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The Oral History of "Mama Said Knock You Out"
By Alec Banks
Thirty years ago, LL COOL J was fueled by negative reactions to his third album, Walking with a Panther. The project was deemed "too flashy" and "tone deaf" given the state of Hip-Hop at the time. Poised to come back with a vengeance, he used a radio interview with producer Marley Marl, and an iconic Sly and the Family Stone loop from DJ Bobcat, to begin forming what would become "Mama Said Knock You Out."
The song remains as culturally relevant today as it was when it was released in 1990 — prominently featured in a Serena Williams Chase commercial, and for Call of Duty: Modern Warfare. Here is the story behind the iconic song.
Part 1: Cutting Weight
LL COOL J's third album, Walking with a Panther, was a commercial hit. Produced by a combination of Dwayne Simon (of the LA Posse), LL COOL J, Rick Rubin, and The Bomb Squad, it had hits like "Going Back to Cali," "Big Ole Butt," and "I'm That Type of Guy." However, some critics and fans felt like LL COOL J was disconnected from the current state of Hip-Hop. While some MC's may have been crippled by negativity, LL COOL J used it as fuel.
LL COOL J (MC): I definitely had a chip on my shoulder and I was disappointed about the critical response. I felt people were mischaracterizing the album cover and the vibe, and didn't understand that we were celebrating success. They looked at the diamonds, jewelry, and cars as a sign of me being disconnected. When in reality, I was just living out my hustler dreams and that's just what I always wanted to do. And that was just how a young Black man displayed his success. I was more connected than ever. I was just running with the hustlers and hanging out and vibing.
Marley Marl (Producer): I was definitely watching him. He had something special really early on. I never thought I would have been able to work with him. I was always a new music supporter. I had a show called "In Control" and I asked Brian — who was his manager at the time — to bring him up to the radio station so we could interview him about the album. I knew the album wasn't really what the streets wanted. But I'm a producer and a remixer. So I always feel like this…it's never over because you can always remix and fix songs on an album. When he came to see me at the radio station, I was like, "Yo bro, there's a song that I like on your album that I know I can fix." And he's, "What song is that?" I was like, "Yo, the one that says, "Running over n****s like a redneck trucker." He said, "Oh, that's 'Jingling Baby.'"
LL COOL J: I sent it to him, and I had already been playing with it. I had put a baseline on it, but never really did anything with it. When he heard the baseline, he took it, clipped it, added the "Walking into Sunshine" part, and the rest was history.
Marley Marl: I flipped it up real quick.
LL COOL J: I redid the vocals — did like a more laid back vibe —and this shit just came out crazy.
Marley Marl: We started working together after that. At that point, I already lived Upstate and had built a studio. I went to Rick James' house. He had an SSL mix board there. So I was like, "Yo, let me just get one installed in the crib, too."
Part 2: The Punch
The beat for what would become "Mama Said Knock You Out" existed in various forms in Los Angeles before ultimately making its way to LL COOL J on Farmers Blvd. in Queens. The architect, DJ Bobcat, of the LA Posse, had earned a reputation for building songs that highlighted an MC's best attributes.
DJ Bobcat (DJ/Producer): I originally recorded the "Mama Said Knock You Out" beat in 1989 with my group Microphone Mafia (Threat, K-Born, and Nefertiti). It was the West Coast's version of the Juice Crew's "The Symphony." Threat was the West Coast Rakim. K-Born was like G-Rap. and Nefertiti was like MC Lyte. Before that, I recorded it with another group I had called Menace to Society. Every producer always had that track that all the MC's want to get on. So the "Microphone Mafia Anthem" was it.
But it never came out. DJ Pooh and l had a production company called South Central Productions. We were trying to create a situation to get a subsidiary label with Def Jam. We met Lisa Cortes (part of the team at Rush Management and Def Jam) and she flew out and we had a big listening party. She passed on everything. But here's the good news; everybody in our clique ended up getting individual deals.
Threat (MC): The Microphone Mafia was real intense.
DJ Bobcat: They were bar spitters.
Threat: She respected it, but she just wasn't accustomed to it. We were like a combination of Public Enemy, UTFO, and the Juice Crew. We were all trying to figure out a way we could come together and do one universal type of crew. That was one of the hottest tracks we had ever heard.
