And one of which is topical skin application, and another is actually treating your clothes and the third would be actually doing mosquito netting, insect netting, noseeum mesh, those types of things that you can actually put over your body, over your bed, over your head, your face, your body.


There are clothing or insect mesh clothing that you can purchase, pants, jackets.


But the most important thing, the most important defense is going to be your topical skin application and your clothing treatment.


And so those are some of the things we're going to be talking about today.


Now I'll tell you a little bit about our distribution of our product, how we get it to market.


So what we decided to do is take our product directly with our own trucks and get them to different parts of the state.


We start up here in Chico all the way to the border, southern California and that's our distribution area.


We take our product, our own trucks and be sure it gets, with our control, into the different stores within that distribution area.


So here's our facility in Milipitas, California.


The way we'll be able to control our quality is we have different depots with different expert personnel within the different areas delivering to the products within their area.


We have one in Santa Rosa, Marin, Sacramento, Chico, Sacramento, Reno, Stockton, Fresno and Southern California. Each individual manager within the area is able to take the product, analyze zone market, be store specific with what they want to do in terms of the products, the distribution, the communication with the store and be able to really maximize our relationship with the store and be sure we have the best product going out to the stores.


In this video clip, I will be talking about electrical safety.


You never want to carry the tool by the chord.


And you just want to take extra care when handling your tool and the chord.


First off, it is important to know that the cord is the life line of your tool.


You want to make sure you keep your cord in good working condition.


Make sure that there are no cracks or tears in it.


Any type of damage to the chord is just leading to disaster.


For your tool to be properly grounded, you want to make sure that you have all three prongs on the plug.


This will insure maximum safety when using your tool.


Now, although it is not recommended to use an extension chord, if you do have a situation where you need to use one to reach your location, you want to make sure that the extension chord is of the proper rating.


And lastly, you never want to abuse the chord.


Alright folks, next we're going to talk about footwear and shoes you can have to complete your vintage look.


Now the downside, I think, to looking for vintage footwear is in my case, maybe not in all cases, is they tend to be a lot of small sizes, kind of narrow, and a lot of them are hard to find in really good condition.


Unfortunately, as cute as these are, you're going to find a lot of the missing rhinestones on there and for this one, the insole's got torn out.


It's just really cute, but what I need to do is go to my craft store, pick up some rhinestones and just kind of fix them back in there.


The vintage shoes sometimes, they just need a little more help.


So these one's have some potential, but I might want to bring into a shoe store to get some insoles in here and then maybe have them or myself just maybe hot glue back in some or super glue back in, some little rhinestones in there.


But what you can do is, an alternative to finding some cute vintage themed shoes is you're going to want to try to find some modern day shoes with a vintage look and there's a lot of them out there.


Now, Ebay has been a great source for me to find some modern shoes that are priced really affordable but that maintain the integrity of a vintage shoe.


I think just because shoes tend to get a lot of wear and tear as opposed to a vintage dress that someone might wear a handful of times.


Just these ones are modern and it's great because you're going to find your size.


They're brand new and you know, they just look really cute.


They look like they could be a vintage with some great detailing on them.


And here's another pair. They don't look quite as vintage. They have a vintage flair to them. But just look for bows, look for prints, like the polk-a-dots and what not, looks for the nice heels like that.


They're going to be a little more affordable and they're going to be a lot more comfortable to create that vintage outfit for you and tie it all together.


The shoes, again get a little wear and tear.


Now, you might be lucky out there and find some vintage shoes that are in great condition.


So you know, when you go to the stores, don't neglect the shoe section.


But you're best bet, I think sometimes might be to just look online or just look in your shops for some vintage replica shoes and that there is some great tips on finding some vintage footwear to help round out and complete your vintage look.


But you're still going to be able to find some cute ones out there.


Now, one type of vintage shoe that I absolutely love and a lot of vintage know hower's out there know they're really fun.


They look junky from a distance, but they're pretty darn cute.


These ones here, just like some little plastic patent ones.


But, when you look closely, these just have amazing detail.


These ones have a loose heel on them and you can see the detailing that they have on them, just rhinestones are lined down the back of these.


What we've gone over today is sleight of hand using the Pinch Vanish and the French Drop.


Enjoy the reactions, enjoy your magic as much as they're going to enjoy it and you will really love the art of magic.


It's very important that that's happens as such.


But practice; don't reveal your secrets to your audience.


And never do the same trick twice, and have a good time.


That's a very important, maybe the most important rule of magic, is to enjoy it.


Very important in magic again that I want to emphasize that you are entertaining by way of manipulating an object.


Really enjoy it, make it look effortless, make it look enjoyable to you and it will be to them as well.


You're not using magic to show them, oh look what I can do.


You really can use magic to put yourself out there to make yourself relaxed, get to know people.


It's a form of entertainment that helps people really relax.


You can really get to know somebody on a really quick and fast basis by performing an illusion.


And after all, you are pulling coins out of their ears, and so forth.


So for these handles that I'm using on this chicken baker I have done them with an extruder.


That's why they look so even and they have a nice textural design to them.


An extruder is a lot like a giant Play Dough factory, it just squeezes out one very long consistent piece of clay, and I like to use that a lot for many of my different handles.


So the first thing I need to do is prepare the clay for the extruder.


Now my extruder has a 4 inch cylindrical barrel, so I need to get a piece of clay that's going to fit in there nicely.


And then I'm going to pound it on the table, to round out the corners.


And then I'm going to pat to elongate it and thin it out just a little bit more.


Now I want it to be smaller than the actual size of the barrel of the extruder itself so that it will slip in there really easily and it won't get jammed or anything like that.


So now the clay is prepared and I'll show you over at the extruder how this works.


Hi my name is Lauren and today I am here to discuss how to brush your hair.


Brushing your hair has a few different advantages.


Number one it can help you to create the style that you would like and the style that you are looking to achieve.


It also increases the blood circulation to your brain which nourishes your papilla.


Once the blood circulation actually increases towards your brain and towards your scalp your nutrients, your papilla which is where the base of your hair follicle is going to grab nutrients out of your bloodstream and help nourish your hair so it is a very good thing to be in the habit of brushing your hair on a regular basis.


The easiest way to brush your hair especially if your hair is rather knotted is to start at the bottom of the end of the shaft and work your way up.


If you use a Boar's Head bristle then it will also help promote smoothness in your hair and it will help maintain frizz.


Plastic bristles will also help get all of those knots out because it has a bit of a better grab to it.


So again you are going to start at the end of your hair shaft and you are going to work your way up towards your root.


Once you get towards your root you can then do a few really good brush strokes in order to increase that circulation and have more blood flow go up to your scalp and that is how to brush your hair.


In this next clip we're going to be going over a hook kick. Ok. A hook is a very powerful kick.


We're going to take a step, skip, hook it. One more time from here. Step, skip, hiya. Ok. Now when I'm kicking I'm kicking with the very bottom part of my foot.


We're going to be doing it with pointing our toes and it's going to come across.


The whole foot is going to be pointed straight and I'm going to hook that all the way across. Ok. That's our kicking position.


And that is going to be your skip hook kick.


One of the drills you can do to work on your front entries is just called a line up.


I should go in vertical and I should be working on my pike save at the end.


So I'm going to go walk up to the 3 meter and do a front line up.


A line up I'm going to do on the 3 meter board, o.k.


I do that because it gives me enough height and I don't have to worry about doing a good hurdle to practice a line up.


You can solely concentrate on the line up.


A good line up I'm going to go to the end of the board feet together, I'm going to bend at the waste and extend my arms.


What I'm concentrating on is making sure I get my hands closed above my head, make sure my elbows are locked, my biceps are squeezing my head and my ears.


Make sure I have no arch like I'm sucking my back this way; make sure I got my hips under me a little bit.


I want to have nice tight legs, thighs spread apart; leave it together, nice tight toe frame.


We actually used the sewing machine for this, and basically we had two pieces of fabric.


I'm just going to get my little cloth and just dampen it up a little bit.


And then we're going to put that on there.


Again, make sure none of the fusing is actually sticking out, because if it gets on your iron board, it's really sticky and it gets on your iron and it's impossible to get out.


Like that, put that down, see how it steams, and it's sealing it shut for us right now.


There you have it, a very adorable pumpkin placemat that's going to last for years.


We made sure of that when we used the zigzag stitched the edges.


You can throw it in the washing machine and it's going to hold it beautifully.


Stick around, I'm going to show you a few tricks for embellishing before we go.


We used the zigzag stitch around, and turn it right side out, and we actually have a little spot that we're going to slip-stitch but I had an epiphany as I was ironing, because you are going to want to just iron your placemat so all of your edges are nice and flat.


Go around and we're not going to actually slip-stitch, we are going to use our fusible tape to finish this placemat.


So I'm just going to measure, it's a very, very little area, very small area that I need to finish here.


So you just measure and cut, and again be sure you measure the exact length because if you go over and it ends up sticking out and the iron gets on it, it's going to get really hot and it's going to make the outside of your fabric really sticky and that's going to start to bunch up and you don't want that.


So really kind of take your time in measuring how much tape you?re going to use.


Just fold your fabric under on both sides like that, you just tuck it in, use your finger to do the corner.


Lay that down, but make sure your tape does go all the way to the corner, otherwise you're going to have a little open corner and you don't want that either.


Go ahead and lay it flat and I'm just going to get, my iron is hot but not too height though.


The game of Baroness solitaire is an adding game at its heart, and the number you're trying to get to, the sum; is that right, when you add is thirteen.


