charlie works on his popular webcomic, Vince Germain.
Charlie has forgotten more about animation than I could ever hope to know, but he gave me a great intro lesson to the world of animation, how it works, and how to break in...
Charlie—I'm gonna be honest: I know virtually nothing about how animation is developed, sold, or produced. So my first question is: if you want to write animation, do you also need to be an animator? Can you write animation if you're not also an artist?
The short answer is no, you don't need to be able to draw, or animate to have the ability to write a kick-ass animation script. However, having a good visual sensibility (camera placement, movement, composition, etc.) is a huge asset in animation writing.
Whereas in a teleplay (and to some extent the screenplay) "directing" of the camera is frowned upon, in the animation script, the "calling of the shots" is often required.
Here's an example from a show I worked on.
INT. HIGH SECURITY AREA - ON THREE CELLS
SMARTY-PANTS stands in a large cell sleeping (SFX: SNORING) - on a
floating cot. A SALAMANDER scurries across the floor in front
of the cell.
MAMA SMARTY-PANTS (O.S.)
(proudly)
Yes, Little Smarty-pants! My precious
little genius!
PAN TO MAMA SMARTY-PANTS AND ARTIE AMOEBA. Mama is incarcerated in
a high-security hamster cage (with running wheel), and Artie is in
a small Plexiglass cube with a small lock on the top. As they talk,
one of the Salamanders "investigates" Artie's prison.
(pretends to be bored)
In case you hadn't noticed, your baby
genius boy is in jail! What kind of
genius gets caught?
ANGLE FAVORING MAMA as she angrily grabs her bars and glares at Artie.
MAMA SMARTY-PANTS
He invented the greatest, most dangerous
machine in the universe -- THE STRING-O-
MATIC!!!
CLOSE ON ARTIE IN F.G. - MAMA SMARTY-PANTS IN B.G. Artie turns his
back to Mama Smarty-pants, smiles -- he's manipulating Mama.
Oooh, String-O-Matic -- that's a scary
name... like "custard," or "puppy."
ZOOM IN ON MAMA'S ANGRY FACE as she describes the String-O-Matic.
Like an angry spore knows anything.
The String-O-Matic is a work of evil art.
As you can see, calling the shots ultimately means there's a lot more work for the writer to do. Page counts for a 22 minute animated show can run as long as 35 pages. On the flip side, it gives the writer much more control in the visual pacing and look of the episode (a selling point for the writer who aspires to direct).
It must be noted that there are many exceptions to this rule. Some animation directors don't like the script to impinge on their artistic freedom. Others don't have the time to prep the storyboard artist on how they should visually break down the script, and will send the script back for revisions if the action is "under-called." Some shows start with a storyboard first and then hire writers to fill in dialogue to supplement the gags that the artists have already come up with.
A good rule of thumb is to always ask the showrunner before you go to script, to what extent they want the shots called. If you're writing on spec, I would suggest trying to get an actual shooting script of the show that you want to write for so you can confirm the format. If you can't get a sample, call all the shots. You can always take them out afterwards.
So… what's it take to sell a new animated TV series? For example, if I want to sell a new "traditional" series, I put together a pitch that details the world of the show, the characters, and some samples stories or episodes. But animation has a whole other component: theanimation. So if someone's pitching an animated project, do they need to already have drawings of the world and its characters? Or could having completed visuals hurt the project, since a studio or network may want voice in that development? Does a writer pitching an animated show need to ha
ve an artist attached to the project?
Having designs aren't necessary. Having a great idea is.
Equally important is pitching the right project to the right studio at the right time.
If the studios like your idea, they have the numbers for hundreds of artists on speed dial.
That's not to say that having some hip designs won't help sell the project. If the designs are finished, and the scripts are done, the studio has to sink far less money into development to get an idea of what the series would actually be like.
HOWEVER, for a couple of reasons, I would proceed with caution if you want to include drawings with your pitch.