DJ Bobcat: All of the people that worked with Microphone Mafia had a certain vibe. I would dig for records that fit their style. For example, some guys worked really well over Blue Note records. Others were really good over The Meters. We recorded everything at my house, I had a studio in the garage.
Threat: The vibe was incredible right there in North Hollywood.
DJ Bobcat: There used to be so many people coming in to the studio. When I produce I take what you're telling me and I enhance it. If I was a chef and you came to my restaurant and said, "Hey, I want some spaghetti." I'm going to say, "Well what kind you want? What are you used to, do you like mushrooms in it, do you like olives in it? Talk to me." I want to hear from you first, what you like, and then I start seasoning. That's the way I work with my artists. That's why they came to me.
Threat: Exactly.
DJ Bobcat: LL COOL J's whole album, Bigger and Deffer, was made with my turntable. There was no samplers yet. There was no SP12, no MPC, no nothing. when it comes to "Mama Said Knock You Out," I made it with the SP12.
Threat: The rest is history.
Part 3: Taking 'em To Deep Waters
LL COOL J called DJ Bobcat in search of the same success the duo had on songs like "I Need Love", "I'm Bad", and"Jack The Ripper." He played him countless songs over the phone until LL COOL J said he had to have the "Microphone Mafia Anthem."
DJ Bobcat: About a week later I grabbed my SP, my records, turntables and flew to New York and stayed at LL's condo. He called up some of the homies from Farmers Blvd., we got some 40 ounces, and we started vibing and kicking it.
LL COOL J: That beat was nuts. I just thought it was crazy. Bob was always super creative, super talented, and was always about it. When I heard it I was like, "Yo, let's get it!" We were running around in the condo.
DJ Bobcat: What I do for LL COOL J and other people is bring them the single. Def Jam had already given the album to Marley. Marley was already doing his thing. But LL felt like we needed one more song and he knew what I could do.
Marley Marl: I was accepting all dopeness. I was just the "Flip King." Anybody could've had any samples, but it wouldn't come out the way I did it. They initially brought a disc and it had that on there. I started pulling out beats and then in my mind I'm thinking, "Okay, that sounds hot, but it needs a foundation." A loop is just a loop. You got to put the right kicks on it. I started going into the bags. I started pulling out beats to go with and add on to it. The beat that they had with it — it was okay — but it was definitely not the beat that we came out with.
LL COOL J: My Grandmother was the oracle of the neighborhood. I turned to her for advice after the response to Walking with a Panther. I got booed at a Yusef Hawkins event. I was there to be supportive and they booed me because somehow I wasn't connected to the community. I was already energized when we went to record, but her advice was in the back of my mind.
DJ Bobcat: We started having this conversation about how we grew up with bullies. I was telling him the story about how when I was little we had a king of school and this dude tried to bully me. I went home and my mother told me, "If you don't go back down there and knock him out, I'm not gonna knock you out." LL was telling me that similar things happened to him, and how his Grandmother had recently given him similar advice.
Marley Marl: We got in the studio in the evening. I might've been a little pissed off. We weren't using our normal process. The process was we go hit a club like The Tunnel or Limelight, come home, and then run up in that lab and tap out something hot.
LL COOL J: You feed off that energy and you bring that same energy with you. You capture the average vibe of the club. What I mean is the "median" vibe. In other words, records are high, records are low, records are loud, records are quiet. And you get an overall sonic average. Then you walk out of there with something in your brain and you just lock in.
Marley Marl: That day I was tired as hell. I was like, "Yo Clash (engineer) record it." I think LL was a little pissed that I wasn't recording him.
DJ Bobcat: We tracked the song using the Sly and the Family Stone loop and James Brown's "Funky Drummer." Marley was like, "We need something to reinforce the beat" —which I always do — but I'm not going to not take advice from Marley Marl. I respect Marley. He is one of the guys that I was listening to before I started really getting it cracking. He gave me an 808 on a disc to reinforce it. I had a "The Humpty Dance' in my bag and I put it on there. There's not a lot to that track.
Marley was tired. He said he was up late, so he went upstairs and he went to sleep. When Marley went to sleep we started recording. At first, LL was rapping different from the ways we were spitting the stuff at the condo." I said, "Todd you were coming more aggressive, and it was different." He was getting upset, so we went and grabbed some 40 ounces and came back.
