bootsykowan's Blog

Marie Cocco's Misogyny opinion in the Washington Post said there are T-Shirts that say this.  So it's really true, what Imus said dying black boys say when they watch females in sports.  And then that "sweetie" remark.  Well, that's  all perfectly normal.  Just read the Bible,  Sirach 25 and 26.  Especially in Spanish.  Machismo until 1920, 19th amendment on the Planet Earth.  It's Eve's fault.  Eve is mommy.  How about Barack's little "sweeties"  and his big one too?

http://www.webmd.com/news/20000810/alzheimers-take-two-
ibuprofen-call-me-in-morning

I'm watching C-SPAN3 on Alzheimer's as I write this.  I don't like taking medications.  If a drug makes me feel good right away, I get suspicious that I'll get addicted.  I took a prescription drug for my arthritis which made me feel good.  Then, I remembered that ibuprofen OTC was for pain.  So I started experimenting.  Lo and behold, I felt good.  Then I started worrying, how would I not want to feel that good.  It's been at least 3 years and when I feel good, well, I don't feel bad and so I forget about medicine.  Sometimes, I hurt for days before I remember I don't have to.  I've got ibuprofen.  I only take at most 1, 3 times a day.  Hardly ever though.  It's something that I can manage myself.  It started helping me not feel depressed the rare time I do feel depressed.  I do think that inflammation does occurs lots of time but we don't recognize it.  There probably are plenty of invisible terrorists insides us. I think depression can be a symptom of invisible inflammation.   
So last month when a newsletter mentioned ibuprofen is being researched for Alzeheimer's, that gave me confidence in my own observation.  This article says they aren't completely sure why it   appears to be working with mice. 

I'm certainly anxious to find out if they can trace ibuprofen throughout our bodies.  Some of the NSAIDs don't work for me and cause additional problems.  For some reason, ibuprofen works for me. I just took one without water and it's burning inside me.  That's a no no.  I should have not been so negligent with myself.    I will say this, I've never smoked.  I've only gotten intoxicated twice in my life.  Intoxication in me means that I can't  judge distances when driving or I vomit.  I experienced one each:)   I think eating and drinking and smoking habits do define differences in medication reactions.

Time is of the Essence
Pendulum clockFrom Wikipedia, the free encyclopedia
A pendulum clock is a clock that uses a pendulum, a swinging weight, as its time base. From its invention in 1656 by Christiaan Huygens until the 1930s, the pendulum clock was the world's most accurate timekeeper, accounting for its widespread use.[1] [2] Pendulum clocks must be stationary to operate; any motion or accelerations will affect the motion of the pendulum, causing inaccuracies, so other mechanisms must be used in portable timepieces. They are now kept mostly for their decorative and antique value.

Pendulum clock designed by Galileo Galilei

Vienna regulator style pendulum wall clock

[edit]History

The second pendulum clock built by Christiaan Huygens,
 in 1673.The pendulum clock was invented and patented by Christiaan Huygens in 1656, inspired by investigations of pendulums by Galileo Galilei beginning around 1602. Galileo discovered the key property that makes pendulums useful timekeepers: isochronism, which means that the period of swing of a pendulum is approximately the same for different sized swings.[3][4] Galileo had the idea for a pendulum clock in 1637, partly constructed by his son in 1649, but neither lived to finish it.[5] The introduction of the pendulum, the first harmonic oscillator used in timekeeping, increased the accuracy of clocks enormously, from about 15 minutes per day to 15 seconds per day[6]leading to their rapid spread as existing clocks were retrofitted with pendulums.

These early clocks, due to their verge escapements, had wide pendulum swings of up to 100°. Huygens discovered that wide swings made the pendulum inaccurate, causing its period, and thus the rate of the clock, to vary with changes in the driving force. Clockmakers' realization that only pendulums with small swings of a few degrees are isochronous motivated the invention of the anchor escapement in 1670, which reduced the pendulum's swing to 4°-6°.[7] This allowed the clock's case to accommodate longer, slower pendulums, which needed less power and caused less wear on the movement. The 'seconds' pendulum (also called the Royal pendulum) in which each swing takes one second, which is about one metre (39.1 in) long, became widely used. The long narrow clocks built around these pendulums, first made by William Clement around 1680, became known as grandfather clocks. The increased accuracy resulting from these developments caused the minute hand, previously rare, to be added to clock faces beginning around 1690.[8]

Until the 1800s, clocks were handmade by individual craftsmen and were very expensive. The rich ornamentation of clocks of this period indicates their value as status symbols of the wealthy. By the 1800s, factory production of clock parts gradually made pendulum clocks affordable by middle class families.

