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Word, graph and manifold embedding from Markov processes. Hashimoto, Alvarez-Melis, Jaakkola arxiv.org/abs/1509.05808 #stat
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Lettice recently visited her family home, Glynes, in Wiltshire after fleeing London in a moment of deep despair. Lettice’s beau, Selwyn Spencely, son of the Duke of Walmsford, had organised a romantic dinner at the Savoy* for he and Lettice to celebrate his birthday. However, when Lettice arrived, she was confronted not with the smiling face of her beau, but the haughty and cruel spectre of his mother, the Duchess of Walmsford, Lady Zinnia. Lady Zinnia, and Selwyn’s Uncle Bertrand had been attempting to marry him off to his cousin, 1923 debutante Pamela Fox-Chavers. Lady Zinnia had, up until that moment been snubbing Lettice, so Selwyn and Lettice arranged for Lettice to attend as many London Season events as possible where Selwyn and Pamela were also in attendance so that Lettice and Selwyn could spend time together, and at the same time make their intentions so well known that Lady Zinnia wouldn’t be able to avoid Lettice any longer. Zinnia is a woman who likes intrigue and revenge, and the revenge she launched upon Lettice that evening at the Savoy was bitterly harsh and painful. With a cold and calculating smile Lady Zinna announced that she had packed Selwyn off to Durban in South Africa for a year. She made a pact with her son: if he went away for a year, a year during which he agreed neither to see, nor correspond with Lettice, if he comes back and doesn’t feel the same way about her as he did when he left, he agreed that he will marry Pamela, just as Bertrand and Lady Zinnia planned. If however, he still feels the same way about Lettice when he returns, Lady Zinnia agreed that she would concede and will allow him to marry her.
Leaving London by train that very evening, Lettice returned home to Glynes, where she stayed for a week, moving numbly about the familiar rooms of the grand Georgian country house, reading books from her father’s library distractedly to pass the time, whilst her father fed her, her favourite Scottish shortbreads in a vain effort to cheer her up. However, rather than assuage her broken heart, her father’s ministrations only served to make matters worse as she grew even more morose. It was from the most unlikely of candidates, her mother Lady Sadie, with whom Lettice has always had a fraught relationship, that Lettice received the best advice, which was to stop feeling sorry for herself and get on with her life: keep designing interiors, keep shopping and most importantly, keep attending social functions where there are plenty of press photographers. “You may not be permitted to write to Selwyn,” Lady Sadie said wisely. ‘But Zinnia said nothing about the newspapers not writing about your plight or your feelings on your behest. Let them tell Selwyn that you still love him and are waiting for him. They get the London papers in Durban just as much as they get them here, and Zinnia won’t be able to stop a lovesick and homesick young man flipping to the society pages as he seeks solace in the faces of familiar names and faces, and thus seeing you and reading your words of commitment to him that you share through the newspaper men. Tell them that you are waiting patiently for Selwyn’s return.”
Since then, Lettice has been trying to follow her mother’s advice and has thrown herself into the merry dance of London’s social round of dinners, dances and balls in the lead up to the festive season. Carefully heeding another piece of her mother’s advice, she has avoided being seen on the arm of any eligible young men, and just as Lady Sadie predicted, the press has been lapping up the story of Lettice’s broken heart as she shuns the advances of other young men whilst she awaits Selwyn’s eventual return from Durban, publishing the details in all their tabloids with fervour.
Tonight however, Lettice has had enough of nightclubs, ballrooms and false bonhomie and is eschewing an evening of dancing followed by a light supper at a party being held by Lady Lavender Barnstable in London’s Queen’s Gate, preferring instead to say at home in Cavendish Mews where she can let her guard down at least for a little while and quietly pine for her lost love. Being December, in an effort to cheer her mistress up, Edith, Lettice’s maid, has ordered a Christmas tree on Lettice’s behalf and pulled the decorations out from the Cavendish Mews box room, and together they decorated the tree until it was a sparkling wonderland of glowing glass baubles and glistening tinsel**. The drawing room smells of a delightful mixture of fresh spruce pine and hothouse roses from the Regent Street Flower Box, Lettice’s favourite florist. The tree is surrounded with beautifully wrapped gifts that Lettice has acquired over the last week as she prepares for Christmas.
“Is it almost time, Miss?” Edith asks with excitement as she bustles into the drawing room with a tray laden with tea making implements and some mince pies acquired from the Harrod’s food hall.
The maid carefully places it on the low black japanned coffee table and begins to set out the tea things.
Lettice glances up at the dainty painted Art Deco clock on the mantlepiece. “Not quite yet Edith. According to ‘The Broadcaster’ it doesn’t start until half past seven. So, just another ten minutes or so.”
“Thank goodness I made it in time.” Edith gasps. “I though the kettle would never boil, Miss.”
“What is it they say about a watched pot never boiling, Edith?” Lettice laughs, albeit a little sadly.
Edith chuckles. “How right they were, Miss.”
“Please, do sit down, Edith.” Lettice says, indicating with an elegant open palmed gesture to the white upholstered tub armchair opposite her.
“Thank you Miss!” Edith replies, bobbing a curtsey, before carefully settling herself into the luxurious cushioning of the chair, smoothing her black silk moiré skirt and decorative lace apron of her afternoon uniform over her knees. Although she usually feels ill at ease when on the rare occasion she has been invited to sit in the drawing room with her mistress, tonight is different and she radiates excitement. “I must say, Miss, it’s awfully kind of you letting me sit with you and listen to ‘A Christmas Carol’ on the wireless with you.”
“Oh, I think it’s the very least I can do, Edith. After all, if I hadn’t overheard you talking about it with Mrs. Boothby, I wouldn’t have even known the BBC was performing a dramatic recital of A Christmas Carol on the airwaves tonight***.”
“I’m so excited! It’s one of my favourite stories from my childhood you see, Miss.” Edith enthuses.
“Is it?” Lettice asks with mild interest.
“Oh yes! My Dad, well he’s a real bookworm and he wanted my brother, Bert, and I to enjoy reading as much as him. Mum’s not much of a reader herself. She’s more,” Edith pauses momentarily raising her eyes to the ornate cornicing on the ceiling above whilst she tries to think of the right word. “Practical, shall we say.”
“Somehow I don’t think I could imagine you having a mother who would just settle down by her hearth with a good book in hand, Edith.”
“Oh she’d never do that, Miss. She’s always far too busy in the kitchen cooking something or cleaning something else. She doesn’t have time for books she tells my Dad, but she indulges him.”
“So how did your father try and develop your interest in reading, Edith?”
“Well, Bert and I, we shared a room when we were little, and Dad used to read us stories.” Edith begins wistfully as she remembers being tucked up cosily in bed and listening to her father read. “‘Gulliver’s Travels’, ‘Robinson Crusoe’, ‘The Swiss Family Robinson’.”
“My, my!” Lettice exclaims. “Such an enlightened man. How lucky you were, Edith.”
“Oh we were, Miss. And he would always read us A Christmas Carol in the lead up to Christmas. We all hated Scrooge and Bert always had a soft spot for Tiny Tim.”
“Don’t we all?” smiles Lettice sadly.
“I always loved the party at Mr. Fezziwig’s. That’s my favourite part of the story when old Scrooge wasn’t so horrible and mean.”
“Yes, but he missed his chance of love.” Lettice remarks with heightened sadness as she reflects on the recent bitter twist in her own romantic relationship with Selwyn.
“Anyway,” Edith quickly pipes up before her mistress can think too long and hard. “Dad would always make sure he had it finished just on Christmas Eve, so Bert and I could settle down in our beds and try and sleep as we waited excitedly for Father Christmas to arrive on Christmas morning.”
“And did it work, Edith?”
“Oh yes Miss, we always nodded off no matter how much Bert and I tried to stay awake. And then we’d find an orange in the heel of our stockings and all kinds of other little goodies stuffed into them on Christmas Day. I don’t know how Dad, with his feet as big and tread as heavy as paving stones, could be so quiet, Miss.”
“No Edith!” Lettice laughs with genuine delight at her maid’s innocent misunderstanding of her question. “I meant, did your father’s ploy of reading to you instil a love of reading in you?”
“Oh!” laughs Edith. “Oh yes Miss! Well, you know I’m quite partial to a romance novel, just like yourself Miss.” Lettice nods in agreement at Edith’s statement. “And Bert takes after Dad. He likes a good murder mystery. He says it’s a good way to while away any quiet time he gets when he is on a long voyage and wants to remember home.”
“Do they like Agatha Christie****, Edith?”
“Oh yes Miss! Dad really loves her. He read ‘The Mysterious Affair at Styles’ and said it was absolutely engrossing. He read it from cover to cover as quickly as he could. He likes that detective Monsieur Poirot. He says that he’s not bad, for a foreigner that is.”
Lettice laughs fulsomely again at her maid’s remark before she asks her, “Do you know Ms. Christie has released a new novel this year called ‘The Murder on the Links’?”
“Oh yes Miss. I’d love to buy it for Dad for Christmas, but it’s seven and six in the bookshops, and I can’t afford that.”
“I’ll have a chat with Mr. Mayhew***** my booksellers in Charing Cross if you like, Edith. He may be able to find you a shop-soiled copy at a slightly cheaper price than that.”
“Oh would you, Miss?” Edith’s eyes light up with delight. “I’d be ever so grateful if you would! Dad wouldn’t mind a copy, even if it was a little scuffed. He’ll soon have his own biscuity fingerprints all over it.”
“I’ll telephone him in the morning, Edith. After all Christmas comes but once a year.”