LL COOL J: "Mama Said Knock You Out" was pretty much stream-of-consciousness from beginning to end. I was sitting around in a room full of dudes. We're talking. The SP12 is playing. I'm coming up with vocals. I'm writing it down. I'm drinking beer and Old English is filling my mind and shit.
DJ Bobcat: That's why when he says, "Old English fills my mind," because we were drinking it. We got back on the vibe that we had at the condo. But it wasn't quite perfect. I was listening for the subtleties. LL was getting really upset like he normally does with me. He was cussing and Clash had already started recording and he caught right when he said, "Come on man." I was like, "Okay this is dope, we keeping that."
Mama Said Knock You Out album cover (Def Jam)/LL COOL J Photo shoot 1990 (Janette Beckman)
Part 4: The Highlight Reel
When it was time to craft the visuals for "Mama Said Knock You Out," LL COOL J and his team turned to frequent collaborator, Paris Barclay, who directed "Big Ole Butt""Jingling Baby," and "One Shot at Love."
Paris Barclay (Director): My career is the perfect combination of things. I started as a musician and a composer playing a lot of instruments. That was first expressed in high school musical theater and in college. Then I went to New York, got a job in advertising, and those things kind of fused. When I left advertising and started Black & White Television — which was a music video company that did "Mama Said Knock You Out and many other videos — it seemed like it all fused together: the music, the storytelling, and the advertising. The music video became the sort of apotheosis of all of that.
All the rap artists who are doing videos couldn't find Black directors. There were very few working like Lionel Martin and Rolando Hudson. Most rap videos and R&B videos at the time were done by white directors like Scott Kalvert who did "Going Back to Cali." We created Black and White Television to sort of shift the balance. And we thought it would work, but it didn't really work until LL Cool J came.
I was super lucky because Def Jam had reached out to Anne Bernstein to direct the video for "Big Ole Butt" because she was very hot at the time. She didn't want to do it because she had done all the visual fun jokes she could do, so she recommended me. It was maybe my 10th music video ever.
The process was you got the song from Russell Simmons. And they said, "This a new track, keep it under wraps." I played it a long time and you've got to come up with a written concept that explains what the video is going to look like, but then it has to be approved by the artists and the managers and the label, which is always very tricky. With "Mama Said Knock You Out," I wanted to actually have him box and see this match with people in the ring and do that whole Don King thing. I wasn't exactly thinking about it in black-and-white. I was thinking of it more as a boxing match.
LL COOL J: The video was about the microphone, about performance, and about getting busy. So we had boxers getting hit, and me knocking it out on the mic. And that felt right to me. And then a lot of angles. I asked Paris to take it to another level when we were inspired by that Raging Bull motif.
Paris Barclay: We said, "What if we did do it in black-and-white? It would be more in concert with the album." And then we can have some inter cuts of him working out and bare chested that echo the album.
We did "Mama Said Knock You Out" and "Around the Way Girl" on the same weekend. "Around the Way Girl" was shot in the streets. It was largely shot on video with really cheap visual effects — which I now love. But when it was all done, I thought this is terrible and MTV wouldn't play it.
Part of the inspiration for "Mama Said Knock You Out" was the album cover photograph (shot by photographer Michel Comte). With the way it was lit, the way his eyes were not shown.
LL COOL J: I took the picture and I said, "This is the album cover." And I actually took it up to Def Jam and said, "Yo, this is the photo I want for the album cover."
Paris Barclay: Todd was very late to the shoot day. It turned out to be a happy accident because we were able to work on lighting it so you couldn't see his eyes.
He only did the song like five or six times. And that's all the film we had, which was the third happy accident, because it has longer cuts of him performing than any video I've ever done. I mean, five, six, ten seconds, 20 seconds without a cut, even though it's "cutty" in different parts.
I always tell people in my directing class, you have to roll with the things that seem to be big problems or big ruts in your process. In the case of "Mama Said Knock You Out," that video never would have been great if there was more realism. It was just that it's all in his head. It's just the mic and the ring that makes it dynamic. It was Todd's idea to have his Grandma tell him to take out the garbage. "I want her in the video, I think that would be fun to just remind people that all of this fantastic shit happens in your mind, in your basement when you're working out."