Daily life was organized around the home pendulum clock. More accurate pendulum clocks, called regulators, were installed in places of business and used to schedule work and set other clocks. The most accurate, known as astronomical regulators, were used in observatories. Beginning in the Industrial Revolution, astronomical regulators in naval observatories served as primary standards for national time distribution services.[9] From 1909, US National Bureau of Standards (now NIST) based the US time standard on Riefler pendulum clocks, accurate to about 10 milliseconds per day. In 1929 it switched to the Shortt free pendulum clock before phasing in quartz standards in the 1930s.[10] [11] With error less than one second per year, the Shortt was probably the most accurate commercially produced pendulum clock.

Pendulum clocks remained the world standard for accurate timekeeping for 270 years, until the invention of the quartz clock in 1927, and were used as standards through World War 2. The most accurate pendulum clock to date may be the Littlemore clock, built by Edward T. Hall in the 1990s.[12]

[edit]Mechanism
All mechanical pendulum clocks have these five parts[13]:

a power source; either a weight on a cord that turns a pulley, or a mainspring

a gear train that steps up the speed of the power so that the pendulum can use it

an escapement that gives the pendulum precisely timed impulses to keep it swinging and which releases the gear train in a step-by-step fashion

the pendulum, a weight on a rod

an indicator or dial that records how often the escapement has rotated and therefore how much time has passed, usually a traditional clock face with rotating hands.

More elaborate pendulum clocks may include these complications:

Striking train - strikes a chime on every hour, with the number of strikes equal to the number of the hour. More elaborate types strike on the quarter hours, and may play tunes, usually Westminster quarters.

Repeater attachment - repeats the hour chimes when a knob is pressed. This rare complication was used before artificial lighting to check what time it was at night.

Calendar dials - show the day and date

Moon phase dial - Shows the phase of the moon with a painted picture of the moon on a rotating disk.

In electromechanical pendulum clocks the power source and gear train are replaced by a solenoid that provides the impulses to the pendulum by electromagnetic force and the escapement is replaced by a switch or photodetector that senses when the pendulum is in the right position to receive the impulse. In this case the pendulum controls the timekeeping. These should not be confused with more recent quartz pendulum clocks in which an electronic quartz clock module swings a pendulum. These are not true pendulum clocks because the timekeeping is controlled by a quartz crystal in the module and the swinging pendulum is merely a decorative simulation.

[edit]Gravity-swing pendulum

Schoolhouse regulator style pendulum wall clock

The pendulum swings with a period that varies with the square root of its effective length. The rate of pendulum clocks is adjusted by moving the pendulum bob up or down on its rod, often by means of an adjusting nut under the bob. In some pendulum clocks, fine adjustment is done with an auxiliary adjustment, which may be a small weight that is moved up or down the pendulum rod, or a small tray mounted on the rod where small weights are placed or removed to change the effective length.

[edit]Thermal compensation

To keep time accurately, pendulums are usually made to not vary in length as the temperature changes. Owing to the expansion of metal, the length of a simple pendulum will vary with temperature, slowing the clock as the temperature rises. Early high-precision clocks used the liquid metal mercury to lift a portion of the pendulum mass in compensation for the increased length of the suspension. John Harrison invented the gridiron pendulum, which uses a sliding "banjo" of solid metals with differing thermal expansion rates such as brass or zinc and steel to achieve a zero-expansion pendulum while avoiding the use of toxic mercury.

By the end of the nineteenth century, materials were available that had a very low inherent change of length with temperature and these were used to make a simple pendulum rod. These included Invar, a nickel/iron alloy; and fused silica, a glass. The latter is still used for pendulums in gravimeters.