Firstly, many studios like to be involved in the development process. Others have a style (see Klasky-Csupo) that they don't like to deviate from. If they think you are too locked into a style of drawing they don't think fits in with what they want to do, they might pass on your project.
Secondly, your pitch is only as good as it's worst part. If the drawings aren't up to par with the writing, you're only hurting yourself. If the designs appear amateurish, your writing will appear amateurish.
Thirdly, unless you are a professional animator/work in the field of animation, you are unlikely to have good perspective on what qualifies as a professional quality drawing/design for animation. The Captain Jetpack drawing that your friend the aspiring artist did, that to you looks like it came straight from a comic book, may be impossible to animate on a television budget. Or worse yet, to the discriminating (read: snobby) eyes of the studio's artistic director, Captain Jetpack's design might be simply deemed not to be any good at all.
So if you have a partner who you objectively know "rocks the house" as an artist, then collaborate away. Otherwise, stick with what you know, i.e., the script.
If you're developing an animated project, how do you approach it differently because it's animated? In other words, do you develop characters differently when they're animated? Do you tell different kinds of stories? Does the animation free you, or inhibit you, as a storyteller?
Animation definitely frees you as a storyteller. Budget isn't the same concern. It costs the same to have someone draw a house on Mars as it does one in Los Angeles. But I think you're right when you say that it might, or should dictate the kinds of stories you tell.
When developing an animated property, I think a good question to ask yourself, is if this particular project is best served by animation. If one looks at the best animated films --Toy Story, Finding Nemo, Ratatouile, Monster's Inc. – we see a group of subjects, toys, fish, monsters, rats, etc. that would be incredibly expensive to try to do as live action films. In fact, trying to make any of those universes seem realistic, might border on impossible. Yet, when animated we get lost in them. A world that's completely inaccessible becomes second nature to us.
So when developing your show, think what about it needs to be animated. Use that as additional inspiration in shaping where you go with it. What do you want to show the world that only animation can truly make come alive? If you can't find that need, then maybe your project would be better off as a live action program.
While I routinely get killed for saying this, King of the Hill always strikes me as a program that could have best been served as a sitcom. As funny as it is, it's still a little flat. Imagine any episode of that show filmed with John Goodman as Hank, Ryan Stiles as Dale, Katey Sagal as Peggy, Neil Patrick Harris as Boomhauer… heck, let Brittany Murphy, who does the voice of Luanne, play her in real life. You're telling me she couldn't nail white trash?... please.
The truth is for all the advances in CGI (Computer Generated Images), the human figure/actor encompasses a world of nuance that animation isn't even close to recreating. (Especially when it's as flat as King of the Hill) Let actors do what they do best -- act. Let animation do what it does best --create new worlds and new ways of telling stories that we've never seen before.
Once a new animated series enters development, how does the process proceed? Walk me through the evolution of a series from the moment it's pitched to the moment it debuts on TV… and how the writer is involved.
Unlike in television where the writer/creator is often the driving force behind everything, in animation the writer is more akin to the screenwriter; a piece of a large puzzle. Again, this is contingent on who the writer is, what they've done before, who the producing partners are, etc. So with all those variables, perhaps it's best if I just walk you through the standard animation development process.
Once a studio has decided to develop a project, they will quickly hire a director/art director. This person will work on developing the look and the animation style of the show while the writer is fleshing out the series bible. (Note: The "series bible" is a guide to the world and the characters of the show, not a religious manifesto) These things are often done in concert with one another, as the style of the animation can often determine the scope of the stories and the world. (What's easy to do in 2D cell animation isn't the same as what's easy to do in 3D CGI)
A quick example: Squash and Stretch animation, where the characters are, well, squashed and stretched by boulders and various taffy-pulling machines gone wild, is difficult to animate with a computer. If you had a show that required a lot of physical squash and stretch gags, (SpongeBob SquarePants) it might be best to develop it as a hand drawn cell animation show. Whereas Robot Wars the Final Battle definitely would be best served as CGI.