As her mistress speaks, Edith watches as she gazes down upon the little black japanned occasional table on which stands Edith’s nemesis, the telephone, with a wistful stare. In front of the sparkling silver and Bakelite****** telephone, the first few cards of the festive season stand. Soon, as the number of them increase, Edith will move the cards from there to the mantlepiece. There is a card from Jeffrey and Company*******, the wallpaper manufacturers, and one from Lettice’s upholsterer thanking Lettice for her ongoing patronage. There is an early Christmas card from Wanetta Ward, the American film actress Lettice decorated a flat for, who has a contract with Islington Studios********, who has just set sail back to America to spend Christmas with her family. And there is a card from Lady’s Sadie’s cousin, the Duchess of Whitby, who in Edith’s opinion has more front than********* Selfridge’s to dare sending a Christmas card when she only reluctantly paid the bills for the work done by Lettice for remodelling the small first floor reception room of her Fitzroy Square home with some considerable inducement from Lettice’s father the Viscount Wrexham. Edith knows that the one Christmas card her mistress wants will never arrive, at least not this Christmas.
“Ahem.” Edith clears her throat a little awkwardly, breaking her mistress’ deep thoughts. “You miss him, don’t you Miss?”
Lettice turns back to her maid, her face pale and her eyes glistening with unshed tears that threaten to burst forth at any moment. “Yes. I miss him terribly.”
“I understand, Miss.” Edith assures her. “I remember what it was like, waiting for my first sweetheart to come home from the war, and now he’s buried over the Channel in Flanders Fields**********. At least you know Mr. Spencely is coming home, Miss.”
Lettice lowers her gaze into her lap. “You make me feel ashamed, Edith.”
“Me Miss?” Edith gasps, raising her hands to her mouth. “I didn’t mean to. How?”
“I forgot that you had a sweetheart, your first by your own admission, who died in the Great War. Yet here you are. You survived his loss. Yet here am I, blubbing at the mere thought of Selwyn and he’s not in any danger in Durban, and will be coming back. I really have nothing to cry over.”
The two women fall into silence for a moment, with only the crackle of the fire and the ticking of the clock on the mantle to break it.
“If you’ll pardon me for saying this, Miss,” Edith says after a few moments. “But a broken heart is a broken heart, no matter how it gets broken, whether in times of war or peace. I don’t know your people, and I hope I don’t sound presumptuous when I say this, Miss, but I think your old mum the Countess is right. You have to keep going on, and if Mr. Spencely really loves you,” She pauses for a moment. “And for what little it’s worth, in my opinion I’m sure he does, Miss, he’ll come home to you. He’s a right fool if he doesn’t!” She gasps as soon as the words are out of her mouth, realising what she, a humble domestic, has said about her social better and a future duke. “Oh, I’m so sorry Miss. I didn’t mean that last remark. I spoke out of turn. Mr. Spencely is a fine gentleman.”
“Please, don’t apologise Edith.” Lettice reassures her, reaching out a grasping hand to her maid, who cautiously holds out her own hand, allowing Lettice to clasp it with a strength and urgency that surprises the young maid. “Of course you meant it or you wouldn’t have said it. I know it comes from a sense of loyalty to me. I appreciate that, truly I do.”
“Yes Miss.” Edith mumbles in an embarrassed fashion, suddenly feeling ill at ease with the intimacy of the moment between the two of them as she blushes.
“And you’re right on both counts. Mr. Spencely is a fine gentleman.” Lettice sniffs and blinks away her tears. “But you are right, he will be a fool if he doesn’t come home to me from Durban.” She sniffs again, releasing Edith’s hand, her jaw steeling as she sits a little more upright in her seat. “I’m the best catch he’ll ever get.”
“Well said, Miss.” Edith says, smiling shyly at her mistress.
“I’m just worried that a year may alter his feelings towards me.”
“Don’t they say that absence makes the heart grow fonder, Miss?”
“They do.” Lettice smiles sadly again. “You’re good company, Edith. Thank you again for sitting with me. The nights draw in so quickly now as Christmas approaches, and they feel so long and lonely.”
“I know, Miss.” Edith replies again. She sighs with a sense of resignment, but then adds, “At least Mr. Spencely had the decency to leave something behind for you to help fill in those lonely nights.” She nods her head towards the sparking wireless sitting on the black japanned occasional table next to the telephone.
Lettice glances at the gleaming piece of brass machinery with its ornamental finials and three knobs on the front below an ornamental piece of fretwork protecting some mesh fabric behind it.
“Quite right Edith.” Lettice says with a final sniff. “And it should be about time for our dramatsation of ‘A Christmas Carol’.”
Lettice carefully turns the left knob to the right and it releases a satisfyingly crisp click as she switches the wireless on. Slowly a quiet crackling buzz begins behind the mesh. She starts to slowly turn the knob to the right, and as she does, the static sounds change, growing momentarily louder and then softer, and then slowly the discordant cacophony of harsh sounds starts to dissipate as a well-modulated man’s voice can be heard.
“This is the British Broadcasting Service coming to you from London. We take great pleasure in presenting for you this evening a dramatic rendition of Charles Dickens immortal Christmas classic, ‘A Christmas Carol’ recited by Cyril Estcourt with carol interludes by the Star Street Congregational Church Choir.”
*The Savoy Hotel is a luxury hotel located in the Strand in the City of Westminster in central London. Built by the impresario Richard D'Oyly Carte with profits from his Gilbert and Sullivan opera productions, it opened on 6 August 1889. It was the first in the Savoy group of hotels and restaurants owned by Carte's family for over a century. The Savoy was the first hotel in Britain to introduce electric lights throughout the building, electric lifts, bathrooms in most of the lavishly furnished rooms, constant hot and cold running water and many other innovations. Carte hired César Ritz as manager and Auguste Escoffier as chef de cuisine; they established an unprecedented standard of quality in hotel service, entertainment and elegant dining, attracting royalty and other rich and powerful guests and diners. The hotel became Carte's most successful venture. Its bands, Savoy Orpheans and the Savoy Havana Band, became famous. Winston Churchill often took his cabinet to lunch at the hotel. The hotel is now managed by Fairmont Hotels and Resorts. It has been called "London's most famous hotel". It has two hundred and sixty seven guest rooms and panoramic views of the River Thames across Savoy Place and the Thames Embankment. The hotel is a Grade II listed building.
**One of the most famous Christmas decorations that people love to use at Christmas is tinsel. You might think that using it is an old tradition and that people in Britain have been adorning their houses with tinsel for a very long time. However that is not actually true. Tinsel is in fact believed to be quite a modern tradition. Whilst the idea of tinsel dates back to Germany in 1610 when wealthy people used real strands of silver to adorn their Christmas trees (also a German invention). Silver was very expensive though, so being able to do this was a sign that you were wealthy. Even though silver looked beautiful and sparkly to begin with, it tarnished quite quickly, meaning it would lose its lovely, bright appearance. Therefore it was swapped for other materials like copper and tin. These metals were also cheaper, so it meant that more people could use them. However, when the Great War started in 1914, metals like copper were needed for the war. Because of this, they couldn't be used for Christmas decorations as much, so a substitute was needed. It was swapped for aluminium, but this was a fire hazard, so it was switched for lead, but that turned out to be poisonous.
***The BBC presented the first dramatised recording of Charles Dickens classic novella ‘A Christmas Carol’ in December 1923. The dramatic recital was performed by Cyril Estacourt (who went on to do a good many more recital pieces for the BBC over the ensuing years) with carol interludes performed by the Star Street Congregational Church Choir. The recording was actually broadcast on the BBC’s 5WA Cardiff, but I hope you will indulge my slight alteration by placing it in the London studios of the BBC for dramatic purposes.
****By 1923 when this story is set, detective mystery fiction writer Agatha Christie had already written two successful novels, ‘The Mysterious Affair at Styles’ published by The Bodley Head in 1921, which introduced the world to her fictional detective Hercule Poirot, and ‘The Secret Adversary’ also published by The Bodley Head, in 1922, which introduced characters Tommy and Tuppence. In May of 1923, Agatha Christie would release her second novel featuring Hercule Poirot: ‘The Murder on the Links’ which would retail in London bookshops for seven shillings and sixpence.
*****A. H. Mayhew was once one of many bookshops located in London’s Charring Cross Road, an area still famous today for its bookshops, perhaps most famously written about by American authoress Helene Hanff who wrote ’84, Charing Cross Road’, which later became a play and then a 1987 film starring Anne Bancroft and Anthony Hopkins. Number 56. Charing Cross Road was the home of Mayhew’s second-hand and rare bookshop. Closed after the war, their premises is now the home of Any Amount of Books bookshop.
******Bakelite, was the first plastic made from synthetic components. Patented on December 7, 1909, the creation of a synthetic plastic was revolutionary for its electrical nonconductivity and heat-resistant properties in electrical insulators, radio and telephone casings and such diverse products as kitchenware, jewellery, pipe stems, children's toys, and firearms. A plethora of items were manufactured using Bakelite in the 1920s and 1930s.
*******Jeffrey and Company was an English producer of fine wallpapers that operated between 1836 and the mid 1930s. Based at 64 Essex Road in London, the firm worked with a variety of designers who were active in the aesthetic and arts and crafts movements, such as E.W. Godwin, William Morris, and Walter Crane. Jeffrey and Company’s success is often credited to Metford Warner, who became the company’s chief proprietor in 1871. Under his direction the firm became one of the most lucrative and influential wallpaper manufacturers in Europe. The company clarified that wallpaper should not be reserved for use solely in mansions, but should be available for rooms in the homes of the emerging upper-middle class.