Marley Marl: The video was incredible. The way the video was set up; It's like he's the champion coming back for his fucking belt.
Part 5: Hands raised
At the 34th Annual GRAMMY Awards, LL COOL J won Best Rap Solo Performance for "Mama Said Knock You Out — beating out the likes of M.C. Hammer, Ice-T and Queen Latifah. It was his first Grammy win.
LL COOL J: The first thing is my band threatened to walk if they didn't get more money. My father fired them that night on the spot. It's like the biggest moment of my life and my father fired them. That's how hard-nosed he was.
Right before I was about to go out, I was walking backstage and one of the backstage guys — like a stage manager — said, "Well, have some fun, you get your 15 minutes of fame. "I remember saying to him, "The fuck you mean 15 minutes of fame? I'm going to keep doing this." I never liked that moment. I always put a little chip on my shoulder.
My performance on the Grammy's is horrible because the band didn't know the song at all. They literally just winged it after listening to it three times.
Marley Marl: I didn't even go to Grammy's that day. I didn't think we were going to win. I was watching TV and they said who had won during the non-televised part. Then his name came up all of a sudden I was like, "Oh shit!" Then my phone started ringing.
That song stands the test of time because exactly what he's talking about; Comeback. Everybody loves a great comeback story.

redpajama_set_name: RedPajamaCommonCrawl


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having these words in the Title written by this Author written on this Date containing this Exact Phrase containing all these Words
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Narrow to this collection(s):
Language Literature Philosophy and Religion Political Science and Law Science and Mathematics Social Science U.S. History World History
Contents: Introduction Chapter I. Chapter II. Chapter III. Chapter IV. Chapter V. Chapter VI. Chapter VII. Chapter VIII. Chapter IX. Chapter X. Chapter XI. Chapter XII. Chapter XIII. Chapter XIV. Chapter XV. Chapter XVI. Chapter XVII. Chapter XVIII. Chapter XIX. Chapter XX. Chapter XXI. Chapter XXII. Chapter XXIII. Chapter XXIV. Chapter XXV. Chapter XXVI. Chapter XXVII. Chapter XXVIII. Chapter XXIX. Chapter XXX.
Author: Zane Grey
Chapter I.
"Nell, I'm growing powerful fond of you."
"So you must be, Master Joe, if often telling makes it true."
The girl spoke simply, and with an absence of that roguishness which was characteristic of her. Playful words, arch smiles, and a touch of coquetry had seemed natural to Nell; but now her grave tone and her almost wistful glance disconcerted Joe.
During all the long journey over the mountains she had been gay and bright, while now, when they were about to part, perhaps never to meet again, she showed him the deeper and more earnest side of her character. It checked his boldness as nothing else had done. Suddenly there came to him the real meaning of a woman's love when she bestows it without reservation. Silenced by the thought that he had not understood her at all, and the knowledge that he had been half in sport, he gazed out over the wild country before them.
The scene impressed its quietness upon the young couple and brought more forcibly to their minds the fact that they were at the gateway of the unknown West; that somewhere beyond this rude frontier settlement, out there in those unbroken forests stretching dark and silent before them, was to be their future home.
From the high bank where they stood the land sloped and narrowed gradually until it ended in a sharp point which marked the last bit of land between the Allegheny and Monongahela rivers. Here these swift streams merged and formed the broad Ohio. The new-born river, even here at its beginning proud and swelling as if already certain of its far-away grandeur, swept majestically round a wide curve and apparently lost itself in the forest foliage.
On the narrow point of land commanding a view of the rivers stood a long, low structure enclosed by a stockade fence, on the four corners of which were little box-shaped houses that bulged out as if trying to see what was going on beneath. The massive timbers used in the construction of this fort, the square, compact form, and the small, dark holes cut into the walls, gave the structure a threatening, impregnable aspect.