[edit]Atmospheric drag

The viscosity of the air through which the pendulum swings will vary with atomspheric pressure, humidity, and temperature. This drag also requires power that could otherwise be applied to extending the time between windings. Pendulums are sometimes polished and streamlined to reduce the effects of air drag (which is where most of the driving power goes) on the clock's accuracy. In the late 19th century and early 20th century, pendulums for clocks in astronomical observatories were often operated in a chamber that had been pumped to a low pressure to reduce drag and make the pendulum's operation even more accurate.[edit]Local gravity

Since the pendulum rate will increase with an increase in gravity, and local gravity varies with latitude and location on Earth, pendulum clocks must be readjusted to keep time after a move. Even moving a clock to the top of a tall building will cause it to lose measureable time due to lower gravity.[edit]Torsion pendulum
Main article: Torsion pendulum clock

Also called torsion-spring pendulum, this is a wheel-like mass (most often four spheres on cross spokes) suspended from a vertical strip (ribbon) of spring steel, used as the regulating mechanism in torsion pendulum clocks. Rotation of the mass winds and unwinds the suspension spring, with the energy impulse applied to the top of the spring. As the period of a cycle is quite slow compared to the gravity swing pendulum, it is possible to make clocks that need to be wound only every 30 days, or even only once a year. A clock requiring only annual winding is sometimes called a "400-Day clock", "perpetual clock" or "anniversary clock", the latter sometimes given as a wedding memorialisation gift. Schatz and Kundo, both German firms, were once the main manufacturers of this type of clock. This type is independent of the local force of gravity but is more affected by temperature changes than an uncompensated gravity-swing pendulum.

[edit]Escapement
Main article: escapementThe escapement drives the pendulum, usually from a gear train, and is the part that ticks. Most escapements have a locking state and a drive state. In the locking state, nothing moves. The motion of the pendulum switches the escapement to drive, and the escapement then pushes on the pendulum for some part of the pendulum's cycle. A notable but rare exception is Harrison's grasshopper escapement. In precision clocks, the escapement is often driven directly by a small weight or spring that is re-set at frequent intervals by an independent mechanism called a remontoire. This frees the escapement from the effects of variations in the gear train. In the late 19th century, electromechanical escapements were developed. In these, a mechanical switch or a phototube turned an electromagnet on for a brief section of the pendulum's swing. These were used on some of the most precise clocks known. They were usually employed with vacuum pendulums on astronomical clocks. The pulse of electricity that drove the pendulum would also drive a plunger to move the gear train.

In the 20th century, W.H. Shortt invented a free pendulum clock with an accuracy of one-hundredth of a second per day. In this system, the timekeeping pendulum does no work and is kept swinging by a push from a weighted arm (gravity arm) that is lowered onto the pendulum by another (slave) clock just before it is needed. The gravity arm then pushes on the free pendulum, which releases it to drop out of engagement at a time that is set entirely by the free pendulum. Once the gravity arm is released, it trips a mechanism to reset itself ready for release by the slave clock. The whole cycle is kept synchronised by a small blade spring on the pendulum of the slave clock. The slave clock is set to run slightly slow, and the reset circuit for the gravity arm activates a pivoted arm that just engages with the tip of the blade spring. If the slave clock has lost too much time, its blade spring pushes against the arm and this accelerates the pendulum. The amount of this gain is such that the blade spring doesn't engage on the next cycle but does on the next again. This form of clock became the standard for use in observatories from the mid-1920s until superseded by quartz technology.

[edit]Time Indication
The indicating system is almost always the traditional dial with moving hour and minute hands. Many clocks have a small third hand indicating seconds on a subsidiary dial. Pendulum clocks are usually designed to be set by manually pushing the minute hand around the dial to the correct time. The minute hand is mounted on a slipping friction sleeve which allows it to be turned on its arbor. The hour hand is driven not from the main train but from the minute hand's shaft through a small set of gears, so rotating the minute hand manually also sets the hour hand.