********Islington Studios, often known as Gainsborough Studios, were a British film studio located on the south bank of the Regent's Canal, in Poole Street, Hoxton in Shoreditch, London which began operation in 1919. By 1920 they had a two stage studio. It is here that Alfred Hitchcock made his entrée into films.
*********The phrase “more front than” denotes impudence, effrontery and is usually followed by the name of a shop which has a large façade covering a wide amount of street frontage. An old fashioned term it has largely died out in the United Kingdom, but still exists as an Australian saying.
**********The term “Flanders Fields”, used after the war to refer to the parts of France where the bloodiest battles of the Great War raged comes from "In Flanders Fields" is a war poem in the form of a rondeau, written during the First World War by Canadian physician Lieutenant-Colonel John McCrae, written in 1915.
This festively decorated 1920s upper-class drawing room is different to what you may think at first glance, for it is made up entirely of 1:12 size dollhouse miniatures, including items from my own childhood.
Fun things to look for in this tableau include:
Central to our story, the brass wireless, which is remarkably heavy for its size, comes from Melody Jane’s Doll House Supplies in the United Kingdom.
The black Bakelite and silver telephone is a 1:12 miniature of a model introduced around 1919. It is two centimetres wide and two centimetres high. The receiver can be removed from the cradle, and the curling chord does stretch out.
The vase of red roses on the Art Deco occasional table is beautifully made by hand by the Doll House Emporium.
Lettice’s copy of ‘The Broadcaster’ is a 1:12 size miniature made by the British miniature artisan Ken Blythe. Most of the books I own that he has made may be opened to reveal authentic printed interiors. In some cases, you can even read the words, depending upon the size of the print! I have quite a large representation of Ken Blythe’s work in my collection, but so little of his real artistry is seen because the books that he specialised in making are usually closed, sitting on shelves or closed on desks and table surfaces. As well as producing books, he also created magazines such as this one. This magazine is one of the rarer exceptions that has been designed not to be opened. Nevertheless, the cover is beautifully illustrated. What might amaze you even more is that all Ken Blythe’s books and magazines are authentically replicated 1:12 scale miniatures of real volumes. To create something so authentic to the original in such detail and so clearly, really does make this a miniature artisan piece. Ken Blythe’s work is highly sought after by miniaturists around the world today and command high prices at auction for such tiny pieces, particularly now that he is no longer alive. I was fortunate enough to acquire pieces from Ken Blythe prior to his death about four years ago, as well as through his estate via his daughter and son-in-law. His legacy will live on with me and in my photography which I hope will please his daughter. I hope that you enjoy this peek at just one of hundreds of his books that I own, and that it makes you smile with its sheer whimsy!
The elegantly decorated Christmas tree is a hand-made 1:12 size artisan miniature made by an artist in America. The presents beneath it come from various miniature specialist stockists in England and by husband and wife artistic team Margie and Mike Balough who own Serendipity Miniatures in Newcomerstown, Ohio.
The 1;12 Art Deco card selection on the table came from Doreen Jeffries’ Small Wonders Miniature store in England.
Lettice’s black leather diary with the silver clasp on the under storey of the occasional table has been made by the Little Green Workshop in England who specialise in high end, high quality miniatures.
Lettice’s drawing room is furnished with beautiful J.B.M. miniatures. The Art Deco tub chair upholstered in white embossed fabric is made of black japanned wood and has a removable cushion, just like its life sized equivalent. The Hepplewhite chair in the background has a hand woven rattan seat and has been painted with floral patterns along its back and arms by hand.
The Chinese folding screen in the background I bought at an antiques and junk market when I was about ten. I was with my grandparents and a friend of the family and their three children, who were around my age. They all bought toys to bring home and play with, and I bought a Chinese folding screen to add to my miniatures collection in my curio cabinet at home! It shows you what a unique child I was.
In front of the screen on a pedestal table stands a miniature cloisonné vase from the early Twentieth Century which I also bought when I was a child. It came from a curios shop. Cloisonné is an ancient technique for decorating metalwork objects. In recent centuries, vitreous enamel has been used, and inlays of cut gemstones, glass and other materials were also used during older periods. The resulting objects can also be called cloisonné. The decoration is formed by first adding compartments (cloisons in French) to the metal object by soldering or affixing silver or gold wires or thin strips placed on their edges. These remain visible in the finished piece, separating the different compartments of the enamel or inlays, which are often of several colours. Cloisonné enamel objects are worked on with enamel powder made into a paste, which then needs to be fired in a kiln. The Japanese produced large quantities from the mid Nineteenth Century, of very high technical quality cloisonné. In Japan cloisonné enamels are known as shippō-yaki (七宝焼). Early centres of cloisonné were Nagoya during the Owari Domain. Companies of renown were the Ando Cloisonné Company. Later centres of renown were Edo and Kyoto. In Kyoto Namikawa became one of the leading companies of Japanese cloisonné.
The geometric Art Deco wallpaper is beautiful hand impressed paper given to me by a friend, which inspired the whole “Cavendish Mews – Lettice Chetwynd” series.
December 19, 2013 - The FDA is advising consumers not to purchase or use "Best Whips," a product promoted and sold for sexual enhancement. The product was found to contain undeclared sildenafil. For more information, go to www.fda.gov/Drugs/ResourcesForYou/Consumers/BuyingUsingMe...
And read these FDA Consumer Updates:
Beware of Fraudulent ‘Dietary Supplements’
"All Natural" Alternatives for Erectile Dysfunction: A Risky Proposition
A worker removes excess concrete around construction joints inside an unfinished supplemental stability pontoon cell being constructed in Tacoma.
This cycle of eight pontoons will float out in late 2013 or early 2014.
Health is everything for human been and they do lots of things to keep their health fit and fine. They go to gym, yoga classes, aerobic classes, dance classes and morning walk. Gym is the perfect platform to be perfect fit but it requires protein supplements and weight gain supplements for attractive body shape.
Supplement II to the General synopsis of birds..
London :Printed for Leigh, Sotheby, & Son, York Street, Covent Garden,[1801 or 1802].
This image is excerpted from a U.S. GAO report:
www.gao.gov/products/GAO-16-674
SUPPLEMENTAL SECURITY INCOME: SSA Provides Benefits to Multiple Recipient Households but Needs System Changes to Improve Claims Management
Students have given apples to their teachers on the first day of school for over a century. But exactly how the apple earned this distinction is not entirely clear.
The most common explanation is that in the 16th through 18th centuries in Denmark, Sweden and the US, poorer farming folk would pay their children's teachers with food - most notably with common and plentiful apples and potatoes. Another is that farmers gave teachers this food to supplement the teachers' low incomes; as teachers' wages went up, the amount of food went down. Eventually, students brought in that one apple out of tradition more than anything else.
Another consideration is that in the retelling of the story of Adam and Eve. Eve is said to have eaten an apple from the Tree of Knowledge. The apple is not actually mentioned in the book of Genesis; only "the fruit of the Tree of Knowledge." Regardless, the apple story stuck. Since teachers offer knowledge to their students, the apple -as the fruit of the Tree of Knowledge — makes the perfect symbol.
Some people point out that when young children learn the alphabet, each letter is associated with a word they already know: A is for Apple, B is for Ball, and so on. So the apple is a symbol of the letter A, which is also the grade that most students want. So perhaps some students came to the conclusion that if they gave their teachers an A at the beginning of the school year, the teachers might return the favour and give them an A at the end of the year.
Read more: www.cliffsnotes.com/Section/Giving-Your-Teacher-an-Apple....
Cavendish Mews is a smart set of flats in Mayfair where flapper and modern woman, the Honourable Lettice Chetwynd has set up home after coming of age and gaining her allowance. To supplement her already generous allowance, and to break away from dependence upon her family, Lettice has established herself as a society interior designer, so her flat is decorated with a mixture of elegant antique Georgian pieces and modern Art Deco furnishings, using it as a showroom for what she can offer to her well heeled clients.
Today however we are following Lettice’s maid, Edith, who together with her beau, local grocery delivery boy Frank Leadbetter, have wended their way pleasurably a short distance south-east of Cavendish Mews, through the Burlington Estate, along Piccadilly past the six storey red brick façade of Fortnum and Mason with its six fanlight display windows, across busy Piccadilly Circus with its high hoardings advertising Bovril and Schweppes tonic water and its central fountain surmounted by Eros, and down to Trafalgar Square in the centre of London.
The pair are dressed in their summer best as they enjoy the sunshine: Frank in his Sunday best blue suit and a smart straw boater with a colourful grosgrain ribbon around the crown, and Edith in her blue floral sprigged frock and her wide brimmed straw hat decorated with a gay blue green and red ribbon and artificial flowers in matching colours, yet still holding her old battered black umbrella just in case of inclement weather. Circumnavigating tall Nelson’s Column guarded by his four giant lion statues, the pair blend in with the other citizens of London taking a stroll in the good weather. They laugh and chatter away amicably together as they perambulate across the wide tiled square, all awkwardness of their early courtship long left behind and replaced with a comfort and ease that comes with knowing one another better. They walk between the two ornamental fountains where children play and head towards the sweep of stairs that lead up to the National Gallery of London.
As they walk into the shadow of the tall Neoclassical columned façade of the gallery, Edith shivers and pulls herself more closely against Frank, not because she is cold, but because she is intimidated by the enormity and grandeur of the ediface. She has never been to the National Gallery before, and even as she walks past the liveried guards, she silently worries that she will be dragged away from Frank and thrown out for her impertinence. Yet when they approach one near the entrance to the gallery, he smiles and says good morning to them both.