So ace plus queen, the ace is one; the queen is twelve, that equals thirteen.


So aces are worth one, twos are worth two, three is three; face value until you get up to ten, then jacks are worth eleven, queens, twelve, kings are thirteen, so the king doesn't have to be added to anything.


So, how does that work in a real example?


Well the cards I have dealt at the start of this hand of baroness are an ace, a two, a ten, a ten, and a three.


So, if I want combinations that add up to thirteen, at this point all I have are a three plus one of the tens.


So I'm going to take down this three and this ten.


Now how do we practice for Tribal belly dancing?


Hi, I'm Johanna Krynytzky with Hip Expressions Belly Dance Studio.


And now, again the arm position is going to vary.


If you're doing more Tribal Fusion, or if you're doing more Improvisational Tribal Style.


So, it depends on where your arms are supposed to go, but ultimately, you want your isolations to remain nice and precise.


So, that you get nice clean movements out of your dancing.


I'm Johanna Krynytzky from Hip Expressions Belly Dance Studio helping you to practice your Tribal belly dance.


Now, let's talk about practice sessions for Tribal belly dance.


Now there's different types of tribal style belly dancing.


Alright, you have Improvisational Tribal style which developed out of San Francisco in the 1980s and that's where you dance with a group working on cues and improvisations.


In that case, what you needed to do to practice is to practice with your group.


There are certain moves that you need to practice over and over and over again until you have them precisely correct.


Now, there's also Tribal Fusion styles of belly dance which developed a little bit later, and there's many, many different movements for that.


So, depending on what you're practicing, everything comes back to having your basic isolations.


So, you want to practice in front of a mirror with your partners, or if you're doing solo, by yourself, making sure your feet are together, under your hips, your knees are bent.


This is a lead weight welded to an alligator clip.


We want to hook that to the snell on the hook and drop it down the hole, laying out our line until such time that we get slack.


When we have slack, we know we're on the bottom. There's our slack. We want to mark that and pull it up.


Then we know exactly how much line to reel in so that we know that our bait is just off of the bottom.


BEN GRAHAM: This is probably the second most important thing, especially when you are playing the field in the game of baseball.


It's also very difficult to catch in the heel because sometimes the ball will pop out.


Also, some gloves have a finger-hole opener right here.


It doesn't really affect the game at all.


Some people feel just more comfortable and like to have more control over how they catch the ball if their finger is on the outside.


Now, if we were to take an infielder's glove, you'd take a couple of inches off of the end of this glove right here.


It's because they're used to field the ball on the ground, so you want less size.


In the outfield, you need a bigger pocket, a little bit thicker.


Now, the first baseman's glove is the exact opposite.


It's larger than your standard outfielder's glove.


This, right here, is your standard outfielder's glove.


It has a larger pocket so that the first baseman can stretch and pull the ball in more easily.


The catcher's mitt is smaller but thicker with more padding, which allows the--it protects the catcher's hand as the pitcher is throwing.


In the Major League level, pitchers are throwing in the mid to upper 90s with regularity, so you want a thick pad for your catcher's mitt.


But any glove will do for any position; some are just better suited than others.


Gloves do come in various sizes and various forms, depending on the position that you're going to play.


Gloves are made up of just a very few basic things.


It's usually made out of leather or synthetic leather, woven together with leather threads.


This is where you ideally want to catch the ball.


You'll hear people--as you work your glove you want to create a deep, nice pocket and cushion.


If you catch the ball in the pocket, it's not going to sting your hand, and, trust me, if you catch it here in the heel, it does hurt.


Hello, have you ever wondered how to heal a broken heart after a breakup?


So that some of those raw wounds will heal in time.


Remember everyone does survive breakups and usually by the time you're in your 20's and 30's, you've already had your share of high school breakups.


So you should be somewhat condition to that process.


You will heal, you will get over this and with that in mind, remember how you go about healing from the breakup, healing your broken heart, depends on you making conscious efforts to stay active and busy.


But, I'm Dr. Felicia and I'm here to give you a few tips on how to do that.


For one thing you want to indulge yourself in things that you like and surround yourself by supportive family and friends who understand the situation.


The other thing you want to do is try to embellish some of the good parts of that relationship and try to make some senses to why it actually broke up.


It's really hard to be honest and look inside ourselves and say, "okay, what did I do to contribute to this breakup", if anything, maybe nothing, but, it's good for you to take a look at that and analyze it.


The other thing you want to do is also, your response may differ, whether you're, what we call an internal directed person, perhaps you think about it a lot, you're going to, you're going to internalize it, you're not going to speak to your friends, you're just kind of go and go quiet walks on the beach, process that information by yourself.


Or, you maybe what we call externally driven, where you need to throw yourself in a lot of activities and laughter and jokes.


I would strongly recommend laughter is the best medicine.


If you can get through the breakup and eventually time does heal wounds.


So now that we've got that on there we want to make sure and press it all the way around the edge to make sure that it's nice and secure before we start throwing.


So just slowly spin your wheel and press down to broaden that base and give it a lot of pressure to hold it on to the top of the pot.


Now once it's attached nice and firmly we want to moisten it, but only a very little amount.


You don't want water running down the sides and pooling in this connection area or your lid might get stuck to your base.


So you need to be very conservative with your water use here.


Now I'm doing, I'm centering, but I'm doing a very miniature version of it.


My left fingers are still the stabilizers and my right fingers are still doing all the work, pushing the clay towards the center of the wheel, and once you've got that nicely centered and just a column you can just take your right middle finger and push in to make a stem and once you've got a stem you can just pinch the top a little bit to pull it out to make a knob.


And let that dry slowly so that the connection can become very secure and it doesn't crack off when it dries.


This series is going to involve seated poses.


We're going to utilize straps, blocks, different variations of your seated poses.


One of the things that's very common when you're getting started with your yoga practice is it's not very comfortable to sit on the floor.


So what you're going to want to do is be sure that you have some blocks, pillows, some things that you'll be able to do so that when you're sitting, your hips will be higher than your knees.


So you can use some blocks to sit with, but it's going to be important to find out where you can sit, and be comfortable with your hips.


Having your knees up this high, that's a clue that it's not going to be comfortable with your hips, so you'll be able to use some blocks under your knees.


And we'll go over all those modifications specifically when we do the poses.


But as with all the other poses, we're going to begin to think about utilizing your breath, so that we can deepen your pose, relax the muscles.


In Yoga, the breath is done in through your nose, out through your nose.


We're talking about yes, and and the idea of making offers, accepting offers, and building on those offers.


And I want to show you a game called yes, and brainstorm.


Well, it is possible with the magic of yes and.


So, we're going to show you how it's done.


We're going to do a yes, and marketing brainstorm.


I'm going to shout out my first idea, and Shannon is going to yes, and that idea.


He's going to say, yes, and, and then fill in the rest of his line, and we're going to go back and forth like that until we've got our product, all the product's features, its names, and the entire marketing plan.


I like to do this game with a lot of my corporate clients.


It works well for businesses, meetings, organizations, anytime where people have to kind of create things together.


And how it works is you're going to get with your team, you can break up into groups of three, of four or five I think is a good size, it could go up to eight or ten.


And, what you're going to do is, is the team is going to have to come up with a new product and they're going to have to come up with an entire marketing plan for that product.


Come up with the packaging, the commercials, the jingle, the spokesperson, the billboards, you know, anything you can think of that would be part of the line of marketing.


What stores it might be in, what the slogan is going to be, and anything you can think of.


And they're going to have to do that as a group and they have to do it in three minutes.


And usually people at that point groan and go what are you talking about, that's impossible!


If you're going backpacking for a little bit longer then you're going to need to resupply unless you're going to carry all the food for your trip.


If you're going to a particularly remote area then you might have to do that, pack every single food into your pack.


So, mailing yourself stuff is one way to resupply.


Going in to a trail town is another way.


Downside to that is you're going to have to take what is local so if you have specific dietary needs then you may want to use the mailing option.


If you have any questions, give your local outfitter a howler.


What that means is you're going to have to have a pack that can carry heavier loads, but if you're able to go into town, say go to the grocery store and buy more food, then you can carry less food and just resupply as you go along.


The Appalachian Trail is a trail that you can do that.


Hike for a little bit, go into town, get some more food.


Here's a couple of books put out by the Appalachian Trail Conservancy: A Thru-Hikers Planning Guide and A Thru-Hikers Companion.


These two books are nice in helping you plan your hike.


It talks a little bit about how to set up a post office drop, you can actually mail yourself some stuff, go to a local trail town's post office and come in and say, "Hi, I'm so and so, I need to pick up a package for a thru-hiker," and they'll hand it to you.


There's a technique called bump boxes where you, if you know what?s in that box and you don't need it, you can actually bump it to the next trail town, and then you don't have to pay extra postage as long as you don't open the box, you just say I want to bump this to the next place and give them the address.


These books will list the addresses for all the post offices all along this particular trail.


Hi, today, we're going to draw on coquille board.


On this one, it's a little bit more advanced.


I've got a gum eraser or some people call it a kneaded eraser.


I've got a clear measurement ruler and, well, I guess every ruler is a measurement ruler but you can see the measurements through and then this is just a regular metal ruler with a cork bottom.


I've got an electric pencil sharpener and I've got an Exacto blade to cut the board out when we get to that part.


Drawing table that has a, it's basically like a cutting mat on top of the table.


So, those are the supplies we're going to use today and I think you'll be pleased with the results.