[edit]See also

The Invention of ClocksThe (Not So) Simple PendulumCategories: Clocks | Horology | Pendulumsarticle discussion edit this page history

This page was last modified on 10 May 2008, at 01:31. All text is available under the terms of the GNU Free Documentation License. (See Copyrights for details.) Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a U.S. registered 501(c)(3) tax-deductible nonprofit charity.Privacy policy About Wikipedia DisclaimersMake a donation to Wikipedia and give the gift of knowledge!

The Planet Earth is awaiting the Prince of Light.  Who is this human being?  The true Messiah?  The person who "creates" an Arabic InterLinear Qur'an into Hebrew and puts it on the Web somewhere for free download.  Then the whole U.N. protects this "creation".  Watch the atmosphere evolve after that "creation".

Is that the reason all private personal physicians aren't non-surgical endocrinologists like they should be?

It helped poor me.  Actually, Barack just reminded me that my mom stuffed bombs in Anacostia during WWII.  She took night job because it brought in more money.  I still see her skin all yellow from the fuse material, in my head.  I told this story at the Spinoza discussion group: at Dallas Temple Emanu-El  about how shaken she was when she came home from an explosion in the next room. One man in the group said he was stationed there and remembers the explosion too.  

The G.I. Bill was wonderful because the vets were the best students.  I chose night classes at G.W.U. because I'm a day person and need the day to do my own thinking.  My college life was filled with G.I.Bill folks.  The profs loved them because they took college subjects seriously and we all learned with them.  I never was exposed to the "rap" kind of thinking that exists in college today.  No frat pranks.  Didn't know it existed.  It was ll purely intellectual and respectful because we never called the profs by their first name..

When I was at Eastern High School in D.C. they predicted that our kids would have two more years of public education because they would include community college.  I had 3 children because I expected that.  It never happened.  Instead the opposite happened.

The Federal Service Entrance Exam was my entrance into being an equal to man female brainwise and in every way socially.  That exam was truly blindly competitive and democratic.  

In my waning years on Earth, LifeLongLearning has given me a luxurious  life.  

In addition, I was lucky enough since Jr. High School all the way through college, to be able to walk alone safely in S.E. D.C. near the Navy Yard  to the Congressional Library to study.  

Luck takes many forms.  However the feds can bring luck to each of us even if certain states are run by Mafia types.
Almost forgot, the Feds encouraged private capital to invest in education by recognizing their contributions to their employees education.   Isn't that a tax cut to the wealthy and the way to give tax cuts to the wealthy?  The feds can control the spending of the poor who use food stamps, the feds can control the spending of the wealthy with tax breaks in education instead of irresponsible "permanent tax cut" and promising it will work, like they promised me about my kids education costs when I was in high school.  There is no difference between a poor college grad and a wealthy college grad except dumb luck.  I kept taking courses the whole time I worked.   Can't believe this:  Hillary right now is saying the same thing!!  Had to re-edit this to include what I'm seeing on C-SPAN right now as I'm typing.

If everyone read this article, it sure would help  understand how you want to approach the problem.

http://www.sciam.com/article.cfm?id=an-uninsured-doctor
-in-the-house&sc=DD_20080508

I read up on Jenna's father-in-law.  A really impressive story.  I think it's exciting that they are going to live in Baltimore.  For mom's day, we toured the National Harbor  We've got two harbors now: Harbor Place and National Harbor  Then there's Annapolis.  
Jenna was educated in Dallas.  Having been in the Temple Emanu-El Choir in Dallas, I got a taste of what her kind of life was as she was growing up.  Now she's going to experience my Baltimore life.  
Will Jenna's Mom and Dad visit her often?  Will she really "live" there.  She already has sampled D.C.  where I was born.  It's funny how shared geography can make one interested in the famous and wealthy.  