“You see, Edith,” Frank reassures her, squeezing her forearm just above where her green leather handbag handle sits in the crook of her arm. “I told you there was nothing to worry about. The National gallery is for everyone, not just the wealthy.”
The pair walk through long galleries where the gently diffused light from large skylights above falls onto the artworks hanging in gilt frames along the painted walls around them. The galleries are populated with people of all kinds chatting quietly together in pairs like Frank and Edith or in small groups, all admiring the works hanging serenely about them in the long galleries. Edith’s heels click against the parquetry floors, but she is too amazed by all the beautiful paintings to feel self-conscious about it or feel inferiority because her clothes are not as fine as some of the gallery’s visitors around them. With her right arm linked firmly with Frank’s, she allows him to lead her through gallery after gallery, pointing out portraits of famous people from history, landscapes by the Impressionist painters of France, Italian Renaissance paintings and Dutch masters.
Eventually the pair wend their way to a gallery featuring artwork and furnishings from, or inspired by the Tudor period.
“The Royal Nursery 1538 by Marcus Stone,” Edith reads quietly aloud from the plaque stuck to the red painted wall beneath the large gold framed portrait. “Painted in 1871.” She looks closely at the fine details of the faces of the people in the oil painting and their beautiful Tudor costumes. “Well that’s obviously Henry VIII,” she remarks, indicating to the central figure pulling a toy galleon on wheels, who is unmistakably the Tudor sovereign. “But who are the others?”
“Well,” Frank says peering at the oil painting which has yellowed with age and exposure to the elements. “I’d say that is his son, Prince Edward,” He points to the cherubic child in what looks more like a Tudor torture machine than a wooden walker. “I would imagine that that is Princess Elizabeth who became Queen Elizabeth.” He indicates to a sad looking child standing on her own to the left of the painting with a wistful look on her face.
“How do you know that Frank?” Edith asks with eyes glittering with excitement.
“Well, see,” he points to her hands. “She appears to have been reading before the arrival of King Henry, and Queen Elizabeth was purportedly an avid reader.”
“Oh!” Edith nods and gazes seriously at the child.
“And that may be Princess Mary, who became Queen Mary who caused so many problems between the Catholics and the Protestants here in England.” Frank indicates to the young woman in very grand garb kneeling beside the young prince in the walker. “She was Elizabeth’s older half-sister. I’m not sure who the rest are. Servants maybe, or the king’s advisors.”
“Yes, she looks like a nursemaid.” Edith points to a woman in the shadows to the right of the painting standing by a cradle.
“Of course,” Frank remarks. “It’s all very fanciful, really.”
Edith turns away from the painting after the pair look at it in companionable silence for a few moments longer and spots several high backed chairs with red velvet seats sitting in a cluster in the middle of the gallery’s parquetry floor.
“Do you mind if we sit down for a few minutes Frank? My shoes are beginning to pinch from all the standing we’ve been doing.”
“Oh of course, Edith!” Frank replies with concern. “Lets sit over there.” He nods to the same cluster of chairs that had caught Edith’s eyes.
The pair walk over to the chairs where Edith sinks down with a grateful sigh, whilst Frank sits down beside her, placing his smart summer straw boater on the seat next to him. Edith reaches down to her foot and discreetly slips off her left Sunday best black pump and rubs her heel beneath her slightly rumpled stocking.
Sitting up again, Edith looks back across at the painting. “What do you mean by the painting is fanciful, Frank?”
“Well, I doubt that even King Henry’s children’s nursery would have looked quite so picturesque as that in Tudor times. Life dirty back in those days, even for kings and queens. Marcus Stone* was a Victorian Romantic painter, Edith, so his image is a romanticised version of what we might have seen.”
“But none of us can truly know what the King’s nursery looked like back then, Frank.”
“Very true, Edith. Mr. Stone was painting a historical scene that appealed to the romantic ideals of the time. Queen Victoria and her family were very interested in history, but a romanticised and sanitised version of it, and she influenced the tastes of all her subjects. She was also a very family-oriented monarch, probably the first since King George III, so domestic scenes were very popular at the time Mr. Stone painted it.”
Edith’s pretty cornflower blue eyes grow wide as she stares in admiration at her beau sitting beside her. “You are so knowledgeable, Frank.”
“Thank you Edith.” he replies proudly sitting up a little more boldly.
“How do you know so much?”
“Well, I do read quite a lot, Edith. You should see my bedroom at my lodgings. There are books everywhere. Mrs. Chapman keeps threatening to fling them all out. She says the weight will make the floors bow.” He chuckles.
“They won’t will they, Frank?” Edith gasps.
“Oh no!” he assures her. “It’s just Mrs. Chapman and one of her ways. I don’t think she has ever been a great reader, and she treats books, and book readers, with suspicion. I don’t think she would have agreed to take me as a paying lodger if she knew I read as much as I do.”
“I don’t know where you find the space in your head to store all the information you gather from what you read. I’m sure I couldn’t. I’m sure I’ll never be as smart as you, Frank.” Edith blushes with embarrassment.
“Rubbish Edith!” Frank retorts quickly. “I’ve told you before, we are all smart in different ways. There are things you know and know how to do that I don’t.”
“Sometimes I think what I know in comparison to you is of no significance at all.”
“That’s foolish talk too, Edith, and I said as much in Hilda’s kitchen that Sunday when we all went to the Hammersmith Palais**.” Frank chides his sweetheart, not unkindly. “You know how to cook, and all my knowledge of painting couldn’t feed an empty belly.” He looks at Edith lovingly. “You know you really mustn’t feel inferior, Edith. I only know what I do because my grandparents used to bring me here when I was, as Gran would say, ‘a wee bairn’.”
“Well, you are very lucky, Frank.”
“I know, Edith.” He looks around the red painted gallery populated with couples, small clusters of people and a few men and women on their own, quietly admiring the Tudor paintings covering the walls. “So, how do you like your first visit to the National Gallery, then?”
“Oh, I love it, Frank!” Edith enthuses. “You know, when we spent New Year’s Eve at The Angel*** and you suggested that we visit here, I had my doubts.”
“I know Edith. I could see them, as plain as day in your pretty face.” Frank chuckles.
“I always thought of galleries as places, well where people like Miss Lettice and her fine friends go, and not for people like me. The way she tries to talk to me about modern art and fashionable trends when she gets a new delivery from the Portland Gallery in Bond Street just leaves me feeling bewildered. Next to her, I feel I don’t even know what art is.”
“Well, those kind of galleries are a bit more avant-garde.” Frank agrees.
“What does that mean, Frank?”
Frank thinks for a moment, looking up to the white painted plaster ceiling above before replying. “Experimental and innovatively modern.”
“Well, I don’t think I am so keen on that kind of art. Paintings that look like blotches and squares of bright colour that I’m told are portraits or landscapes where I can’t see either, leave me feeling unsettled. But here,” She waves her hands expansively around her with a relieved smile. “I can see paintings and sculptures that I understand. That painting says it’s a nursery, and whether it is historically accurate or not, Frank, it looks like a nursery to me. These are like the pictures Mrs. Boothby has hanging above her sink in Poplar, only far more colourful and beautiful.”
“That’s because these are originals, not facsimiles, Edith.”
“Facsimile.” Edith laughs quietly and shakes her head as she rolls the foreign word around on her tongue like an exotic sweet. “And what does that mean, Frank Leadbetter?”
“A copy.” he replies with a slightly embarrassed chuckle of his own.
“Facsimile, facsimile,” Edith quietly recites, trying to gain familiarity with the word. “I like that word, Frank. It sounds very grand and important, and much nicer than copy, which sounds so boring and everyday in comparison.”
The pair laugh together and sigh happily.
“So, you’d be happy to come here again then, Edith?” Frank asks hopefully.
“Oh yes Frank! I’d love that!”
“I’m glad to hear you say that Edith, because there are so many more galleries to see, and the curators of the galleries do change paintings over from time to time, and have exhibitions of paintings brought in especially from other galleries in other countries.”
“Are you wanting to make me as knowledgeable about art as you, Frank?”
“Well,” Frank blushes. “It wouldn’t be a bad thing to expand your horizons, Edith, and I love showing you that there is a whole world of art that you’ve never experienced before.”
“Oh, you are so lovely, Frank.” Edith sighs. “How fortunate I am to have met you.”
“And how lucky I am to have met you too, Edith.”
The couple discreetly hold hands as they sit side by side on the seats and stare lovingly into one another’s eyes, the people milling about them, the sound of footsteps and the quiet burble of conversation drifting away as they focus only on each other.
At length Frank breaks their blissful moment of enjoyment. “What do you think your mum would say to me bringing you here, Edith?” His happy eyes suddenly cloud a little with concern.
“Oh, I don’t think she’d mind, Frank.”
“Don’t you think she would think I was trying to fill your head with ideas that don’t belong there?” he asks glumly, hanging his head as he speaks.
“No, of course she wouldn’t! Mum loves beautiful things too, Frank. I think she thinks the same of galleries as I did until you brought me here, and if she knew that the gallery was open to the likes of you and me, and that it was free, she’d spend a few hard earned pennies catching the tube to come here too.”
“Do you really think so, Edith?”
“Of course I do, Frank. Maybe we could even bring her here one Sunday on our day off.” Edith assures her beau.
“That would be a turn up for the books, Edith.” Frank smiles.
“Look, I know that you and Mum got off to a rocky start together when you first met, but she’s warming to you, Frank. Honestly she is.”