Right now, I'm just going to go over the supplies you're going to need.


This is a sheet of coquille board, which is spelled c-o-q-u-i-l-l-e.


It's roughly five to six dollars a sheet but it's definitely worth the price.


I've got a number two pencil, which you can find in any drawer in your house.


I've got a baby blue and I've got a dark black.


The reason I'm having Jeff stand here is because I messed this shot up once.


When I did the cue ball went flying off the table and it broke a mirror.


I really got in trouble with the management.


Jeff's going to stand there and be ready to catch the ball or absorb it into his abs in case anything were to go wrong.


Now, I'm going to go to the other side of the table and we're going to have the shot.


I got the cue ball all set up, the 8 ball is still stacked on the 1 and 9, and my buddy Jeff is making sure that the cue ball won't break anything important.


You don't hit the ball really hard, you don't break a mirror, but when you hit the cue ball, just make sure it's going to go towards the 8 and half way there, give the table a little bump.


The 8 ball will fall down, cue ball hits the 8 ball, everyone laughs, buys you drinks, and the mayor will hand you the key to the city.


This is probably the most impressive one that I've got.


What I got here is I've got the one ball and the 9 ball holding up the 8 ball.


Take your hand, hold the 2 balls against the rail, just kind of hammer them down a little bit, rest the 8 ball on top of them, and let go.


Now, the object of this shot is I'm going to hit the 8 ball with the cue ball without hitting the 1 or the 9.


It takes a lot of strength, it takes a lot of agility and for the person standing here, it takes a lot of guts.


Alright Jeff, I want you to come here and stand right where I'm standing.


Let's talk about managing your cat's bladder infection.


A bladder infection is diagnosed at your veterinary clinic.


Once they've seen a urinalysis and can determine if there's an infection present, then generally antibiotics are going to be needed to treat them.


There are a couple of important things to think about when we are dealing with infections in cats, especially.


On the smaller pieces you can do the whole thing but on a larger piece you might want to do a little section at a time.


Okay now I think oh always have to keep these going back to its position.


Good, I think all the little joints are fluxed now.


So we will move on the next step which is to drop beads of solider onto it.


Hi I'm Jay French from jayfrenchstudios.com and I'm going to teach you how to draw a dragon.


Well of course from our starting point, there are essentially, it boils down to three types of dragons.


Toes are usually done very bird like as opposed to reptilian.


Although you can go both ways, again if you look at the claws on a rafter such as an eagle, and you look at the claws on a Komodo dragon or other large lizard, monitor lizard, or even some dinosaur bones, you'll find the talons very similar.


Long serpentine neck, and I've got this one curving around on itself, and of course you're going to want a tail.


This is also again, good looking monitor lizards for references and dinosaurs, dinosaur restructures or bones.


And of course the really tricky part, the head.


And this can be done a lot of ways and however you like.


I tend to like the very sleek look to dragons, where they have a very pointed muzzle and a little more serpentine.


Probably again there is a lot of influence on, on monitor lizards here, Komodo dragons and the like.


I have and affection for doing pupilless on dragons to make them look more mystical.


But if you're wanting something that looks more like a real animal, then you might want to do snake like slitted pupils.


You have the Asian serpentine dragon which are long, they have no wings, short legs, mostly like a snake, you have a Wyvern style which is much like a bat where the forelegs are the wings.


But you can do it as a single big horn or no horns at all.


Some extra wings around the jaw line gives a nice touch.


And then a good series of ridges that start maybe at the brow ridge or even at the tip of the nose.


Go all the way down, this guy's twisting his neck so we're going to come back around here, with the largest across the back and go all the way down the tail.


Again, look at some dinosaur shots for more ideas on this.


They have an elbow and then essentially fingers, all stem from the same spot.


Again this is a good way to get it to look more like a real animal that way.


But we have our very fun, what we're going to do here today, is the fore legged mythological, where they're all mythological, four legged and winged dragon.


You can do dragon wings just about anyway you want really, but they're depicted lots of different ways.


And that's your basic lesson in how to draw a dragon.


Think of a basic lizard shape, your body, we can start with the rib cage and sort of a couple of ovals.


We have the rib cage and then we have the hind quarter.


You always have a long serpentine neck, put a lot of curvature in to it for drama.


We're going to get some sharp angles, again for dramatic effect.


You want some photo sources, look up some pictures of Komodo dragons and other types of lizards, they give you some good ideas and how to do some of the body part shapes.


Such as the any, just about any four legged creature has very long front legs, long and straight whereas there's a lot more, a lot more joints to the back leg.


When it comes to running in a competition, you may want to wear a wristwatch: you can time yourself, maybe check your breathing, just kind of keep things on a safe level.


If you find that your results are pretty good and you are like in a situation then, by all means go for the competition.


But, if you find your results are way negative and not even close to theirs, you may want to practice a little bit more before you decide to put yourself in that competition.


You got to remember, when it comes to competition, you'll always want to keep going.


Even if it is a slow jog, a fast jog, something, just keep moving constantly.


Now when it comes to running in a competition, you might find that throughout your run you want to throw in a sprint, because when you throw in a sprint you got certain type of mobilizers within your body that are meant for sprinting.


It builds up those amino's, makes you faster, it is better overall.


After you throw in a sprint, just go to a slow jog to a fast jog go back down, but always keep running; don't stop.


So okay I run for this long this many hours, this many minutes, you go ahead and time your self put on a wrist watch or get someone to hold a stopwatch for you, but go ahead maybe put on some type of distance, and say I'm going to run this far and run that distance and know how well you do.


You can slowly expand on that, and if you are trying to do a specific kind of competition, go ahead and see what those requirements are for that competition, speed is, how fast people usually do things and how do they feel afterwards.


Just kind of what there strategies are and go ahead, and compare your results and their results.


In this clip we're going to make a pattern for our eye mask.


Always remember when you are making patterns or cutting out patterns to have a separate scissors you can use just for paper.


Cause you don't want to use the fabric scissors.


We'll go ahead and see this is a little bit to straight so we're going to go ahead and clean that line up just a little.


Once you have your paper pattern we're ready to transfer this onto our fabric and cut it out.


I already have a eye mask it's just a plain kind of boring one that I bought at a eye mask store.


So I'm just going to use this as a template but if you don't have a sleeping mask basically you want something that's an oval shape about 6" wide.


You want a place cut out for your nose so you basically make a long oval and then we're going to cut out for the nose.


So I'm just going to bring this to my paper and then I'm going to go ahead and trace it.


You just go ahead and trace it we're going to lift up the little nose guard part and come back down.


This doesn't has to be exact cause we're going to clean it up when we cut it out.


I actually want mine to come down a little further so I'm just going to go ahead and free hand it.


What you do when you are actually free handing something is you go ahead and just fold it in half and then we'll cut it out so the other side is the exact same shape.


Before you start with your spray tan, you want to make sure that your area is completely covered or protected.


If you're doing this at home, maybe do it in the shower or even outside for that matter, in the middle of a large area, maybe not, definitely not on a carpeted area or anywhere where there's fabric.


Here we have everything covered with plastic so it's totally protected and whatever is not covered can be mopped, cleaned, it comes clean, it's just a matter of cleaning.


I always wear gloves when I'm doing, when you're the one doing the spray tan.


If you're spraying yourself, maybe wear gloves until the last minute.


Make sure you have Kleenex nearby because if there's any drips, you want to make sure you get those up immediately.


Make sure your area is pay close attention to make sure that anything that is absorbent, fabrics are your biggest thing that the spray would absorb to.


Your can sprays that you buy in a store also have the same DHA active ingredient but it's not the strength, like a prescription strength like what we use here.


So it probably will come out of your fabrics a little easier but again, make sure you're spraying in an area that is nonporous, would be the best way to put that.


Alright, now we want to look at the political environment.


Now, what we're talking about when we're talking about politics, or political environment, are they Democrat?


Did they grow up in a very strict, staunch Republican household and so because of that now they're a very, very liberal Democrat?


How does their political stance help determine who they are and how you are going to play them.


Are they, you know, in what extreme of what party are they?


Are they, you know, staunch Republicans?


Maybe they have no political party affiliation, they're not interested in politics, they could care less about politics.


What role does politics play in their life now in this moment, as well as how they were growing up.


We're continuing on the lips right now, this is really the lipstick application, we had put the lip liner on before.


I like taking the lipstick off of the tube with my spatula that way I don't get the tube dirty or anything and the lipstick last for a long time.


Then using my lip brush I'm going to completely my brush with the lipstick and make sure that it's like it's smoothly in there, there's no little bumps of lipstick on it and once you have it charged up we're going to go in and we're going on to Amelia's lips.


We're going to have her open up just a little bit, we're going to go in and starting on the bottom.


We're going to come up and right when we get to the arch we're really going to twist the brush in our hand and that's how we can get that nice bow in her lip.


This side, twist and connect and do the same thing on the bottom lip and the other one.


You got her lips and then just fill them in.


It's a great lipstick application technique.


So now in the same with the forward in same position we want to move it up just a little bit and where the upper ridges are now are in the kidney, meridian area and in this position, it actually stimulates the kidney and the kidney meridian.


You can do this with your knees raised to your chest or with your body flat.


This gives you a beneficial massage to the kidney area, the kidneys are a really important part of the body and health.


It really relaxes the lower back and makes everything loosen up doing this position with the spine aligner.


ALVIN DEDEAUX: Now, as soon as you decide how you're going to grip the rod, whether it's over hand with the thumb on top or with the index finger on top, the next thing you want to do is to trap that line and that's very important.