I just saw Slatkin for the first time on TV National Press Club, I was enthralled at every word that came out of his mouth. What a wonderful human being. Economy of words at its best. So I googled to find out more about him. This article told me more of the same kind of observation. It's music as a museum indeed. It's what the real word "capitalism" can mean. One is All and All is One. Communitize using music.

 http://www.freep.com/apps/pbcs.dll/article?AID=/200803
30/ENT04/803300508/1035/RSS04 

For incoming DSO music director Leonard Slatkin, conducting is only part of the job BY MARK STRYKER • FREE PRESS MUSIC WRITER • MARCH 30, 2008 

"If we're going to play music on the home page, we need to say what it is and why it's there," said Slatkin, dressed casually in plaid shirt and slacks. "This morning I got the Beethoven Violin Concerto, and I thought, 'Why is that there? We're not playing it this week.' " 

Slatkin, who conducts his first DSO subscription concerts this week since being appointed music director last fall, doesn't officially begin his tenure until fall. But he is already putting his stamp on the orchestra's daily life. He has visited Detroit six times since October, each trip stuffed to the gills with orchestra business. From new education initiatives and artistic planning to a promising early bump in fund-raising and ticket sales, the Slatkin era is underway. 

Music directors of major orchestras rarely concern themselves with minutiae like an orchestra's Web site. They are artistic CEOs, with broad power over programming, hiring musicians and creating an institutional vision. But the American-born Slatkin, 63, has a reputation for rolling up his sleeves and digging into the nitty-gritty of audience building, education and fund-raising. He is, in other words, a hands-on maestro. American orchestras have been wrestling with redefining the role of their music directors, placing increasing emphasis on community involvement alongside traditional values of musical excellence, star power, touring and recording.

 Slatkin is not unique -- Michael Tilson Thomas at the San Francisco Symphony and Esa-Pekka Salonen at the Los Angeles Philharmonic have similar temperaments, for instance -- but Slatkin has been a model of civic engagement for longer than just about anyone. His hands-on style dates back to his landmark tenure from 1979-96 with the St. Louis Symphony, which he built into a world-class ensemble while famously bonding with the city.

 To Slatkin, tweaking the DSO's Web site, massaging donors and brainstorming with the marketing staff is as much a part of his job as conducting concerts. "I like to be involved on every level," said Slatkin, who completes a 12-year tenure with the National Symphony in Washington, D.C., in June. "That's the way I work. People are going to blame me, anyway. The music director becomes the voice of the orchestra. If something goes wrong, people are not going to say, 'Well, it's the manager.' They'll say, 'It's under the music director's watch.' If I'm going to be held responsible, I want to be involved in it."

 The DSO at a crossroads Slatkin arrives in Detroit with the orchestra at a crossroads. It has been three years since former music director Neeme Järvi completed his historic 15-year tenure, and the search that landed Slatkin dragged on for 5 1/2 years. The orchestra misplaced its artistic compass for several seasons until appointing Peter Oundjian artistic adviser in 2006 and launching the 8 Days in June festival in 2007. But it has yet to build on the artistry and growth of the Järvi years, especially the opening of the $60-million Max M. Fisher Music Center in 2003. For all of Järvi's charisma and adventurous repertoire, his laissez-faire temperament was ill-suited to building stronger bridges into the community and establishing a sweeping artistic vision for the orchestra that transcended the brilliance of individual concerts. He was a great conductor, but not always a great music director. Slatkin's charge is to be both. "We need the leadership and the focus of his vision," said DSO president Anne Parsons. "We can't get there without a great music director and a great partner and collaborator." 

Michigan's sputtering economy is putting a premium on the orchestra's ability to run at peak efficiency, from programming to fund-raising, marketing and outreach. The DSO ran a slight deficit in 2007, its first red ink since 2003, but it came within a whisker of a frightening $2-million shortfall. Only some 11th hour largesse from several key donors kept the bleeding to a minimum. Classical ticket sales have also been declining. Four years ago classical attendance was 76% of capacity; last season it was 71% and it has dipped to 59% so far this season. On another front: Last summer's contentious contract negotiations, which raised musician salaries in the long run but also included $1 million in concessions, left a cloud of bitterness in the locker room.