Once the bible has been finalized (both in terms of look and written content) the studio will then proceed to hire writers. This process is different than in television where it's typical to hire a staff of writers to break down and script the episodes of the series.
Animation writing is more of an open call audition/pitch process. The studio will call the agencies and tell them that they are going to be giving out writing assignments on a new/new season of a show. The interested writers will then show up for a big group meeting where the producer/showrunner will tell all the assembled writers what the new series is about, what kind of stories they are looking for, and how many scripts they are planning to buy. Each writer is then given a series bible and sent home. The writers are then required to put together pitches for episodes that they would like to write. If the showrunner likes the idea, they get the job and the chance to write the script they pitched… if the showrunner doesn't like it; it's back to the drawing board. From a writer's POV this is an incredibly unfair process, as you often have to pitch 3-5 one-page story ideas just to land a single writing job. (Or worse, you write up 5 ideas on spec and none of them get bought) But since animation writing isn't covered by the WGA, *sigh* the studios are able to set their own terms.
(A quick addendum – there are a few exceptions to the writing process that I'm describing. Most notably, FOX's primetime animation programming (The Simpsons, King of the Hill, American Dad, etc.) is covered by the WGA. Thes
e shows run writer's rooms more akin to that of other primetime live-action sitcoms.)
Once a script is finished, it is sent to the art department, so they can design all the secondary characters and locations that are in the episode. (The primary characters and locations have already been designed and were in the bible.) Writers often need to ask what locations they can use/create before beginning a script, as each new element will need to be designed for animation. Think of it like a television show. On Desperate Housewives they have standing sets (their houses) already built for each of the main characters. When an episode takes place outside those pre-existing parameters, a new set has to be built, which takes time and money. Studios don't like to spend money, and hate wasting time (which costs money). So if you want to be hired again, really be sure to ask your showrunner what the parameters are before you begin scripting (If they want the shots called, how many locations/characters you can create/ what the deadline is, etc.)
The next step is to record the episode. This is a stage where the animation writer actually has a little input. The writer is often invited to the recording session to provide clarity, intent, and on the spot rewrites for the voice actors. This is not to say they get to direct the voice recording. That's the aptly named Voice Director's job. But if an actor is butchering a joke, it's entirely acceptable for the writer to politely mention it to the voice director, so they can coax out a better performance.
For the writer, the recording session is usually the end of the line. As we are focusing on animation writing, I'll just quickly gloss over the remaining steps of production.
After the script is recorded it's edited for time. (The actually running time of the episode – 12 minutes, 22 minutes, etc.) It's then sent to the director and the storyboard artists who break it down into visual beats. The animators are then given the finished storyboard and voice recording to work from. They animate (with computers or pencils), shoot/scan it, and send it to an editor who puts it together. A post-production mix later, the episode's ready for primetime.
For those writers who are interested in animation, but may know little about its processes or production, where can they start learning? Are there good books or magazines they can study?
Off the top of my head I'd say Animation Magazine (http://www.animationmagazine.net/) is a decent source for finding out what's kinds of shows are being developed/produced.
There are scores of great books on animation. Hit the library. It's good for that.
How about animation software? Are there some good beginners' programs that writers can use to start playing and experimenting?
Um… you can get free trial versions of Flash and After Effects from Adobe. These are two of the most used animation and compositing programs. Other than that, search the web. New shareware programs pop up every day.
It seems that right now, with TV channels like Cartoon Network and Internet content exploding, there are more opportunities than ever for aspiring animators and animation writers. After all, an animated short can be produced entirely by one person and posted online… something that can't be done with a live action film that requires cameras, lights, actors, etc. As media continues to evolve over the next few years, how will we see the world of animation change?