You wanna--line control is always very important.


That's where it starts, is with trapping that line.


If you're using the thumb-on-top grip, basically just use your index finger and trap that line there, or if you're using the index finger on top, you can grab it with that next finger.


Some people will actually grab it with two fingers if they're using the thumb-on-top grip.


That's perfectly acceptable; whatever is most comfortable for you.


But it's really important to grab that line, to anchor that line to the handle of the rod for a lot of different reasons.


But you know for stripping line and for casting, whatever you're doing, it's important to have that line anchored right there.


No movement between here and here, just nice and tight.


CLANCY ROSE: So, here is your grinder and you are going to fill up the hopper with the coffee.


The beans are going to flow down here, get ground in the machine, they are going to be--they are going to flow into the dosing chamber.


You have a lever here on this side of the dosing chamber to move the coffee out of the dosing chamber and then later into your porter filter.


One of the things that you are going to have to do is find the right espresso grind.


Like on this machine, a lot of the times it is going to be marked right here on the grinder, and like this one says counterclockwise to make the coffee more fine and clockwise to make the coffee more coarse.


What these adjustments do is the finer that you grind the coffee, the more resistance it has on the water that is passing through it while it is brewing and the shot of espresso is going to pour slower.


When the coffee is ground more coarse the coffee--the water passes through it a lot easier and the shot is going to pour a lot faster.


These are things that are going to affect the taste of your espresso a lot and you are going to want to find the time that your particular coffee taste the best and play around with the grind adjustment.


My name is Deanna Gutierrez and I'm a high school teacher in San Jose.


Some of the pros of being a high school teacher are your emotional commitment to your students and the incredible rewards that you get when they succeed.


You do have summer vacations and your day technically ends at 3:00 but what they don't tell you is you will be most likely bringing work back.


Grading either in your classroom or at home.


And you will be working on the weekends.


But it will be, hopefully, a labor of love.


And the last con would be the administrative red tape and dealing with principals and maybe co-teachers that don't share the same vision you do and just being true to yourself and to your students.


Everybody knows teachers love this and also the opportunity to be your own boss.


In your classroom you rule and that is a great plus.


And you can tailor the curriculum usually to fit your talents and the way that the information will come easiest to your students.


Some of the cons of the profession are the salary.


Living on a teachers salary can be challenging.


We've already gone over how a cup should fit, how a band should fit and the purpose of your strap.


But what we haven't gone over is that every company makes their bras differently.


So in America an E is the same as a UK F. And it just keeps going that way, so it's always good to ask for help because otherwise you'll just make yourself crazy.


For example, this company is called Natori, and they make a bra that is wider in the wire and shallow in the cup.


So while this bra is a 32 D, it's not for a D-cup who is fuller this way; it's for somebody who's more spread out this way.


And also, this company makes a very stretchy band, so if you find out that well you've been wearing a 34 inch band for years and years and years then you should be wearing a 32.


This is a great bra to start transitioning with because it stretches out a little bit quicker than others do.


Another example is this company called Freya.


Freya is a UK company, and they specialize in bras for women with bigger cup sizes, and smaller band sizes.


So, for example, if you know somebody who measures 26 inches around and is really busty on top, they might wear a 28 G. And they could get that from Freya.


UK sizing is a little different, so when you're in the store and you see numbers, ask for help.


Right now we are at a big kick in this country to try to get our kids back into boosters.


Parents have used car seats for so long they are so anxious to get there kids out of boosters seats but there is truly not a kinder gardener out there that doesn't need a booster seat and probably most of the first graders out there need them.


The law would be changing very soon to require boosters seats to 8 years old and most booster seats goes to 80 and 100 pounds most of them now go to a 100 pounds.


So we are going to show you a 5 step test and this is what you do in your vehicle to know when your child should actually not need a booster anymore.


You can't really go by age or weight guidelines so much anymore because seats are so different from vehicle to vehicle.


For example this seat is out of a Chevy silverado this is the same kind of seat that you would find in a suburban or a Yukon as a very long base.


It would very say a child that fits in a compact car or something geometry or a cooper a mini cooper it may have a very small seat base.


They would fit fine and they wont fit in here so it is going to very from vehicle to vehicle you got to do this test for the child in the vehicle that you are going to put the child in.


The next step before you actually apply the acrylic is to just go back and double check everything you've done.


You want to make sure that the nails have been roughed up, that you've applied the tips and that they're not hanging off the side.


The reason for double checking the tips, especially is if they are too wide, when you put the acrylic on, eventually that acrylics going to lift.


You want to make sure that it doesn't lift.


Lifting can cause moisture to get in and can cause mold.


You just want to make sure that you don't have any cuticle left on the nail, again, because that could lead to some lifting issues.


If you see anything that you need to get off, just go back and get it off.


You just want to double check before you start so that you don't have any problems later on in the process, as you go.


Once you make sure you have everything correct, you can start your acrylic application, but it's definitely good to make sure you've put on the bond aid, you've put on the primer, that you have all of your steps completed, and this is how you double check the work you've just done.


It has stars for power and toughness ought to be.


So again, this means that something on the card is going to tell you what these equal.


This creature has flying, which means they can only be blocked by flying creatures and/or creatures with reach and "Nightmare's" cool power is that its power and toughness are equal to each of the number of swamps you control, which means that if you have 6 swamps, if you play this with all black mana, then you at least have a 6/6 creature with flying, which means your mana production is perfectly equal for this card, and/or you could play this card in any multicolored deck, and you could still get pretty much even mana production as long as you have enough swamps to put enough power and toughness on them.


Also, this goes up every time you have a swamp so this has unlimited potential.


And now I'm going to discuss "Nightmare".


"Nightmare" is a very powerful card out of the black color.


It has always been a rare and it has been around for a long time.


So again, we have creature "Nightmare", which means it is a nightmare creature that gets benefits for anything that benefits nightmares.


"Nightmare" cost you 5 and a black, which means its converted mana cost is 6.


This means that you're getting a very big creature or a very cool creature, in which case this is both.


So again, as you see down here, "Nightmare" does not have power and toughness.


Alright, the next shot you want to learn is your snap shot.


Basically, it's the difference between a wrist shot and a slap shot.


It's not too difficult, but, again, the same thing, the same thing as a wrist shot, pretty much, just the extra snap.


It's kind of in between there of what you're going to do.


For a snap shot, just like the wrist shot, you're going to plant yourself, put a little bend in your knees.


And then all you're going to do is you're going to pull it back, just like the wrist shot, but then you're going to pull all of your weight back on to the back foot, and then you're going to transfer your weight on to the front foot.


But this time with the stick, you're going to actually snap it, you're going to snap the stick and follow through.


And sometimes that gives you a little bit harder shot than your wrist shot, your typical wrist shot.


Today, in this segment of bar tools, I'm going to discuss the bar spoon.


Now, your bar spoon is a long spoon, it's twisted in the center.


The other example that I'm going to show you is layering your drinks.


You're going to want to start with your shot glass, obviously and from that point, you're going to take your first liqueur, this is a Butterscotch Schnapps.


And we're going to pour about halfway up.


From that point, you're going to take your bar spoon and your next, which is going to be Bailey's Irish Creme, and you're going to just want to penetrate the surface of whatever your first or base alcohol is and pour the second one directly on top of the spoon, like such.


And see how it gives you a really nice, distinct, separated layer there.


So, those are the uses of your bar spoon.


Always recommend having this behind the bar and take good care of it.


It may or may not have an end, like such.


Most common, basically stirring your drinks, layering shots or Martinis and scraping out all that ice at the bottom of the blender.


So, really quickly, first use that I explained was stirring your drinks.


When this is filled with ice and all of your contents, you're just going to place the spoon in like that to the bottom, and just stir it.


And what this does, it allows you to prevent bruising your drink.


It's just a different method of mixing your ingredients as opposed to shaking.


So this is a Modified Hand To Big Toe Pose.


Again, feel that strength building in through your right leg, also stretching the hamstrings of the left leg.


So, beginning in Mountain Pose, feeling the roots of your feet, they being extended to the earth.


Align the spine, lift the rib cage, lift the crown of the head towards the sky.


Now, getting balance on your right foot, planting all four corners of that foot down into the earth.


Now I'm noticing I need to hop a little bit forward to be able to reach this leg.


So holding on to your big toe with your index and your middle foot, and; your, no not your index and middle foot, your, your fingers.


And then reach that leg out, draw the chest back, breathe, chin parallel to the earth.


This Koshinage, or hip throw, is going to be from a hook strike, or Yokimunuchi.


Daniel's going to blast me to the side of the head.


Now he's already bleeding out, there's nowhere for that foot to go, I can draw him into my hips.


Here I am, locked up in the hip; he's already falling, put my hip into it, over we go.


That's Koshinage, the hip throw, from a hook strike, Yokimunuchi.


This is a very dynamic Kushinage, because I have to blend with the oncoming strike, and time myself so I can end up on his hip at the same time.


What I'm going to do is come in and dominate here.


He's already spinning in this motion, so all I need to do is plant my hip there and draw him over.


Here, here's my hip, I'm already in position, and away we go.


There's a couple tricky things about this.


Is when I do this, I don't want to step way out here, because I'm really out of center.


I only want to step, here, almost stepping on his foot, that allows me to get good position.


Hi name is Scott and I'm the owner of Climb On indoor rock climbing gym in Wilmington, North Carolina.


Today we are going to discuss rock climbing techniques.