Below Nell and Joe, on the bank, were many log cabins. The yellow clay which filled the chinks between the logs gave these a peculiar striped appearance. There was life and bustle in the vicinity of these dwellings, in sharp contrast with the still grandeur of the neighboring forests. There were canvas-covered wagons around which curly-headed youngsters were playing. Several horses were grazing on the short grass, and six red and white oxen munched at the hay that had been thrown to them. The smoke of many fires curled upward, and near the blaze hovered ruddy-faced women who stirred the contents of steaming kettles. One man swung an axe with a vigorous sweep, and the clean, sharp strokes rang on the air; another hammered stakes into the ground on which to hang a kettle. Before a large cabin a fur-trader was exhibiting his wares to three Indians. A second redskin was carrying a pack of pelts from a canoe drawn up on the river bank. A small group of persons stood near; some were indifferent, and others gazed curiously at the savages. Two children peeped from behind their mother's skirts as if half-curious, half-frightened.
From this scene, the significance of which had just dawned on him, Joe turned his eyes again to his companion. It was a sweet face he saw; one that was sedate, but had a promise of innumerable smiles. The blue eyes could not long hide flashes of merriment. The girl turned, and,the two young people looked at each other. Her eyes softened with a woman's gentleness as they rested upon him, for, broad of shoulder, and lithe and strong as a deer stalker, he was good to look at.
"Listen," she said. "We have known each other only three weeks. Since you joined our wagon-train, and have been so kind to me and so helpful to make that long, rough ride endurable, you have won my regard. I—I cannot say more, even if I would. You told me you ran away from your Virginian home to seek adventure on the frontier, and that you knew no one in all this wild country. You even said you could not, or would not, work at farming. Perhaps my sister and I are as unfitted as you for this life; but we must cling to our uncle because he is the only relative we have. He has come out here to join the Moravians, and to preach the gospel to these Indians. We shall share his life, and help him all we can. You have been telling me you—you cared for me, and now that we are about to part I—I don't know what to say to you—unless it is: Give up this intention of yours to seek adventure, and come with us. It seems to me you need not hunt for excitement here; it will come unsought."
"I wish I were Jim," said he, suddenly.
"Who is Jim?"
"My brother."
"Tell me of him."
"There's nothing much to tell. He and I are all that are left of our people, as are you and Kate of yours. Jim's a preacher, and the best fellow—oh! I cared a lot for Jim."
"Then, why did you leave him?"
"I was tired of Williamsburg—I quarreled with a fellow, and hurt him. Besides, I wanted to see the West; I'd like to hunt deer and bear and fight Indians. Oh, I'm not much good."
"Was Jim the only one you cared for?" asked Nell, smiling. She was surprised to find him grave.
"Yes, except my horse and dog, and I had to leave them behind," answered Joe, bowing his head a little.
"You'd like to be Jim because he's a preacher, and could help uncle convert the Indians?"
"Yes, partly that, but mostly because—somehow—something you've said or done has made me care for you in a different way, and I'd like to be worthy of you."
"I don't think I can believe it, when you say you are 'no good,'" she replied.
"Nell," he cried, and suddenly grasped her hand.
She wrenched herself free, and leaped away from him. Her face was bright now, and the promise of smiles was made good.
"Behave yourself, sir." She tossed her head with a familiar backward motion to throw the chestnut hair from her face, and looked at him with eyes veiled slightly under their lashes. "You will go with Kate and me?"
Before he could answer, a cry from some one on the plain below attracted their attention. They turned and saw another wagon-train pulling into the settlement. The children were shooting and running alongside the weary oxen; men and women went forward expectantly.
"That must be the train uncle expected. Let us go down," said Nell.
Joe did not answer; but followed her down the path. When they gained a clump of willows near the cabins he bent forward and took her hand. She saw the reckless gleam in his eyes.
"Don't. They'll see," she whispered.
"If that's the only reason you have, I reckon I don't care," said Joe.
"What do you mean? I didn't say—I didn't tell—oh! let me go!" implored Nell.
She tried to release the hand Joe had grasped in his broad palm, but in vain; the more she struggled the firmer was his hold. A frown wrinkled her brow and her eyes. sparkled with spirit. She saw the fur-tader's wife looking out of the window, and remembered laughing and telling the good woman she did not like this young man; it was, perhaps, because she feared those sharp eyes that she resented his audacity. She opened her mouth to rebuke him; but no words came. Joe had bent his head and softly closed her lips with his own.
For the single instant during which Nell stood transfixed, as if with surprise, and looking up at Joe, she was dumb. Usually the girl was ready with sharp or saucy words and impulsive in her movements; but now the bewilderment of being kissed, particularly within view of the trader's wife, confused her. Then she heard voices, and as Joe turned away with a smile on his face, the unusual warmth in her heart was followed by an angry throbbing.