It's already changed a lot. Ten years ago, 90% of the animation was done by hand. Today it's a shock when someone pitches a show that's not designed for the computer. This trend is mostly driven by cost considerations. It's far cheaper to do quality animation by computer than it is to something comparable do by hand.
As for how it's continuing to change, the technology will continue to become cheaper and more accessible. The state of the art effects that you see in Ratatouille, will be free shareware that you can use animate on your computer. So basically anything that you can imagine you will be able to recreate.
Any last words of advice for aspiring animation writers and filmmakers out there?
The important thing to remember is that no matter how good the technology gets, no one will watch it if you aren't telling a good story with interesting characters. It all comes back to the writer. Tell a good story and people will notice.
Thanks, Charlie!
And now, for your viewing pleasure, here's a quick look at some fun animation projects out there...
THE PROFESSOR BROTHERS: BIBLE HISTORY #1
LIL' BUSH


text:
Visit the Shawnee
The Friends of the Shawnee National Forest is a nonprofit organization that supports the Shawnee National Forest by promoting land stewardship, environmental education and responsible outdoor recreation.
It's the time of year when the Shawnee starts waking up after a long winter. And with a new year, there is a sense of optimism. This issue let's you know what we've been up to and a few things we have planned moving forward.
A reminder. The Covid-19 pandemic has changed the way we do a lot of things. As we get ready to enjoy more time in this national treasure, please remember social distancing and be respectful of others along the trails, lakes and parks.
Find out more information about the Shawnee National Forest at https://www.fs.usda.gov/shawnee.
The Friends Board welcomes Chad Deaton
representing the USFS
Chad Deaton has worked in the Shawnee National Forest for nearly 20 years in a variety of positions. A Southern Illinois native, Chad's natural resource education began at Southeastern Illinois College where he graduated in 2002 with an Associates in Forestry Technology. He continued at Southern Illinois University earning a BS in Zoology in 2008. After SIU, he became the District Wildlife Biologist on the Mississippi Bluffs Ranger District in Jonesboro. Chad entered the Recreation Manager started working as the District Recreation Program Manager in 2016, and now is the Forest Program Manager of the Shawnee National Forest. Chad and the Friends of the Shawnee look forward to working in partnership and accomplishing great things.
Winter trash blasts and trail stewardship help
restore the health of the Shawnee
Local University of Illinois Extension Program Coordinator, Kim Rohling, and Friends of the Shawnee National Forest Board Chair, Tom Sadowski, worked with volunteers Brynn Freed and Clint Stevens to collect 635 pounds of trash at Ripple Hollow in the Shawnee National Forest on April 2. Ripple Hollow is a popular hiking and equestrian trail. Volunteers hauled 9 bags of trash, 18 tires, a roll of carpet, and a shell of a bathtub out of the forest! This event was supported by a partnership with the United States Department of Agriculture, The US Forest Service; Friends of the Shawnee; and University of Illinois Extension.
Illinois Master Gardeners Buster George, Georgia George, Patricia Powell and Beckie Wisdom worked with Extension Program Coordinator Kim Rohling and Friends Board Chair Tom Sadowski to collect trash at Dutchman Lake in the Shawnee National Forest on March 5 from 1-3 p.m. Together they removed 240 pounds of trash and covered approximately 3.72 acres.
Ten members of the Champaign, Illinois "Outdoor Adventure Club" came down for a full day of work at High Knob, March 13. Jackson and Jay of the Shawnee National Forest led the club, along with Friends of the Shawnee National Forest Board member Steve Melville, clearing trees and rocks off the trail, installing and/or clearing out water bars and steps to stop water erosion, brushed back the trail and picked up litter. Rim Rock's Dogwood Cabins hosted the group free of charge in exchange for the work.
Jackson did an amazing job of leading the effort and teaching the group the "how and why" of trail maintenance while getting a lot of work done. Huge thank you to the Outdoor Adventure club for all their hard work.