So what I'm going to do is push up with my legs and try to keep my arms straight.


Sometimes there is nothing to stand on so you might have to do what's called a smear, which is actually just using the wall for your feet to walk up.


Other techniques might be stemming out to use another wall for balance for your leg.


These techniques are all things that can be learned at your local indoor rock climbing gym by a qualified professional.


Rock climbing is dangerous so we do ask that you go get instruction.


Technique is very important in rock climbing to keep you on the wall and climbing efficiently.


These are things that you can learn at your local indoor rock climbing gym.


Some of the things that you might learn to begin with would be to keep your arms straight while you climb, and not bent.


The more you keep your arms in to your body, the more fatigued your muscles are going to become.


So when we are climbing we try to keep our arms as straight as we can while we climb.


The other technique that you might learn is footwork.


Footwork is extremely important in rock climbing.


You don't want to have to do a hole bunch of pull ups, you really want to use your feet to balance.


For our meerkats, we're going to have to take it in two different steps.


First off, we need to paint the rockery, and we're going to need to let that dry, and then we'll paint the meerkats on top of it.


So again, just keep expanding up from the central area, and once you get towards the top of the rocks, like up in here, you may choose to like get a, you know, a smaller brush to get more of the detail on here.


Usually the rocks are a little bit bumpy and lumpy, so actually, unlike most of the rest of the painting, I find myself remaining comfortable with a bigger brush, even towards a lot of the edges.


Now you could actually get up here higher, where you start getting into the feet in the meerkat details.


I may go down a brush to make sure I don't accidentally paint over the feet, cause I only want to be, make sure I can still see those lines when I do move to paint the meerkats later on.


So you're going to continue this throughout, and you're going to let it dry, and then we're also going to add in some pink highlights, which I will demonstrate next.


So, let's get our paint ready, and we're going to start filling in this area.


So let's dip our brush in and get a nice big dollop of paint; making sure that the paint's not dripping too much from off off the brush, or at least you have a good drop cloth down.


If you're kind of sick and tired of some of the detail work we've been doing, the rocks are very excellent therapy, cause' we're just going to basically plaster this with a nice matte; very, very light brown, maybe a touch of purple and pink in here, with some pink-red highlights to basically, kind of go back over the edges.


I'm not even worried too much about the rocks shape at this point, because they'll be very easy to rediscover underneath the paint.


Of course, you can leave these a little bit thinner if you're worried about making sure the, where the lines are.


Otherwise, just go to town and slop it on.


We're going to try to definitely avoid having to put on two coats here, because you don't have to do a lot of the detail work which can make the paint smear.


So from here, once you have the feet and the legs aligned, same thing as the standing pose, you will move the left hip forward and the right hip back, pressing into the rear heel.


Keep the forward knee right over the ankle.


Notice the support you have the support of the chair, but also notice the support as you press into your legs.


Notice the flexibility this is bringing into your hips and your shoulders as you come up into your version of supported verbadrasana 1.


Either temple pose or "V" for victory pose.


Shoulders move down and back, crown lifts, the chin is leveled.


All the energy is coming right on up the inhale and you can drop down a little more on the exhale.


Really rely on the support of the chair here, even though you feel your feet and your legs supporting you.


Let the chair support you, particularly if you have knee injuries or hip issues.


Hi I'm Kim with Simply Beautiful in Austin, Texas. We're going to talk about how to get rid of dark spots on your skin.


She doesn't have very much in the way of dark spots, but we're going to show it to you anyway.


So we're just going to take a little bit, we're going to put it on a Q-tip, you can use it on your finger easy enough.


And we're just going to rub it on the dark spot.


I want you to know the more often you do this, if you do it once a day, you'll get great results.


If you do it twice a day, you'll get better results.


The most important thing I want you to know is that you must wear sunscreen.


Because if we're going to lighten the dark spots then you got to keep a sunscreen on so they don't come back.


We're going to focus on your face because this is where the areas that women are most concerned about.


So it's two prong, keep your skin clean, well moisturized, use a spot treatment, Clarins has a great one, Lancome has a great one, there's one called Ambi that you can get in the drug store and that comes for oily skin or dry skin, and get that sunscreen on there.


At least a 30 because it means you're prone to sun damage.


Dark spots aren't really necessarily a result of age, it has to do with skin damage from the sun.


I want you to know there's lots of products out there that can work.


From very, very expensive to great drug store brands, it's just a matter of what you're budget level is and what you're comfortable with.


There's stuff that you can put all over your whole skin.


I'm going to recommend to you that you just do a spot treatment.


I'm going to demonstrate on Megan's skin.


I am with the Austin Homebrew Supply in Austin, Texas.


Generally, in beer making there's two stages that you'll take these readings.


One of which is when you're steeping the grain at the first part of the, of the brewing process.


You need to make sure that you achieve particular temperatures.


This will help you to make sure that you're not too hot or too cool.


There's one other stage that you want to use this at.


It's right before you pitch the yeast in to it.


You've got to make sure that your beer is not too hot.


If you put the living yeast in to too hot of an environment it'll kill the yeast.


So, thermometer's come in handy for beer making.


Comes in a fahrenheit and centigrade scale.


Today we are discussing beer making equipment and wine making equipment.


So, this is our floating thermometer, our basic one.


We also have one that's a very fast reader.


It doesn't float, but it reads real quickly, so you immerse it in to the liquid and get a reading with in maybe fifteen seconds or so.


And then the lastly we have our dial type thermometer, which has a little clip on the side of it.


You could put it on the side of a kettle and monitor the temperature inside of the either wort, or when you're actually taking your temperature right before you pitch the yeast.


So, a few different types of thermometer's that you can use in brewing.


We're going to talk about thermometers right now, which is more applicable to beer than wine, although some people will take, use high, use a thermometer for wine making.


It's generally more applicable to beer making.


But, none-the-less, we sell a different, a few different varieties of thermometers.


I'll just show you three different varieties here to start out with.


Our standard on is a floating thermometer.


It's going to come with our deluxe beer equipment kits.


And these guys simply, you just drop them in to whatever liquid you're trying to get the temperature of.


ALVIN DEDEAUX: So the basic tools you're going to need.


Hemostats, those are good for mashing down the barbs on your hooks, also good for grabbing a hook and getting it out of fish's mouth, and these have a nice little feature here that you can actually mash the split shot down with.


Another real nice thing to have is a hook sharpener for obvious reasons; you want to keep that hook sharp.


This one's cool 'cause it's made out of a ceramic material, so it won't rust, and I've had that one for years and it's been in saltwater, it's been in fresh water, and it still keeps my hooks nice and sharp.


There's a lot of other stuff you can have pliers, pocket knife, but if you got clippers and hemostats, hook sharpener, that should get you by.


They come in all different sizes and shapes, bigger ones, longer ones, some of them are brightly colored, some of them are colored, anodized like a matte black so they don't reflect light.


There's just different hemostats for different finger sizes, you name it.


Another really important tool and a kind of a must-have tool is your clippers obviously for clipping the line, if you add and tip it or you got a knot and you need to cut your leader to retie it, you want to have clippers.


Another thing that's important on your clippers is this little needle.


This one actually has a retractable needle.


That's really good, like say you've got the eye of your flies all gunked up.


Sometimes when they tie them, they'll have an extra paint or glue covering the eye and you can use that needle to poke out the eye.


Also if you get a tangle, you can actually use that needle to stick in there and kind of untangle the knot you have in your line.


So we've got our three pound ball of clay.


You want to slap it, really hard, down onto the wheel head, take your left hand and your left arm, put your body weight into it, lean it against the wheel head.


You want to lean your body weight, have it all the way through, to the heel of your hand, your left hand is not going to move very much, your right hand, you're going to use to bring the clay towards your left hand.


You do want your sponge to be wet, not so wet that it's dripping but wet enough that if you squeeze it, water will come out and you just give it a little squeeze, with your hand, any time you need more lubrication.


Make a fist and push down, all the while, your left hand is just serving as support.


It's not really doing anything but keep the clay, on center.


You push down, into the center a little bit, with that fist that you've made and once you've made the well here, you want to check the depth, with your needle tool.


For a berry bowl, you probably want, that's about an inch and that's probably about right because we're going to have a trimmed foot on there, so you need to leave room for that.


So, as we drop into this dragon position, a lot of whether your foot is flat on the floor is going to depend on your ankle flexibility.


Many people don't have the flexibility to be able to put their heel flat on the floor in this position.


So, it's perfectly fine to keep that ankle bent up to whatever angle you need to in order to maintain this position.


The ankle is not necessarily important, it's keeping the body sunk down over the leg, which is important, wherever your ankle manages to be in that position is fine.


That being said, the more you can draw your heel down to the floor and sink forward, the more you're going to be gaining flexibility in the ankle and that's going to help your martial arts training, especially when we're doing kicks and using darthaflexion and Plantar flexion for thrusting forward


Chopping is another sort of a stroke that we can use on the horse's, this one in particular you have to be careful where you are using it.


It is just what it sounds like, it's like a karate chop sort of a thing, I guess.


And you hold your hand this way, the fingers closed and you are actually striking the horse with the side of your hand.


And you can use a fair amount of pressure when you are doing this.


You really want to be careful and be paying attention to what you are doing.


Watch your horse for signs of reaction, watch your horse for flinching and be feeling with your hand while you are doing it.


Watch your horse is doing, how, what their reaction is to it.


If they start to duck away from what you are doing and you need to back off, perhaps that's an area where you should be using a different sort of a stroke.