“I’m sure Edith.” Frank squeezes Edith’s hands. “I’m just anxious that we get along, is all. When you and I get married, I want her to be proud of her daughter’s choice in a husband.”
“Frank,” Edith looks earnestly into the young man’s anxious face. “Mum knows that I’m old enough to make my own decisions. I’m not a little girl anymore. She will be proud when I marry the man who suits me down to a tee, and that man is you, Frank.”
Frank blushes red and smiles shyly at his sweetheart who returns it with her own shy smile.
“I do love you, Edith Watsford.”
“And I love you, Frank Leadbetter.”
“Well, if you do, Edith,” Frank looks back at the picture of the Royal Nursery and points. “How many children shall we have?”
“Oh, you are awful Frank Leadbetter!” gasps Edith, her cheeks colouring at the mention of having babies. “None until after the day we get wed!” She releases his hands and playfully smacks him across the knuckles.
“Yes, but then now many?” Frank persists.
“We’ll see then, won’t we, Frank?” Edith laughs. She slips her shoe back on and picks up her handbag. “Come on,” she says, standing up. “We’ve sat here for long enough.” She holds out her hand to him. “It’s time for you to show me some more of the National Gallery.”
“Yes Miss!” Frank says, snatching up his hat and their guidebooks.
Arm in arm the pair begin to move further along the gallery towards the door leading into the next room, their heads bowed towards one another as they chatter happily between them.
*Marcus Stone RA was an English painter. He was born in London in 1840, and was educated by his father, artist Frank Stone, before exhibiting at the Royal Academy before he was eighteen. He is known for his illustrations of books by Charles Dickens and Anthony Trollope. His earlier works were mostly historical incidents, but his later works were more sentimental. He is best known for his painting “In Love” which he painted in 1888. He died in 1921 in Kensington.
**The Hammersmith Palais de Danse, in its last years simply named Hammersmith Palais, was a dance hall and entertainment venue in Hammersmith, London, England that operated from 1919 until 2007. It was the first palais de danse to be built in Britain.
***The Angel, one of the oldest Rotherhithe pubs, is now in splendid isolation in front of the remains of Edward III's mansion on the Thames Path at the western edge of Rotherhithe. The site was first used when the Bermondsey Abbey monks used to brew beer which they sold to pilgrims. It is located at 24 Rotherhithe St, opposite Execution Dock in Wapping. It has two storeys, plus an attic. It is built of multi-coloured stock brick with a stucco cornice and blocking course. The ground floor frontage is made of wood. There is an area of segmental arches on the first floor with sash windows, and it is topped by a low pitched slate roof. Its Thames frontage has an unusual weatherboarded gallery on wooden posts. The interior is divided by wooden panels into five small rooms. In the early 20th Century its reputation and location attracted local artists including Augustus John and James Abbott McNeil Whistler. In the 1940s and 50s it became a popular destination for celebrities including Laurel and Hardy. Today its customers are local residents, tourists and people walking the Thames Path.
Although carefully arranged to look like the National Gallery as it was in the 1920s, this scene is different from what you might think, for it is made up entirely of 1:12 size dollhouse miniatures from my collection, including pieces from my own childhood.
Fun things to look for in this tableau include:
The paintings on the walls in their gilt frames all come from Kathleen Knight’s Dolls House Shop in the United Kingdom. The main painting featured is a copy of “The Royal Nursery 1538”, an oil on canvas by Victorian Romanticist painter, history painter, illustrator and genre painter, Marcus Stone.
The Queen Anne chairs in the foreground are part of a dining room set that I was given as birthday present when I was a child.
1:12 size miniature hats made to exacting standards of quality and realism are often far more expensive than real hats are. When you think that one would sit comfortably on the tip of your index finger, yet it could cost in excess of $150.00 or £100.00, makes them an extravagance. American artists seem to have the monopoly on this skill and some of the hats that I have seen or acquired over the years are remarkable. Although not as expensive, Frank’s straw boater is made with wonderful detail and comes from Doreen Jeffries’ Small Wonders miniature shop in the United Kingdom.
Edith’s handbag handmade from soft leather is part of a larger collection of hats and bags that I bought from an American miniature collector Marilyn Bickel.
The black umbrella came from an online stockist of 1:12 miniatures on E-Bay.
The Tudor table beneath “The Royal Nursery 1538” and the Tudor chair you can just see to its right, I bought as part of a lot of miniature pieces from an antique auction when I was a late teenager. The chest to the left of the photo came from Kathleen Knight’s Dolls House Shop.
Edith’s handbag handmade from soft leather is part of a larger collection of hats and bags that I bought from an American miniature collector Marilyn Bickel.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based on historical facts. BEWARE!
Some background:
The 80th Pursuit Group (Interceptor) was constituted on 13 January 1942 and activated on February 1942. It was redesignated as the 80th Fighter Group in May 1942. During World War II, the group was the first USAAF unit to be stationed in Burma after the Allied retreat in 1942. During its two years in combat, this group, which called itself the Burma Banshees, kept the supply lines open to China while clearing the way for Allied forces and US Army units such as Merrill's Marauders to sweep Japanese forces from northern Burma.
The 80th trained for combat and served as part of the defense force for the northeastern United States from, 1942–1943. Its flying squadrons were the 88th, 89th, and 90th Pursuit (later Fighter) Squadrons, later augmented by the 459th Fighter Squadron.
The 80th sailed for India, via Brazil, the Cape of Good Hope, and Ceylon, in May 1943, commencing combat operations in the China-Burma-India theater in September 1943. The group supported Allied ground forces during the battle for northern Burma and the push southward to Rangoon, bombing and strafing troop concentrations, supply dumps, lines of communication, artillery positions, and other objectives.
Initial flying material consisted mainly of the P-40 and a few P-38 fighters. Using modified, so-called “B-40 fighter” bombers (P-40s fitted with a single 1,000-pound bomb), the 80th FG attacked Japanese-held bridges, sometimes demolishing their target with a single bomb. The 80th was assigned the defense of the Indian terminus of the Hump route, which it carried out by striking Japanese airfields and patrolling Allied air bases to safeguard them from attack. The 80th received a Distinguished Unit Citation for intercepting a formation of Japanese aircraft, preventing the destruction of a large oil refinery in Assam, India, on 27 March 1944. During this engagement, they shot down 18 enemy machines without losing any of their own.
After the capture of Myitkyina and the nearby airfield on May 17, 1944, parts of the 80th Fighter Group relocated to this location. During the heavy fighting around Kohima and Imphal, the British troops deployed there requested air support and the 80th Fighter Group was able to successfully thwart the Japanese advance. In the further course of the operations in Burma, the pilots of the 80th Fighter Group destroyed more than 200 bridges held by the Japanese and shot down around 80 Japanese planes.
Though its primary mission in Burma was the protection of the "Hump" cargo route, the group also played an important role in reopening the Ledo/Burma Road.
From mid-1944 onwards, the P-40s were supplemented and gradually replaced with the new, much more potent P-47 Thunderbolt. With their heavier machine gun armament (eight instead of six 0.5” machine guns) and a much higher ordnance load of up to 2,500 lb (1,100 kg) of bombs, unguided rockets and M10 “Bazooka” launchers, this new aircraft type proved to be very effective.
The Republic P-47 Thunderbolt was a World War II-era fighter aircraft produced by the American aerospace company Republic Aviation from 1941 through 1945. When fully loaded, the P-47 weighed up to eight tons, making it one of the heaviest fighters of the war. The Thunderbolt was effective as a short-to medium-range escort fighter in high-altitude air-to-air combat and ground attack in both the European and Pacific theaters. The P-47 was designed around the powerful Pratt & Whitney R-2800 Double Wasp 18-cylinder radial engine, which also powered two U.S. Navy/U.S. Marine Corps fighters, the Grumman F6F Hellcat and the Vought F4U Corsair. The P-47 became one of the main United States Army Air Forces (USAAF) fighters of World War II and also served with other Allied air forces, including those of France, the United Kingdom, and the Soviet Union. Mexican and Brazilian squadrons fighting alongside the USAAF also flew the P-47. The Thunderbolt’s armored cockpit was relatively roomy and comfortable. Nicknamed the "Jug" owing to its appearance if stood on its nose, the P-47 was noted for its firepower, as well as its ability to resist battle damage and remain airworthy.
From October 1944 the operations of the 80th Fighter Group in Northern Burma concentrated on the destruction of the routes of the Burma Railway. Operations with army support (operating as "cab ranks" to be called in when needed) were very successful, with attacks on enemy airfields and lines of communication, and the aircraft flew a number escort sorties. An 80th FG squadron could finally be relocated to Shingbwiyang and was thus in the immediate vicinity of Ledo Street, which was under construction. The squadron flew many sorties against advancing Japanese forces and was instrumental in the capture of Myitkyina. Napalm bombs, a new weapon and initially improvised from drop tanks with makeshift fins, were also used with devastating effect, but some of them very close to the company's own lines.
By the end of the war, the group had destroyed more than 200 bridges and killed scores of bridge repair crews. Air-to-air and air-to-ground sweeps by the group's pilots claimed 80 enemy planes destroyed in the air or on the ground. The 80th Fighter Group was withdrawn from combat in May 1945 and inactivated in November.