Sunday, March 21, three SIU students (Jacob, Mae and Tony) joined Friends Board member Steve Melville for a trash blast at Pounds Hollow Lake. The group spent three hours picking up lots of trash; a couple of tires and some old fencing out of the beach area, parking lot area, the trail over to Rim Rock and around the entrance. A couple of the oldest things found were a 1950's Busch beer can and a one pint Pepsi bottle. Also found were a couple of footballs, a softball, hats, sunglasses, diapers and lots of cans, bottles, cups and plastic bags.
Please leave no trace when visiting the Shawnee (or any public land) and kudos to everyone that leave it better than they found it
Here's how you can help!
If you know of a lodging facility that would like to participate in the Friends of the Shawnee off-season volunteer program next year or you know a group looking to do some volunteer work, please contact friendsoftheshawnee@gmail.com.
If you are an individual that would like to do some volunteer work and/or would like to become a member of Friends of the Shawnee, please contact us at friendoftheshawnee@gmail.com or visit our website shawneefriends.org.
East and West Side Trail Maps
These maps include every Forest Service designated trail and are a great tool for exploring the Shawnee.
You can now purchase maps at the U.S. Forest Service – Shawnee National Forest offices in Harrisburg, Vienna, and Jonesboro, as well as Shawnee Trails Wilderness Outfitters in Carbondale. If you're from out of the area, or would rather purchase online, please visit our store at: https://friends-of-the-shawnee.square.site/.
If you have a business that would like to carry maps, or a group that would like to buy in bulk, please contact us at friendsoftheshawnee@gmail.com.
SNF Sign T-Shirt
T-shirt with logo on front showing standard Forest Sign for Shawnee National Forest. Available in S, M, L / Green and Gray.
80th Anniversary T-shirt
Shawnee National Forest 80th Anniversary T-Shirt. Available in S, M, L, XL & XXL.
Shawnee Map Bundles
A six map bundle for multi-day hiking trips around the Shawnee National Forest in loop trails. Locations include One Horse Gap, High Knob, Trigg Tower, Garden of the Gods, Lusk Creek and Clear Springs Wilderness. 6 maps in one bundle – waterproof.
SNF Sign Hoodie
Black hoodie featuring Shawnee National Forest sign. Available in Small and Large.
Visit our https://friends-of-the-shawnee.square.site/ for details. Thank you for your support.
Become a Friends of the Shawnee National Forest Member
The Friends work with the U.S. Forest Service, Southern Illinois Communities, and a host of partners to help people explore, experience, and enjoy the Shawnee National Forest.
We strive to promote volunteerism, support stewardship projects, connect people to the land, strengthen relationships, and build a legacy of the Shawnee National Forest for future generations. Help support our mission.
Give what you can. All levels of membership are eligible for tax deduction. Visit our website at https://friends-of-the-shawnee.square.site/.
Thanks very much for your support.
Trash Blasts


The interactions between heterodimeric alpha/beta T cell receptors (TCR) and the major histocompatibility complex (MHC) bound peptides is an essential mechanism in adaptive immunology. While the background of binding between the peptide and MHC (pMHC) is well understood the recognition process between pMHC and TCR is still a scientific challenge only few predictive methods were published on this issue.Therefore the aim of this project is to sample the configurational space of a large numbers of TCRpMHC complexes and search for systematic properties in their dynamics.
This project aims to combine the successful fragment-based loop modelling approach, FREAD, with experimental information from X-ray crystallography experiments. This will enrich crystallographic model building tools with information not available from the electron density and vice-versa. The knowledge gained will ultimately be applied to the modelling of membrane protein complexes.
Membrane proteins make up about 30% of known proteins and over half of current drug targets. Knowledge of their structure is invaluable for the design of new effective drugs. This project aims to predict their three-dimensional structure in their natural biological assembly, i.e. in complex with other membrane and membrane-associated proteins. This will be achieve through the combination of recently developed computational approaches for membrane protein modelling with a variety of experimental information.