But again you want to keep your fingers closed, use the sides of your hand and just use light moderate and heavy pressure.


And be careful where you're using that sort of a stroke.


Our next stretch is going to be a side stretch.


Let's go ahead and taking the hands by your side and stretching one side at a time we'll start with the right side inhaling up with the right arm.


Elbow comes closer to the floor, hand reaches closer to the ceiling and to the side.


And again, ideally, your hand and your gaze is up at your hand.


If it hurts your neck you can keep your head center even to the floor.


Exhale slowly when you get back to center.


Just relaxing your hands in your lap, you can close your eyes if you like, and just feeling the affects of the stretch.


Then you exhale and slowly take it over to the side.


You like to look up at your hand as you're stretching feeling it stretch and deepening the stretch along your side.


This bottom hand, every exhalation the elbow getting closer to the floor.


So as you inhale you lift, exhale dropping closer to the floor reaching the hand up towards the ceiling farther along to the side of the wall.


The next exhale you'll slowly bring it back to center and then do the same thing on the other side.


Deep breath inhale left arm comes up and then exhale slowly taking it over.


And today, we are going to be doing a method or a technique called a stepping stone.


They are strong enough to step on, like I said, but people think they're too pretty to step on.


I'm going to show you what to do and have fun with it.


So what we're going to do, we actually need a mold.


They come in a variety of sizes and, of course, they're available at your local stained glass store.


So anyway, they are fairly expensive, I think, but as far as many stones that you can get them, they're actually worth every penny.


In fact, they turn out to be quite cheap at that point.


So anyway, find a size you like or start with a pattern first.


And what we're going to do is we're going to be using art glass and/or stained glass for the surface of the stone, and then it's going to be poured with a bunch of grout.


Believe it or not, these things are incredibly durable.


In fact, not only durable, they're heavy.


So anyway, they are for your flower beds, your walkways, your--people even keep them in the house.


They're so pretty. They are strong enough to step on. They're strong enough for water. They're going to make it through the seasons, if you do the couple of techniques to make it help--last through the ages.


First I want to tell you what the purpose is of preparing your platform statement.


When most young ladies enter a pageant they are required to have a platform.


And a platform can consist of something that you believe in very strongly, it can consist of something, say an organization that you've been a part of for a long time.


But it is a purpose for which you have that you want to represent if you win the title of the pageant.


And I'm going to talk about how to prepare the platform statement that you're going to turn into the judges so that they can read this about you and determine whether or not your platform is strong enough to support your pageant title.


One of the main reasons that you need a platform is during the course of the pageant at some point you're going to have to get, introduce yourself on stage and tell everyone what your platform is.


I'm Erica Saylors and my platform is prevention of elderly neglect.


At home, if you're doing one or two loaves and you want to use an old fashioned method, you just have to knead it by hand.


Knead by hand, until you have the window, that's a very good question.


I don't think, at home, you can really mess it up, by over mixing it.


It's best to watch it and just make sure the ingredients are mixed properly, without being over mixed.


If you over mix it, your cookies will run.


If you over mix your muffin, your muffin will run because what happens is, you will incorporate so much air in it, that the air, in there, will bubble up and make the cookie and the muffin, run.


A window is when you pack the dough and you stretch it out and the dough becomes so smooth, this is what you call a window.


Where you stretch your dough, until it becomes thin and when you hold it, up to the light, you can see the light come through it, without getting torn and without getting tears in it or without getting holes in it, that's when your dough is ready.


So, at home, when you knead it, you have to knead it enough.


Every so often, take a piece of it, look for your window and if you have your window, your dough is ready.


As well as mixing the cookie dough and muffin dough, you have to be careful not to over mix anyway.


Let's add a Hip Slide to our Choo Choo Shimmy.


So let's review the hip slide real quickly.


Keep your body in the center and let your hips go on either side of you.


Watch those ankles that they stay press in toward each other.


Make sure everything is in its right place.


And keep those hips moving nice and evenly.


You can do this best by practicing in the mirror.


Make sure your knees are just soft, bring your belly button in, lift your chest and these hips are going to slide just outside of your body line.


If you imagine keeping your head right in the center, the hips are going to slide on either side of that.


And then we're going to keep pressing them down so that they stay parallel to the floor as much as possible.


Now, let's get our choo choo shimmy going.


Up on relevee, pull those hips in toward the rib cage.


Now we're going to be shifting our weight during our choo choo shimmy and we're going to be using our hips and side muscles to press the hips side to side.


Today, we are going to learn how to make gourmet coffee in your home.


It's basically like a hot chocolate except it's going to be Irish cream flavored.


Remember though, if you are going to make something with fruit flavors to cut it with vanilla, or if you have like a thick syrup like chocolate, you can cut it with that, too.


And that is how you make an Irish cream steamer, also known as the cream of steamer.


In this clip, I'm going to explain to you real quickly how to make an Irish cream steamer.


This is basically just going to be the steamed milk and then your flavor.


It sounds really, really fancy but it's not.


If you have like kids in the house or people who don't like coffee, this is a great drink to make because it doesn't have espresso.


What we're going to do, we got our sugar for the Irish cream.


SAL COLLURA: Okay, now that we've gone through the days of the week, I'd like to get specific for certain events.


Okay, so hit the hill as hard as you possibly can in the biggest gear you can.


Either you're turning around and coming back downhill, or if you can make a loop out of it, but you need a few minutes, less than 10, of recovery.


So you get a couple of 3 minutes of just recovery.


You're panting, you're breathing, you're getting over what you just did, then you're going to do it again.


And I recommend, with hill repeats you're going to hit that thing, five, six, seven times.


If it's early, early spring, you're not going to be able to do it as much.


If you're to the point where you're getting in shape, maybe you can hit that thing 10 times, and you know what?


It's hard, it's going to hurt, but you're done.


So if you're training specifically for road racing, I would take that week and add the following things.


At the end of that 10 times, you can just noodle home, take an easy ride to recover.


But it's those really hard efforts and it can be short.


You know, a mile hill isn't going to take you very long if you're going full speed, but it's that extreme effort that's really training your body.


You're getting your heart rate up, you're opening up those lungs, and you're building big muscles in your legs, pushing up that hill.


And the other thing I would add for training for road racing is do a little bit of that base miles training where you're at 75%, 80%, 90% of your max for an extended period of time, and maybe you're doing that on your Wednesday.


Let's say you're doing 2 1/2 to 3 hours.


Well, keep it at a point where you're not really comfortable.


You're just out of your comfort range, but you're doing it for extended periods of time.


And, again, not going 100%, you'll be able to extend that longer, and that's good training for you to keep in that training zone for a good 3 hours, and maybe that could be your Wednesday.


I think "hill repeats" are an important aspect of training for road racing.


One, most road races are going to have some kind of hill, so you are training yourself to climb hills, that's great.


But the other thing it does, it takes you to a deeper level.


What's going to happen is a road race, is there's going to be an attack, it's going to be strung out.


There's going to be a section of time where you're way out of your comfort zone.


What "hill repeats" do is simulate that.


So, for example, let's say you take a--let's use a 1-mile long hill.


When you're designing stuff, remember that functionality, always comes in to play.


Unless you're designing a couture collection, which is going to go run down the runway, and nobody's ever going to buy it, it's going to be more of a show.


Think about functionality, and you can have functionality with good design. You can have functionality with a little bit of pizazz.


This was from my collection, that was inspired by She-ra and I did mostly, boy shorts that were comfortable, that if you were a superhero, you can move in them.


It's real life level, blown up and made fantastical, but still within keeping with a set frame of reference.


These again, boy shorts with design detail, and they have a more straight across, menswear inspired waistband, but the legs are girlier ,because they're arched up, and then I did my central panel as a design detail, and I added a band at the legs, and a band at the waist.


Now again you're aware of your posture, you realize that your shoulders are rounded and that you need to do something about it, I got something very simple for you to do.


This is a Shoulder Elevation and Depression With Arms Overhead.


I guarantee you, your shoulders will feel better.


At first, it might be a little sore, but they'll feel better and they'll look better.


Now I have to warn you that if you have a little bit of difficulty with this move, please refer to the Shoulder Elevation and Depression either with the hands by the side, or the hands in front, the arms in front before you temp this if it's a little bit challenging for you.


But basically what this looks like is, once you're sitting on your ball, the sit bones, you're bringing your arms overhead, you're going to shrug your shoulders towards your ears with that inhalation, and then as you exhale, you're going to press down.


And if you notice, I'm not bending my elbows.


It's not about this, it's about the shoulder moves.


So feel like your shoulder blades is sliding up the back as you inhale and sliding down the back as you exhale.


And you really going to make sure that you're pressing down with the shoulder blades, with the back muscles into your hips, or towards your hips, rather.


Again, this may not be the easiest thing to do if you're trying it for the first time, so refer to the clips with the hands by the side or the hands in front of you, so you can get your body used to doing this at first, and then once you master those, then you'll feel free to do this.


Hi! I'm John with expertvillage.com and we have our light switch plate cover and it's almost finished. All we have to do is seal it. Before we seal it, we can do a couple of other things.


You don't want to do this in the house, but we're going to do it in the house anyway because we have an art room for this stuff.


Do it in your garage, out on the sidewalk, or whatever.


Just get something to put it on because it will over spray and get on your carpet or whatever.


When you do it, start out here, work in.


I don't want to blast it with a bunch of glitter because it's going to be in my room, but I like it.


There's a little bit on there right now.