 Auto show and baseball games Slatkin's visits to Detroit have been as long as two days and as short as four hours. He has met with programming, fund-raising, marketing, musician, education and strategic planning committees. He has taped radio promotions, greeted patrons in the Green Room and dropped in on DSO rehearsals to hear what the orchestra sounds like from a seat in Orchestra Hall rather than the podium. On Saturday, he's scheduled to throw out the first pitch at the Tigers game at Comerica Park, a special thrill since he's such a rabid baseball fan. In January he and his 13-year-old son Daniel, a car nut, spent an afternoon touring the auto show. This was private time with his son, but he still dropped by the Honda exhibit to personally thank a company executive for Honda's recent $1-million gift for student outreach. Slatkin hit the ground running in terms of fund-raising. He has met a parade of major donors at one private dinner after another. His unpretentious air, sharp mind and varied interests -- from music to the world of ideas and baseball -- has had a charming effect, and his passion is contagious, said board chair Jim Nicholson. When Slatkin headlined a fund-raising brunch at the MGM Grand Detroit casino for donors who have given $6,000 or more, he helped spark $1.7 million in early commitments to the annual fund, including $200,000 in new gifts. The buzz surrounding a new music director typically leads to increased ticket sales. One good early sign for the DSO is that classical subscription sales are coming in at double last year's pace. DSO patrons who have heard Slatkin's stump speech are excited. At the MGM Grand, Betty Blazok of Grosse Ile was taken by his plans to move his family to Detroit next year -- a sign he won't treat the DSO simply as a port-of-call. "He was so positive about the symphony and Detroit," she said. "He'll certainly help raise more money and draw attention to the DSO because of his personality and desire to be here." Getting the audience back Most of the 2008-09 season was settled before Slatkin's appointment, but the details, announced in February, preview several of his priorities.


 The five weeks that Slatkin will conduct -- he'll lead 13 weeks in 2009-10 -- survey a wide variety of styles, with a careful balance of old and new music, plenty of American fare and three world premieres by accessible composers. Slatkin is moving on parallel tracks, trying to quickly build a rapport with the players in a diverse repertoire and rebuilding the audience by making sure each concert has a hook -- whether it's repertoire, a guest artist or a theme. "I'm trying to get a lot of the audience back," said Slatkin. "We're thinking very much about how we can market ourselves to the total population. The audience is going to have to learn to trust me, so I need to bring them along slowly." One area in which Slatkin was able to move swiftly was education and family programming, a priority during his tenures in both Washington and St. Louis. He'll conduct three Young People's Concerts, two of them free, and he has talked several big-name artists into appearing with him. Behind the scenes, Slatkin and DSO management have begun talking about touring as early as 2010-11. There have been casual conversations with the Naxos label about recording. (Slatkin won two Grammy Awards in February for a CD on Naxos of music by Joan Tower.) Slatkin has also hired an artistic lieutenant, Jim Berdahl, a former colleague from the Aspen (Colo.) Music Festival. He'll serve as the DSO's vice president for artistic planning. Slatkin has spent time outlining ideas with the principal players in the orchestra too. To create a richer, darker sound in the hall, he may reseat the strings by having the cellos and violas switch places, placing the cellos inside the ensemble and the violas outside. He also wants to feature more DSO players, not just principals, in solo roles, said Stephen Molina, acting principal bass and the orchestra's personnel manager. Slatkin's arrival has been a shot in the arm for morale among the players, helping heal the post-contract bruises. "One of the best things to happen to us was to get a music director like him who knows what we need to do to get where we want to go," said Molina. "It's the best thing to wash away some of the clouds and wipe away some question marks." 

After nearly six months of work off the podium, however, Slatkin is anxious to get back to music-making with his new band. After all, chemistry with the musicians remains the soul of the relationship between an orchestra and its music director -- the artistry that gives meaning to outreach, fund-raising and even the Web site. Slatkin likes his chances. In a letter to the musicians dated Feb. 7 and currently pinned to the bulletin board backstage, Slatkin wrote about eavesdropping on a rehearsal. "For about 25 minutes I was able to sit in awe and listen to all of you," he wrote. "What a glorious sound you make. ... As I sat there I realized how fortunate I am to be able to work with you for many seasons to come." Contact MARK STRYKER at 313-222-6459 or mstryker@freepress.com. I

Worked didn't it?  All my life black and white males ganged up against me.  That's how I see the Planet Earth including Monotheism.  OTOH, it was two handfuls of married males who were pure intellectuals who supported me and shared their brains with me.  All above the neck.  I communicate above the neck.  I don't bow down to any one.  I am not a submitter.