Joe's tall figure stood out distinctly as he leisurely strolled toward the incoming wagon-train without looking backward. Flashing after him a glance that boded wordy trouble in the future, she ran into the cabin.
As she entered the door it seemed certain the grizzled frontiersman sitting on the bench outside had grinned knowingly at her, and winked as if to say he would keep her secret. Mrs. Wentz, the fur-trader's wife, was seated by the open window which faced the fort; she was a large woman, strong of feature, and with that calm placidity of expression common to people who have lived long in sparsely populated districts. Nell glanced furtively at her and thought she detected the shadow of a smile in the gray eyes.
"I saw you and your sweetheart makin' love behind the willow," Mrs. Wentz said in a matter-of-fact voice. "I don't see why you need hide to do it. We folks out here like to see the young people sparkin'. Your young man is a fine-appearin' chap. I felt certain you was sweethearts, for all you allowed you'd known him only a few days. Lize Davis said she saw he was sweet on you. I like his face. Jake, my man, says as how he'll make a good husband for you, and he'll take to the frontier like a duck does to water. I'm sorry you'll not tarry here awhile. We don't see many lasses, especially any as pretty as you, and you'll find it more quiet and lonesome the farther West you get. Jake knows all about Fort Henry, and Jeff Lynn, the hunter outside, he knows Eb and Jack Zane, and Wetzel, and all those Fort Henry men. You'll be gettin' married out there, won't you?"
"You are—quite wrong," said Nell, who all the while Mrs. Wentz was speaking grew rosier and rosier. "We're not anything---"
Then Nell hesitated and finally ceased speaking. She saw that denials or explanations were futile; the simple woman had seen the kiss, and formed her own conclusions. During the few days Nell had spent at Fort Pitt, she had come to understand that the dwellers on the frontier took everything as a matter of course. She had seen them manifest a certain pleasure; but neither surprise, concern, nor any of the quick impulses so common among other people. And this was another lesson Nell took to heart. She realized that she was entering upon a life absolutely different from her former one, and the thought caused her to shrink from the ordeal. Yet all the suggestions regarding her future home; the stories told about Indians, renegades, and of the wild border-life, fascinated her. These people who had settled in this wild region were simple, honest and brave; they accepted what came as facts not to be questioned, and believed what looked true. Evidently the fur-trader's wife and her female neighbors had settled in their minds the relation in which the girl stood to Joe.
This latter reflection heightened Nell's resentment toward her lover. She stood with her face turned away from Mrs. Wentz; the little frown deepened, and she nervously tapped her foot on the floor.
"Where is my sister?" she presently asked.
"She went to see the wagon-train come in. Everybody's out there."
Nell deliberated a moment and then went into the open air. She saw a number of canvas-covered wagons drawn up in front of the cabins; the vehicles were dusty and the wheels encrusted with yellow mud. The grizzled frontiersman who had smiled at Nell stood leaning on his gun, talking to three men, whose travel-stained and worn homespun clothes suggested a long and toilsome journey. There was the bustle of excitement incident to the arrival of strangers; to the quick exchange of greetings, the unloading of wagons and unharnessing of horses and oxen.
Nell looked here and there for her sister. Finally she saw her standing near her uncle while he conversed with one of the teamsters. The girl did not approach them; but glanced quickly around in search of some one else. At length she saw Joe unloading goods from one of the wagons; his back was turned toward her, but she at once recognized the challenge conveyed by the broad shoulders. She saw no other person; gave heed to nothing save what was to her, righteous indignation.
Hearing her footsteps, the young man turned, glancing at her admiringly, said:
"Good evening, Miss."
Nell had not expected such a matter-of-fact greeting from Joe. There was not the slightest trace of repentance in his calm face, and he placidly continued his labor.
"Aren't you sorry you—you treated me so?" burst out Nell.
His coolness was exasperating. Instead of the contrition and apology she had expected, and which was her due, he evidently intended to tease her, as he had done so often.
The young man dropped a blanket and stared.
"I don't understand," he said, gravely. "I never saw you before."