We can add some paint and then let it dry and seal it. We can add some glitter. I am going to add some glitter.


It's going to be gold. You can just get this at any craft store. Before you go ahead and spray it, shake it up real good.


When using throw bags, you really want to use them in the right situations and often people get a little over eager and use them in appropriately.


Whenever you are about to deploy the throw bag, you want to make sure that the person you are throwing it to, knows it's coming.


So letting them know by shouting rope nice and clearly and loudly so they can hear and you make eye contact with them is important.


You always want to make sure you are throwing the bag from an appropriate base as well.


So throwing from a kayak or a canoe where you don't have a lot of stability and you are not securely fastened to the ground is not the best idea.


On larger rivers, occasionally it is okay to throw from a rock.


However if you do that, that person in the water touches the end of the rope causes a lot of drag so you are going to get pulled towards them.


So you are going to get taken too and also the person you are throwing to.


You don't want to throw to someone who is panicking and thrashing around and you definitely don't want to throw to someone who is unconscious.


Just placing a rope in the river is creating a bad situation and once it is in that moving current, it is pretty uncontrollable sometimes and it can create a worse hazard than already existed.


Hi my name is Michelle and I'm going to explain to you on how you can care for a tooth after extraction.


It is very important that when you do have a tooth extracted that you really want to avoid that area.


You want to also avoid sucking through a straw which sucking through a straw could in return cause suction which can cause a dry socket.


Other than that you really want to follow up with your general dentist after you have an extraction, usually one to two weeks afterwards just to make sure that the area is healing correctly and that you are not going to be having any future problems with it.


Once again my name is Michelle and I just explained to you on how to care for a tooth after extraction.


You want to avoid chewing on that side, you want to avoid messing around with it with your tongue, especially if you have any stitches in your mouth.


You really want to just take care of the area.


You want to really rinse with warm salt water rinses.


It helps with any inflammation that you might have and it also helps with any soreness that you might have after the extraction.


You really, if you are a smoker you really want to avoid smoking for the initial first 24 to 48 hours because if you do what happens when you do smoke is you are creating suction and you can get what we call a dry socket which is very painful.


You also want to avoid as far as like caffeine products or any acid type foods for your gums.


Ok, what's taking place is that when you press down the circuit switch, you're closing the switch which allows the electrons to run all the way through the wires to create this electro magnetic attraction.


You've got your nail here and you notice that this is all free standing right here.


Now you can imagine this, using the Morse Code, say that you don't have the opportunity to use a computer on the high seas.


You need to make an SOS signal, the best thing to do is to have flashlight, or something that flashes a light, and this is an international code, however old it may be and not in a lot of use.


And I think in one of Tom Hanks in the movie or whatever, he, you've often used light to say, oh, there's a rescue plane coming on Gilligan's Island, often lighting up a bonfire that says SOS on it.


This was the international symbol, and definitely some place that's so remote and so you're trapped some place, very interesting.


If you use the Morse Code and used that simple SOS signal which is deet deet deet dah dah dah deet deet, somebody is going to know you're in trouble.


You can end up being saved, or not saved if you don't learn the Morse Code.


So what you have is this creates this flow of electrons through this wire coils.


Now, then you produce this magnetic field right in here, and thus you have the attraction.


When this is done, like say this part would be in one town and then you'd have the wires running on a telegraph pole to another town.


Now of course if somebody snipped the wires and this often happened, especially in the old western days when the natives would take it, hear noise from these tall telegraph poles and all of a sudden just snip the wires because they knew again that this contributed somehow to more white people coming into their territories, and this was something that they just obviously did not want.


But the interesting thing about this is if you were the poor person that had the job of setting up the telegraph poles, this was a deadly job because you were definitely killed by natives.


They tried to stop you from putting these things up.


And however it contributed to the advancement of communication where it wasn't just this little letter being delivered, it was a series of beeps and sounds coming through.


Some of the common mistakes you may experience while learning how to do a frontside tailslide on a ledge is that you find it, once you ollie into the tailslide sometimes you don't lock in right and you find it you land about like this.


Another problem people experience is coming out of a frontside tailslide and riding away almost straight away like a mini ramp.


What you want to do is make sure that you can control your frontside tailslide and pop out ninety degrees and even add like a little bit of an ollie or at least come out nice and level.


You don't want your tailslide to fall out and roll away even though you could.


What you want to do is put a little tap on there and get out and roll away cleanly.


You're not going to last very long on top of the ledge with your foot only there.


So what you're going to want to do is to make sure you ollie high enough and land straight in the frontside tailslide and lock in the position.


This is going to get you best tailslide possible.


Another problem you may experience is a tailslide sliding out.


When you first learn how to tailslide on a ledge, you're going to find out that maybe you're trying to push it a little too hard or maybe you put too much wax on top of the ledge.


Another thing could be that you have stickers on your tail that end up making it a little too slippery.


So, if you start to slide out that just means you need to lean a little more far forward to hold your tailslide a little steadier and a little bit longer.


Ok, so here once again, we're in the fairway bunker.


I've got a shot at the green with my 9 iron here.


This isn't like hitting off the nice firm ground.


So I feel pretty comfortable here and I struck that one just right and I should be all over the pin with that one.


So this shot looks harder than it is but don't get discouraged.


If you practice your fairway sand shots it's going to have a great effect on your hitting the ball off the grass also.


Because, if you can hit out of this consistently hitting off the grass is easy.


So what I'm going to do is I'm going to look at the green, so I'm going to take my line on this ball so I want to get parallel to the line of flight of the ball, however, there is a tendency to fade the ball when you're hitting out of sand.


So, you might want to correct for that but you know your own game.


So I want you to get a good solid stance, be balanced because sand is loose and you don't want to have a bad, when you take the club back you want to be in good balance.


Because bad balance you'll hit a bad shot.


So that ball was pretty straight, not quite as far as I'd like.


So when I'm on sand I do kind of move my feet a lot because I'm trying to find that perfect balance.


My ten minutes are up, and what I'm going to do with my developer is I'm just going to pour it down the drain.


Developer and stop bath are really technically the only things you should pour down the drain.


Don't ever pour your fix down the drain.


Once the developer is down, I'm going to take my stop bath and I'm going to pour it in the same way -I take the cap off, 90 degree angle, and pour it in.


And again, I want to make sure I fill it up all the way to the top, put my cap back on.


Stop bath is one minute, and for that first minute you agitate the whole minute.


So again, kind of recap, I poured my developer down the drain when the ten minutes were up, and then I poured my stop bath in.


I'm shaking my stop bath, figure eights, and I'm getting ready because after this I'm going to pour the stop bath down the drain, and then I'll get ready to use my fix.


Let's take our basic Egyptian Walk and travel in a circle with it.


So we're going to travel to the right, so we're going to step out with the right foot and feet together, step back with the left foot, feet together, step, together, step, together.


So we're hitting the four corners of the room.


Ready and turn, step, together, step, hip, step, hip, step and hip.


Try the other direction, stepping left foot.


Left, hip, step, face the back, step, face the side and step, face forward.


You want to make sure that everytime you turn, that your knees line up in the same direction, so that our knees aren't going in two different directions.


You want to keep your body nice and align.


Make sure you're putting pressure on that ball of that foot.


So it's going to be; step, touch, so arms just out, palms down facing away from the body.


And as you touch you're going to lift that hip.


Now a lot of women don't realize this but when you put concealer on the eyelid and put a little bit of powder on top it keeps your eyeshadow on all day and it keeps it from creasing.


then you want to put it up over the whole lid close this is just going to even out the whole skin tone and make a beautiful pallet to start with and then on the other eye.


Always make sure that everything is blended so you can take a peak and we are ready to go on to the next step.


I know I have a lot of women that say they have there mascara on running or there eyeshadow creases or this would be keep it from doing that.


When you put the concealer and the powder it keeps the oils from coming through and it will keep your mascara and keep everything in place.


Most important you definitely need to put on a eye cream.


Putting on a concealer on a dry eye is only going to make your eye look really dry because the eye would suck up the moisture from the concealer and it would start to go into the lines.


So you just put your eye cream right at the corner edge and alway tap gently with your index finger.


No rubbing or tugging or pulling on the eye.


Then you want to use a concealer about a 1/2 shade lighter and I alway recommend just brushing it on.


I recommend brushes for pretty much everything and tapping it with a finger afterwards just to smooth it out.


KIRK VICKERS: In the fitness world and the rehab world, these physioballs have become real popular.


We're just going to raise the leg and hold it for a 30-second count.


If we want to make this more challenging, we can put our arms over our head and do the same thing.


Switch legs, hold it for a 30-second count.


For those of you that are just starting this, it might be nice to have a wall close to you or put your ball close into a corner, making sure that the ball doesn't touch the corner so you still have that stability and that movement through the ball.


But these balls are--it can be a great training tool especially when we talk about core strengthening and core stability.


I'm going to demonstrate a movement--a fairly simple movement that you can do on this to create more stability and control through the body and through the hips and the pelvis, through that core region.


A quick note, when we sit on the ball or when we're doing any seated motions on a physioball, we want to make sure that our knees are in line with our hips.


We don't want our knees too high but we don't want to let knees too low.


As we put our feet straight out from under us and we've got this nice 90-degree angle, we should have a ball that stabilizes our hips.


It should come off straight off with the ball.


The movement that we're going to do here is we're going to activate the hip flexor and create a lot of core stability.


In this series, I'll talk about middleweight bicycles.