General characteristics:
Crew: 1
Length: 36 ft 1.75 in (11.02 m)
Wingspan: 40 ft 9 5/16 in (12.429 m)
Height: 14 ft 8 1/16 in (4.472 m)
Airfoil: Seversky S-3
Empty weight: 10,000 lb (4,536 kg)
Max takeoff weight: 17,500 lb (7,938 kg)
Powerplant:
1 × Pratt & Whitney R-2800-59 18-cylinder air-cooled radial piston engine, 2,000 hp (1,500 kW),
driving a 4-bladed Curtiss Electric C542S constant-speed propeller, 13 ft (4.0 m) diameter
Performance:
Maximum speed: 426 mph (686 km/h, 370 kn) at 30,000 ft (9,100 m)
Range: 1,030 mi (1,660 km, 900 nmi)
Service ceiling: 42,000 ft (13,000 m)
Armament:
8x 0.5” caliber (12.7 mm) M2 Browning machine guns (3.400 rounds)
Up to 2,500 lb (1,100 kg) of bombs, drop tanks and/or up to ten 5” (130 mm) unguided rockets
The kit and its assembly:
This is a very modest what-if model – just a fictional livery on a stock model, and part of the ongoing plan to “build down” The Stash™ of kits during the ongoing Corona lockdown. The idea behind it was spawned by a number of decals for P-40s for the 80th FG I found in my scrap box, which all carried spectacular skull markings on their noses. I wondered if and how these could be adapted to another aircraft type – and the P-47 lent itself for this project due to its sheer “canvas” size, despite having a radial engine, and being the natural successor of the P-40 in USAAF service.
From that I spun the idea further and settled for an early Razorback P-47D, in the form of the very nice Academy kit. The kit was basically built OOB, it went together nicely without major fights – a trait that I really like about most Academy kits. The only true weak spot of the P-47 is the flaps’ undersides: they are pretty thick/massive, so that there are shallow sinkholes. These are easy to fill, though, even though I ignored this flaw and rather lowered the flaps, a mod that’s pretty easy to do.
An addition is a scratched D/F loop antenna on a streamlined socket behind the cockpit, a typical feature of P-47s operated in the BMI theatre. The loop was created with thin wire, the socket is a piece of sprue, integrated into the spine with some putty. As a late-production Razorback Thunderbolt I gave the aircraft a Curtiss Electric paddle-bladed propeller, which the Academy kit offers as an optional piece.
The ordnance was also taken from the kit: a pair of Bazooka triple launchers for ground attack duties and a drop tank under the fuselage.
Painting and markings:
A simple affair: as an early P-47, I gave the aircraft the standard USAAF livery of olive drab and neutral grey. I used Tamiya XF-62, IMHO the best interpretation of the tone, and ModelMaster 1740, actually FS 36231 instead of FS 36173, but the Dark Gull Grey is a bit lighter than Neutral Grey and looks IMHO better on the 1:72 scale model. AFAIK, no P-47 carried the earlier mid-green blotches on the wings anymore. The cockpit was painted in Interior Green, while the landing gear wells became zinc chromate yellow, very traditional.
The individual aircraft markings were more spectacular and also challenging. The real eye-catcher is pair of 80th FG skulls on the cowling flanks, even though these had to be completed with paint since they come from a Hobby Boss P-40N and feature empty sections for the exhaust stubs. The empty eye sockets had to be added manually, too, and since there was now a lot of white, I added – after consulting pictures of 80th FG P-40s - thin black lines to the skull with a felt tip pen. A real improvement, and it’s even authentic!
Furthermore, I added 1st Air Commando Group markings in the form of five white diagonal stripes around the rear fuselage. This group operated in the BMI area, e.g. P-51s, B-25s and even P-47s, but the 80th FG was not part of it. Nevertheless, the stripes suit the Razorback very well, and they were created with generic 2mm decal stripes from TL Modellbau. Each stripe had to be applied and trimmed individually, not an easy task on the conical tail with its concave and convex surface. The result is not perfect, but I am fine with it, and it looks very cool.
Pictures of early USAAF P-47s in the BMI are hard to find, but what I found suggests that Allied machines wore single bands on wings and tail surfaces as additional ID markings from 1943 on, much like the P-47s over Europe. On later NMF aircraft, these were dark blue (on both USAAF and RAF aircraft), and I was lucky to have a complete set of white P-47 markings left over from an Xtradecal set for SEAC RAF Thunderbolts, which comes with pre-cut bands in white and blue, very convenient! On the downside, the white fuselage stripes dramatically revealed that the P-47’s OOB decals, esp. the Stars and Bars, lacked opacity, so that I had to add some white paint manually to hide the resulting mess.
Typical unit markings of the 89th FS are a red spinner, and since the P-47 has only a small one, I added a thin red frame around the cowling, as carried by later real-world 89th FS P-47s, which were left in bare metal, though. As a gimmick I painted the wheel hubs in red, too. As a personal marking of the pilot I christened the aircraft “The Big Fella”, taken from an Irish pre-WWII armored car, and I added some air victory markings.
As usual, the kit received a black ink washing overall and some post panel shading with Revell 42 and 46 on the upper surfaces and ModelMaster 2105 (Dark French Blue Gray) underneath for visual drama and weathering. Some light soot stains around the gun muzzled were created with graphite, oil stains under the fuselage with Tamiya “Smoke”.
While this was not a complex build and even the livery is pretty close to real world standards, I like the outcome and how the skull markings stand out on the huge P-47. The array of fuselage stripes are an interesting visual extra, even though I was afraid that they were, together with the white ID stripes on the wings, a bit too much. The red highlights are an interesting contrast, too, and IMHO the whole decoration works fine. Everything fictional, but plausible and believable.
Brighton & Hove trainer R235 HCD was busy around Crawley today, presumably being used by Metrobus to supplement its own trainers, two of which were also out and about.
Magnus is doing well. Right now he wears out easily, but we have successfully transitioned him back to his regular food. He'll take his last antibiotic tablet Saturday evening. I hope his stools return to completely normal soon. In the meantime, Magnus simply cannot resist adding a bit of fresh greens to his diet.
(Given the amount of weight he's lost, he really should eat more than just salad.)
[SOOC, f/1.4, ISO 160, shutter speed 1/640, -2/3 EV]
There’s also homemade bacon-infused butter, lobster butter, truffle aioli, and cocktail sauce can be added for $4 supplement each.
Lbs
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(647) 351-4747
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Owners: Jonathan Gonsenhauser and Will Tomlinson
Introducing for TorontoLife: torontolife.com/food/restaurants/lbs-pounds-lobster-burge...
Green tea supplements are ideal for those who don’t enjoy drinking green tea. Also, you experience a more potent dosage per tablet than you will per each mug of green tea, meaning you’ll reap more benefits by taking supplements. Here are the proven benefits of green tea in further detail.
•Aids Fat Burning – One main reason why people consume green tea is because it’s proven to increase fat burning. Green tea health supplements boost metabolic rate and enhance physical performance.
•Lowers The Risk Of Cardiovascular Disease – It lowers the main risk factors for these diseases, including triglycerides, LDL cholesterol, and cholesterol. Research has shown that those who drink green tea or take green tea supplements have more than 30 per cent lower risk of cardiovascular disease.
•Lowers Your Risk Of Type II Diabetes – If that wasn’t enough, green tea can also reduce your risk of type II diabetes, as it reduces blood sugar levels and improves insulin sensitivity.
•Lowers Your Risk Of Certain Cancers – Finally, green tea supplements can reduce the risk of certain cancers, such as colorectal, prostate and breast cancer. This is because it’s a source of powerful antioxidants that have a protective effect.
Check here: www.supplementswise.com/health-food-supplements.html
Crews in Tacoma, Wash. began the fifth of six float-outs in early June as the first two of eight supplemental stability pontoons made their way into the waters of Commencement Bay. These supplemental stability pontoons will help stabilize the new SR 520 floating bridge when joined to larger longitudinal pontoons. The sixth, and final float-out, is scheduled for fall 2014.
Echinacea /ˌɛkɪˈneɪʃiə/ is a genus of herbaceous flowering plants in the daisy family. It has ten species, which are commonly called coneflowers. They are found only in eastern and central North America, where they grow in moist to dry prairies and open wooded areas. They have large, showy heads of composite flowers, blooming in summer. The generic name is derived from the Greek word ἐχῖνος (ekhinos), meaning "sea urchin", due to the spiny central disk. These flowering plants and their parts have different uses. Some species are cultivated in gardens for their showy flowers. Two of the species, E. tennesseensis and E. laevigata, are listed in the United States as endangered species.
Echinacea purpurea is used in traditional medicine.Although commonly sold as a dietary supplement, there is insufficient scientific evidence that Echinacea products are effective or safe for improving health or treating any disease.
DESCRIPTION
Echinacea species are herbaceous, drought-tolerant perennial plants growing up to 140 cm in height. They grow from taproots, except E. purpurea, which grows from a short caudex with fibrous roots. They have erect stems that in most species are unbranched. Both the basal and cauline (stem) leaves are arranged alternately. The leaves are normally hairy with a rough texture, having uniseriate trichomes (1–4 rings of cells) but sometimes they lack hairs. The basal leaves and the lower stem leaves have petioles, and as the leaves progress up the stem the petioles often decrease in length. The leaf blades in different species may have one, three or five nerves. Some species have linear to lanceolate leaves, and others have elliptic- to ovate-shaped leaves; often the leaves decrease in size as they progress up the stems. Leaf bases gradually increase in width away from the petioles or the bases are rounded to heart shaped. Most species have leaf margins that are entire, but sometimes they are dentate or serrate.