A lot of people confuse middleweight bicycles with balloon tire bicycles.


The frames have thinner tubes, and are much lighter, and the gearing on the bicycle is different, than on a balloon tire bicycle.


The front chain ring on these cycles is larger.


I'll show you how to look at that, and how you determine the general gear ratio of these cycles.


I'll show you what manufacturers were successful, and what items were not successful.


They use a generic term, cruiser, which could apply to a balloon tire bicycle, or a middleweight bicycle, but I'll show you the difference between the two, and what makes it a cruiser, and not a cruiser.


I'll talk about how to identify a true middleweight bicycle, from a reproduction bicycle.


The balloon tire bikes were designed like streamlined, art deco motorcycles.


The middleweight bicycles have more of a space age look to them.


And welcome, to the beautiful studios of Valley Free Radio, located in a basement.


Anyway, we're going to show you today the basics of how to do old school, analog style broadcasting, and a very low tech, ancient style broadcasting studio.


All here, at beautiful, Valley Free Radio.


So, let's take a look at what we've got here.


Of course, the heart of any studio is your broadcast board, so, we're going to talk about all that in a minute.


And most of the rest of what you see are different things that are going to be inputs to the board.


Got some CD players, we've got another mixing board that goes as one input to the, to the a, to the board.


We've got a couple cassette players, hi-tech.


And, we have a computer that we play MP3's to, and of course, the telephone.


And, we'll also see how to put callers on the air.


Other features of the station are, some very kicking monitors, microphones we'll be talking about, headphones you need when you're talking on the mike, and some turntables.


So that is why they alternate and put in the direct quotations to begin with.


Here's another story about Dan Moraine of the Los Angeles times about the presidential race.


We've got our lead here and we've got a quote immediately.


Then we've got another fact, another fact, then we've got a quote here, a fact here, a fact, a fact and the rest of the story is a fact.


So as you can see there are probably going to be more facts from there than direct quotations.


You may ask why do you need direct quotations.


Why don't you just put the whole story in facts. It breaks the monotony up and what people say exactly is going to be more exciting than just a bunch of facts.


Hello, I'm Bruce Marshall, Fashion Designer, and Emmy Award nominated Costume Designer, here to talk to you about how you might want to dress to go hear the orchestra at the symphony, da,da,da,da,da, that's right.


Now, one thing you should remember; when you're at the symphony you're going to be sitting, and you're going to be sitting for quite some time, so really, the most important thing is you want to wear something where you're going to be comfortable.


And also, you know it's pretty much a formal occasion, so you want to be formal, but not like black tie; it's not necessary.


But you definitely want to be comfortable, so something with real soft fabrics that are pliable, that will actually sit well is something you might want to think about wearing, such as a velveteen or a velour just like demonstrated here.


Now, you know the most important thing at the symphony is of course, the music, but you can also take some accessories to accessorize not just the music but yourself.


For instance you can have a nice little flower in your boutonniere, and you can make that really nice and shiny and flashy and fun.


It could be as simple as a carnation even and it would still work, or you could have a pocket square with nice little handkerchief or something with a detail that's gives it a little accent that would make the evening even a little bit more special, because face it; you don't wear stuff like this everyday.


In this clip, we'll talk about what causes OCD, or Obsessive Compulsive Disorder.


Although it's not really known exactly what does cause OCD, we do know that environmental and biological factors do play a major role in the development of OCD.


When I talk about environmental factors, what I'm actually talking about are things that occur either in the individuals immediate environment, such as your family, your workspace; or in the surrounding community or world.


So it's things such as major traumatic events, environmental things, such as tornadoes, hurricanes, any kind of things that might lead to traumas.


Things as simple as, sometimes getting married, changing a job or losing a job, having a baby; anything that is related to your environment can be a trigger.


Now, it doesn't mean that if you decide to get married, and have a hurricane in the same year, that you will automatically develop OCD.


They just noticed a link; that between environmental stressors, there's an elevated link in risk that you might develop OCD.


But then again, there's always the thought that you would have to be prone to developing OCD to begin with, so the environmental factors are actually a trigger, and not necessarily a cause.


This episode we're talking about snake bunkers.


But we're going to modify it because of this thing, a paintball marker that you probably don't want to let go of, and the rules do not let you just throw it in front of you and go to town.


So, it's going to be two knees, one hand, and you're just going to crawl all the way along.


Except in this bunker, it's not really an option, because you'll notice, in the tiger crawl, the position I'm in right now, I'm actually over the top of the bunker, so, which means my pack, my head, and, yeah, everything is pretty much exposed.


So the best crawl for this is a leopard crawl, which is down on your knees and down on your elbows, and you're going to crawl pretty much like that.


One more thing to mention about crawling, and this is more of a health issue than anything else.


When you're crawling on one good hand, make sure that you don't go palm down.


It's a natural to want to do when you're crawling--you want to put your palm down like this.


The problem is you can hyper extend yourself.


Every field, every air ball field, every arena field, has a snake bunker.


You can actually blow out your wrist if you're not careful.


That being said, what I try to do when I'm crawling is I make my hand into a fist, and walk on my fist and my knees.


It doesn't always work out that way, but that's what you want to try to do.


One other thing, speaking of health issues, if you think you're going to be crawling on a particular day, and you have bad wrists or you have bad joints, take preventative measures.


I've got my wrist taped up from here to here using some medical tape.


Some of the stretchy stuff that is pretty good.


If you think you're going to do any crawling and you are afraid of blowing out your ankles or blowing out your wrists or something like that, be prepared.


It might not look as straight as this snake bunker, but trust me, there's always a low crawling area for you sneaky, crawly types.


When you find the snake and you want to take the snake bunker, you want to get in here, first thing you want to do before the game, walk the field, get down to the snake level, and inspect the field.


You're looking for what position you need to be in, what large bunker you need to be behind, in order to do the most damage to the other team.


Sometimes it's not going to be the position you think it is.


You don't know until you get down here and you put your eyeball on this bunker.


When you're calling a snake, what you want to do is a modified tiger crawl--no pun intended, that's actually what it's called.


Tiger crawl is two hands, two knees, and you're just going to go like this.


I wanted to talk to you about some things not to do when training your bird.


When you decide to train your bird don't switch locations that you train your bird every time you train them stick to one place have a set area in which you train your bird and they're familiar with if your switching it around every time you switch their training area it's going to confuse them they're going to be more distracted by their environment than they are interested in learning any new behaviors.


Birds need to be very comfortable in their environment to preform, especially shyer birds like greys I've had a very difficult time showing any behaviors that these birds know today because there's lights and camera and unfamiliar people in the household and it's a very, very good way to get no response out of your bird at all.


Other things you don't want to have in the household at the same time is a lot of other activities going on obviously you don't want people cooking at the same time in the background you don't want the dog running through the house at the same time.


You want to make sure that at the very begining and the end of every training session you start and end on a positive note no matter what happens the bird doesn't understand whats going on.


Always make sure don't end that session with the bird doesn't get it you're frustrated you're angry and you just put the bird away that is the very worst way that you could ever end that for one you're not going to try training your bird again anytime soon and your bird's certainly not going to want to be trained again anytime soon because last time he tried and set out in that location and was with you he didn't have a good time.


You want to make sure that just your household environment is conducive to learning it's the same thing as having a child you just don't want tons of distractions television on and that sort of thing when trying to teach new behaviors to your bird.


LAURA BANFORD: Now, I'm going to illustrate some basic hand positions and movements with the chef's knife.


So we're going to make kind of a uniform, it's not too uniform, uniform dices there.


Knife lies like this across your fingers.


Turn your knife perpendicular to your cutting board.


Make sure your cutting board is not going to move.


With your left hand or your non-dominant hand, you're going to have your fingers curved.


And you're going to slice starting with about an inch from the tip and rocking down.


It's the one I go to for most utilitarian tasks.


And then you're going to slide your knife slightly ahead.


As you do that, and do it slowly to learn, you're going to move your non-dominant hand, your fingers or your non-dominant hand, back so they're always out of range of the knife.


Again, they're curved under, and the knife, you have a rocking motion.


As you pick up confidence, you can increase your speed.


Never drag the edge of your knife along the cutting board.


Let's turn them over this time so that they don't move as much.


And I've selected celery because it has nice even stalks and it's a good, good way to practice.


I guess we should do it cupped down, see?


When we come back, we're going to use a cleaver.


And again, celery is inexpensive so if you want to practice yourself, it's a good way to do it.


I have two celery stalks with the bottoms and the tops, bottoms and tops cleaned off.


What I'm going to do, actually it should be like this.


Let's say you want to make diced celery.


I'm going to cut down with the tip of my knife.


Paint Rag is going to be your best friend.


Especially if working oils, oftentimes you'll have hours to days to fix this.


If you're working on acrylics, your window is down to minutes.


Take your towel, basically very simply wipe the paint away.


Be thorough with this, keep wiping until basically, very little paint is coming off on your paper towel.


If your paper towel is saturated, get another one.


Don't stop just because you ran out of paper towels.


Now your canvas is relatively pure again.


It's not going to be exactly how a bare canvas is, but it's going to be good enough for you to start coming back in here with your red.


The next technique we're going to cover is simply correcting.


I'm going to come back in here and blend her up over the blue however you like it, now the blue is a lot more subdued.


You have a red here, and all because you took the time, basically to wipe it away and repaint.


Don't ever think of a painting as a static thing.


I've even seen paintings entirely dry where an artist goes 'no, I'm not happy' and they'll paint even over the dry under painting completely.