The flowers are collected together into single rounded heads at the ends of long peduncles. The inflorescences have crateriform to hemispheric shaped involucres which are 12–40 mm wide. The phyllaries, or bracts below the flower head, are persistent and number 15–50. The phyllaries are produced in a 2–4 series. The receptacles are hemispheric to conic. The paleae (chaffs on the receptacles of many Asteraceae) have orange to reddish purple ends, and are longer than the disc corollas. The paleae bases partially surrounding the cypselae, and are keeled with the apices abruptly constricted to awn-like tips. The ray florets number 8–21 and the corollas are dark purple to pale pink, white, or yellow. The tubes of the corolla are hairless or sparsely hairy, and the laminae are spreading, reflexed, or drooping in habit and linear to elliptic or obovate in shape. The abaxial faces of the laminae are glabrous or moderately hairy. The flower heads have typically 200–300 fertile, bisexual disc florets but some have more. The corollas are pinkish, greenish, reddish-purple or yellow and have tubes shorter than the throats. The pollen is normally yellow in most species, but usually white in E. pallida. The three or four-angled fruits (cypselae), are tan or bicolored with a dark brown band distally. The pappi are persistent and variously crown-shaped with 0 to 4 or more prominent teeth. x = 11.
Like all members of the sunflower family, the flowering structure is a composite inflorescence, with rose-colored (rarely yellow or white) florets arranged in a prominent, somewhat cone-shaped head – "cone-shaped" because the petals of the outer ray florets tend to point downward (are reflexed) once the flower head opens, thus forming a cone. Plants are generally long lived, with distinctive flowers. The common name "cone flower" comes from the characteristic center "cone" at the center of the flower head. The generic name Echinacea is rooted in the Greek word ἐχῖνος (echinos), meaning hedgehog, in reference to the spiky appearance and feel of the flower heads.
TAXONOMY
The genus Echinacea was first formally described by Linnaeus in 1753, but as one of five species of Rudbeckia, Rudbeckia purpurea. Conrad Moench subsequently reclassified it in 1794 as the separate but related genus, Echinacea, with the single species Echinacea purpurea, so that the botanical authority is given as (L.) Moench. Historically, there has been much confusion over the taxonomic treatment of the genus, largely due to the ease with which the taxa hybridize with introgression.
DNA analysis has been applied to determine the number of Echinacea species, allowing clear distinctions among species based on chemical differences in root metabolites. The research concluded that of the 40 genetically diverse populations of Echinacea studied, there were nine to ten distinct species. A common taxonomic treatment includes nine species, of which two, E. angustifolia DC and E. paradoxa (Norton) Britton, are further divided into two varietals. Treatments that include ten species, differ by the addition of E. serotina (Nutt.) DC. An alternative classification with four species and eight subspecies has been proposed.
SPECIES
World Flora Online gives ten accepted species:
Echinacea angustifolia – Narrow-leaf coneflower
Echinacea atrorubens – Topeka purple coneflower
Echinacea laevigata – Smooth coneflower, smooth purple coneflower
Echinacea pallida – Pale purple coneflower
Echinacea paradoxa – Yellow coneflower, Bush's purple coneflower
Echinacea purpurea – Purple coneflower, eastern purple coneflower
Echinacea sanguinea – Sanguine purple coneflower
Echinacea serotina – Narrow-leaved purple coneflower
Echinacea simulata – Wavyleaf purple coneflower
Echinacea tennesseensis – Tennessee coneflower
RESEARCH
Echinacea products vary widely in composition. They contain different species (E. purpurea, E. angustifolia, E. pallida), different plant segments (roots, flowers, extracts), different preparations (extracts and expressed juice), and different chemical compositions which complicate understanding of a potential effect.
Well-controlled clinical trials are limited and low in quality, with little scientific evidence that Echinacea supplement products are useful for treating any disease. Although there are multiple scientific reviews and meta-analyses published on the supposed immunological effects of Echinacea, there is significant variability of products used among studies, leading to low-quality or no evidence for efficacy and safety. Consequently, regulatory authorities, such as the United States Food and Drug Administration, have not approved Echinacea products as safe and effective for any health or therapeutic purpose.
COMMON COLD
While one 2014 systematic review found that Echinacea products are not effective to treat or prevent the common cold, a 2016 meta-analysis found tentative evidence that use of Echinacea extracts reduced the risk of repeated respiratory infections. A 2015 monograph by the European Medicines Agency stated that oral consumption of "expressed juice" or dried expressed juice of Echinacea could prevent or reduce symptoms of a common cold at its onset. As of 2020, the benefit, if any, appears to be small and thus of little utility.
CANCER
According to Cancer Research UK, "There is no scientific evidence to show that echinacea can help treat, prevent or cure cancer in any way. Some therapists have claimed that echinacea can help relieve side effects from cancer treatments such as chemotherapy and radiotherapy, but this has not been proven either."
SIDE EFFECTS
When taken by mouth, Echinacea does not usually cause side effects, but may have undesirable interactions with various drugs prescribed for diseases, such as heart disease, bleeding, and autoimmune diseases, such as rheumatoid arthritis, lupus, or psoriasis. Although there are no specific case reports of drug interactions with Echinacea, safety about taking Echinacea supplements is not well-understood, with possibilities that it may cause side effects, such as nausea, stomach upset or diarrhea, and that it may have adverse reactions with other medications. One of the most extensive and systematic studies to review the safety of Echinacea products concluded that overall, "adverse events are rare, mild and reversible," with the most common symptoms being "gastrointestinal and skin-related." Such side effects include nausea, abdominal pain, diarrhea, itch, and rash. Echinacea has also been linked to allergic reactions, including asthma, shortness of breath, and one case of anaphylaxis. Muscle and joint pain has been associated with Echinacea, but it may have been caused by cold or flu symptoms for which the Echinacea products were administered. There are isolated case reports of rare and idiosyncratic reactions including thrombocytopenic purpura, leucopenia, hepatitis, kidney failure, and atrial fibrillation, although it is not clear that these were due to Echinacea itself. Up to 58 drugs or supplements may interact with Echinacea.
As a matter of manufacturing safety, one investigation by an independent-consumer testing laboratory found that five of eleven selected retail Echinacea products failed quality testing. Four of the failing products contained levels of phenols below the potency level stated on the labels. One failing product was contaminated with lead.
CHILDREN UNDER 12 YEARS OLD
The European Herbal Medicinal Products Committee (HMPC) and the UK Herbal Medicines Advisory Committee (HMAC) recommended against the use of Echinacea-containing products in children under the age of 12. Manufacturers re-labelled all oral Echinacea products that had product licenses for children with a warning that they should not be given to children under 12 as a precautionary measure.
PREGNANCY
Although research has not found increased risk of birth defects associated with use of Echinacea during the first trimester, it is recommended that pregnant women should avoid Echinacea products until stronger safety supporting evidence becomes available.
LACTATION
It is recommended that women breastfeeding should use caution with Echinacea products due to insufficient safety information available.
GENERAL PRECAUTION
The U.S. Food and Drug Administration recommends precaution about using dietary supplements because some products may not be risk free under certain circumstances or may interact with prescription and over-the-counter medicines.
As with any herbal preparation, individual doses of Echinacea may vary significantly in chemical composition. Inconsistent process control in manufactured echinacea products may involve poor inter- and intra-batch homogeneity, species or plant part differences, variable extraction methods, and contamination or adulteration with other products, leading to potential for substantial product variability.
OTHER USES
Some species of Echinacea, notably E. purpurea, E. angustifolia, and E. pallida, are grown as ornamental plants in gardens. Many cultivars exist, and many of them are asexually propagated to keep them true to type.
Echinacea extracts inhibited growth of three species of trypanosomatids: Leishmania donovani, Leishmania major, and Trypanosoma brucei.
HISTORY
Echinacea angustifolia was widely used by the North American indigenous peoples as folk medicine. According to Wallace Sampson, its modern use for the common cold began when a Swiss herbal supplement maker was told that Echinacea was used for cold prevention by Native American tribes who lived in the area of South Dakota. Some Plains tribes did use echinacea for cold symptoms. The Kiowa used it for coughs and sore throats, the Cheyenne for sore throats, the Pawnee for headaches, and many tribes including the Lakota used it as a pain medication.
WIKIPEDIA
Farms and workers in the Pajaro Valley benifit from the Pajaro Valley Water Management Agency (PVWMA) sanitized wastewater is used by growers as is or in blends with salty ground (well) water to reduce the salt content for agriculture use, in Watsonville, CA, on Thursday, August 27, 2015.
The Pajaro Valley does not use surface water resources from coastal mountain ranges, rivers, aqueducts and reservoirs. Farms and cut flower growers in this valley pump 98% of agricultural water from underground water sources. There are rivers and streams in the valley, but not for agriculture.
PVWMA is working with the Department of the Interior (DOI) U.S. Geological Survey (USGS) to develop a hydrologic model, a tool to help plan water management facilities. This has led to the construction of pipelines and water supply facilities that provide a supplement source of water. One of them is the Recycle Water Facility in the City of Watsonville Water Resources Center, adjacent to the nearby Pajaro River.
It is the third and most recent phase of the Water Resources Center. The 2009 opening of its third phase, Water Recycling Facility, a drought-tolerant operation, takes in 6-million gallons per day from the City of Watsonville, and the Town of Pajaro, and produces a disinfected supply of water for high value agriculture. The water treatment sterilizes the reclaimed water. Standards are set by California Department of Public Health, per Title 22.
It produces approximately 2,000 gallons per minute or 4,000 acre/ft. during the agricultural year. Reclaimed water users are trained; the water is highly monitored and government tested. Reclaimed water in part or whole is delivered through distribution pipes that are painted an industry standard purple color, and serves as a public reminder of their efforts.
The process sometimes leaves more salt more than specific crops can tolerate. To reduce the percentage, it is blended with ground water or recharge water with lower salt levels to adjust for the plantâs tolerance level and keeps the farms productive and workers employed.
One of the major consumers of the water is a near by Harkins Slough Managed Aquifer Recharge and Recovery Facility that pumps winter runoff from a slough (or river channel) to recharge a 14-acre percolation basin (a shallow hilltop lake) where it percolates into the groundwater aquifer. The stored water is either pumped out in the summer for irrigation, or is kept underground to recharge the aquifer.
Only a few miles away, the Pacific Ocean saltwater in Monterey Bay soaks the coastline and exerts a natural push into the land. Without enough water in the aquifer to push back, the seawater salt enters the aquifer. If too salty, the water harms plants instead of nourishing them, making it unusable. When seawater enters an aquifer that is below sea level, it is not always possible to reverse it, permanently loosing a freshwater aquifer.
The Pajaro Valley Water Management Agency is a state-chartered water management district, and paid for the construction of the Water Recycling Facility, now owned by City of Watsonville. The water it produces belongs to PVWMA.
The agency has a three-part Base and Management Plan that focuses on water conservation, optimization of existing facilities and new facilities.
In the 30 years PVWMA has been in business their approach has evolved, bringing as many public, business and governmental stakeholders in to hear all solutions and working in a collaborative fashion. Some stakeholders include, USDA Natural Resources Conservation Service (NRCS), DOI USGS, Resource Conservation Districts (RCD) Community Water Dialogue (CWD,) Central Coast Agricultural Water Quality Coalition to reach out and teach efficiencies to agricultural businesses and homeowners.
www.nrcs.usda.gov/wps/portal/nrcs/site/national/home/
USDA Photo By Lance Cheung.
Finding supplements, specifically ayurvedic supplements could be hard in a foreign country but www.ayurda.com/health-supplements can present the greatest chemist shops which suit you.
Spring garlic and other produce for sale at Jack London Square, in Oakland, CA, on Sunday, March 2, 2014. USDA photo by Lance Cheung.
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“Before Egypt” is a major new exhibition featuring the internationally important collections of Predynastic Egyptian and Nubian artefacts from the University of Liverpool’s Garstang Museum of Archaeology, supplemented by loans of key objects from UK museums.
With artefacts dating from as early as 7,000 years ago, “Before Egypt” delves into the prehistoric past of Egypt and Nubia, featuring the ways in which early art, culture and politics were influenced by the unique geography of the Nile Valley. Many of the artefacts highlighted in the exhibition have never previously been on public display.
The exhibition culminates with the beginning of the Pharaonic Age in around 3000BC, showcasing artefacts from the tomb of Neith-hotep, the earliest historically attested woman in the world. Displays feature an object in the Garstang collection which suggests that this remarkable woman may have been more than ‘just’ a Queen...
The exhibition’s curator, Dr. Gina Criscenzo-Laycock said: “When people think of Egypt, they tend to think of pyramids and gold masks, mummies and animal headed gods. But where did the people who created these wonders come from? And who was Neith-hotep, the first woman in the world whose name survives to this day? Was she a queen, or was she Egypt’s first Pharaoh? This exhibition is an exciting opportunity to talk about how we interpret ancient evidence, and invites visitors to examine their own preconceptions and preferences.”
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Pregnancy is known to be the most delightful stage of femininity. Keep you as well as your baby healthy with Feel Good Gold's Resveratrol! Made out of naturally healthy ingredients.
A Mother-to-be has varying feelings all through this delightful adventure and doesn't have the suitable words to express them. The moments when being pregnant was dis-associated with being stylish is a subject put to rest. Several beauticians and professional photographers have declared that women look really stunning when they are currently pregnant. Today, women are even more aware when it comes to their looks because looking great is associated with a being the ultimate positive personality. It is time to get rid of those baggy and frumpy clothing that do not compliment your body; rather go for trendy, sophisticated and comfy clothes that make you an alluring mother-to-be.
This short article will enable you to find out more facts pertaining to the maternity items one should certainly take into consideration in order to appear stunning and feel relaxed too.
- First things first, definitely pick the best fabric according to the weather. Silk and flowy clothes look truly fantastic but they are slightly uneasy for a long term. As a replacement, one can opt for chiffon; they aren't only flowy but allow skin to relax.
- Secondly, flaunt your curves. Feel very proud of your pregnancy and flaunt your over-sized belly. Decide on apparels which are comfy and not tight or body-hugging.
- Thirdly, select outfits of right size. It's noticed that women decide on outfits that are loose and a lot more baggy for them but it's suggested to decide on outfits that fit you well because it's better to look wise compared to shabby. Select clothing that give assistance to your body especially to your spine and shoulder which in turn provides you correct posture.
- Fourthly, simplicity is most likely the trick. A Mother-to-be does not have to be a fashionista. Dress simply but elegantly. Comfort is the best key so, do not cover yourself by using hefty fashion accessories and so on. make it simple and classy.
- Lastly, pick clothing that are elastic. They're identified as clothes which grow together with you. All of us fully understand that as the month moves the size of the belly increases so, choose a cloth which is elastic and fits your body perfectly each time you wear it. Through this, you may wear them for a lot more months during your pregnancy period.
There are many maternal pieces that a person should own within their pregnancy. They're:.
1. Summer Maxi outfit - These are flowy, comfortable and does not make you appear shabby. Rather maxi clothing normally accentuate your body.
2. Designer Denims - They grow with you and have a comfy waistband. These denims are comfy and give you very good assistance. It guarantees that one does not miss their beloved set of denims even when they are currently pregnant.
3. Cross-over t-shirts - These tops are comfy and produce a drape effect. Easy to wear, these tops most definitely flatter your curves and enable you to look wonderful.
4. Winter coats - Seeing that winters are coming, long coats may be a truly great choice to cover you.
5. Comfy Pajamas - Pajamas and yoga pants are normally nice to wear plus they appear great for a laid-back look.
These are definitely some little guidelines that you may remember and write it on your listing. Pregnancy is all about feeling good and being spoiled. Even if you're currently pregnant still do not fail to remember to make heads turn. www.youtube.com/watch?v=iTxneHWSXhY_player
To live on the moon, you would need an atmosphere. On Earth the atmosphere is generated very largely by living organisms. To survive in your new atmosphere, you would have to take with you rather a lot of stuff that nature supplies here on Earth. Although many humans live in great luxury, more or less disconnected with the living world in their own perceptions, almost all of their well-being depends on goods and services delivered by things that live.
Everything we eat, for example, was recently nourished by ecosystems in the soil. These days the work of those soil organisms is often supplemented or disrupted by products synthesised from oil - another product of ecosystems, albeit ecosystems that lived some 360 million years ago. Cotton, wool, timber, and many pharmaceuticals are the product of the living world.
In 1981 Paul and Anne Ehrlich coined the term “ecosystem service” to refer to these things that humans get from the living world. A decade later the Millennium Ecosystem Assessment categorised the services into “provisioning” services such as food and fibre; “regulating” services such as control of climate, floods or disease; “cultural” services such as spiritual, cognitive, aesthetic and cultural benefits; and “supporting services” such as production of atmospheric oxygen, soil formation, and nutrient cycling, that themselves maintain the conditions for life on Earth.
This picture illustrates one of the more depressing findings of the Millennium Ecosystem Assessment, or MA; most of the ecosystems on Earth have been and continue to be degraded. The culprit, in every case, is the human species, either directly or indirectly. There are so many of us, and we demand so much from the planet, that ecosystem services are increasingly disrupted.
Among the out of focus tiles you will see “food” and “water”, and several other services that are missing letters here and there.
Do you ever feel like your taking too many pills? Even in most of them are natural supplements? These are all mine :/
In case your counting there are 19 bottles there. That I take almost every day. Several times a day for most of them. In all fairness, 3 of the red prescription bottles I don't necessarily take every day. One I just don't want to unless I need to, and the other two are as needed. And one of the natural ones in the back I don't take every day either... it's meant to be only on certain days of the month. That still leaves 15 I take everyday, and I don't feel adding up how many per day.
If your jealous of my pretty red prescription bottles they are the cool bottles that Target Pharmacy dispenses their scripts in. My band color is yellow. My sons is green. They put different bands on for each member of the household. Pretty smart of them.
Wondering what's all there? I think I need to list it so if I am every hospitalized the nurse can look up this picture online and get the list, because I certainly can't remember them all. I am too busy taking them...
They are prescribed / used for many reasons. I am tagging more then what is wrong with me. The supplements came from a holistic doctor that is trying to fix my deficiencies and sensitivities / allergies.
In due time hopefully bottles prescription and supplements will be taken away.....
Ok the list:
Kavinase
Life Guard Multi-vitamin
Mega Fish Oil
Potent C (nasty to drink)
Bio D Forte
MSM (supposed to help my chronic pain)
VSL #3 (I like this one.. it has 225 BILLION live bacteria in each pill. Thats aways a good thing to know the little critters are there fixin your insides)
Selenium (This and Bio D Forte are drops, and they don't taste like candy anymore then the Potent C does)
GABA
Iodoral
Natures Throid 1 Gram
Progon B
Beta TCP
Oxcabazepin (Trileptal)
Seroquel 25 and 300
Fluoxetine (Prozac)
Lorazapam (Ativan)
Adderall (this is the one I don't take everyday thought I am supposed to)
This morning's breakfast: Numerous supplements + organic Scottish oatmeal with cinnamon, no sugar, (not pictured, non fat milk) and herb tea, no sugar.
Photo featured here:
theconversation.edu.au/vitamin-supplements-more-harm-than...
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