This was too much for quick-tempered Nell. She had had some vague idea of forgiving him, after he had sued sufficiently for pardon; but now, forgetting her good intentions in the belief that he was making sport of her when he should have pleaded for forgiveness, she swiftly raised her hand and slapped him smartly.
The red blood flamed to the young man's face; as he staggered backward with his hand to his cheek, she heard a smothered exclamation behind her, and then the quick, joyous barking of a dog.
When Nell turned she was amazed to see Joe standing beside the wagon, while a big white dog was leaping upon him. Suddenly she felt faint. Bewildered, she looked from Joe to the man she had just struck; but could not say which was the man who professed to love her.
"Jim! So you followed me!" cried Joe, starting forward and flinging his arms around the other.
"Yes, Joe, and right glad I am to find you," answered the young man, while a peculiar expression of pleasure came over his face.
"It's good to see you again! And here's my old dog Mose! But how on earth did you know? Where did you strike my trail? What are you going to do out here on the frontier? Tell me all. What happened after I left---"
Then Joe saw Nell standing nearby, pale and distressed, and he felt something was amiss. He glanced quickly from her to his brother; she seemed to be dazed, and Jim looked grave.
"What the deuce—? Nell, this is my brother Jim, the I told you about. Jim, this is my friend, Miss Wells."
"I am happy to meet Miss Wells," said Jim, with a smile, "even though she did slap my face for nothing."
"Slapped you? What for?" Then the truth dawned on Joe, and he laughed until the tears came into his eyes. "She took you for me! Ha, ha, ha! Oh, this is great!"
Nell's face was now rosy red and moisture glistened in her eyes; but she tried bravely to stand her ground. Humiliation had taken the place of anger.
"I—I—am sorry, Mr. Downs. I did take you for him. He—he has insulted me." Then she turned and ran into the cabin.
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Title: The Spirit of the Border
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Chicago: Zane Grey, "Chapter I.," The Spirit of the Border, ed. Davis, Charles Belmont, 1866-1926 in The Spirit of the Border (New York: Doubleday, Page & Company, 1906), Original Sources, accessed January 21, 2020, http://www.originalsources.com/Document.aspx?DocID=48D59Q1F6KL42SQ.
MLA: Grey, Zane. "Chapter I." The Spirit of the Border, edited by Davis, Charles Belmont, 1866-1926, in The Spirit of the Border, Vol. 22, New York, Doubleday, Page & Company, 1906, Original Sources. 21 Jan. 2020. www.originalsources.com/Document.aspx?DocID=48D59Q1F6KL42SQ.
Harvard: Grey, Z, 'Chapter I.' in The Spirit of the Border, ed. . cited in 1906, The Spirit of the Border, Doubleday, Page & Company, New York. Original Sources, retrieved 21 January 2020, from http://www.originalsources.com/Document.aspx?DocID=48D59Q1F6KL42SQ.
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End of the Line - Kotobukicho
YANG Seung-Woo
Kotobukicho, Yokohama city, Kanagawa.
10 minutes walk away from Yokohama's Chinatown.
I heard about the place and went there for the first time without any specific intentions.
Hearing many different languages, this place looked very different from my original impression of Japan. I felt as if this place wasn't part of Japan.
Since I had a strong urge to photograph Kotobukicho, I started visiting this place frequently. At first, I was "just looking around". It might have been possible for me to photograph secretly, but somehow I felt like interacting with the people there.
So I started off with drinking, sitting on the roadside.
The people saw me throwing cigarette buds to ashtrays and called me a weirdo. They spoke brutally. Yet they knew how to share with each other. Life might have been poor for them but I felt that their hearts were rich.
I spent 3 months with them just like that.
Finally, someone asked me.
He was curious how I was sitting by the street everyday without doing any work.
I have been waiting to answer this question for a long time.
"I take photographs," I said. There, I started photographing Kotobukicho.
The whole experience of photographing the place felt like I was grovelling on the ground and barely surviving, but it also felt like I had transcended everything and was floating in the air. Along with sadness, loneliness and pain, there were happiness, joy, as well as bad and good intentions. I could feel everything so vividly.
"What is life for human beings..."
I felt like I was constantly being asked that question when I was photographing the place.
One day, there was a middle-aged man taking shelter from the rain in front of a coin laundry store. He was covered with blood.
"What happened?" I asked him. He looked at my eyes and repeatedly muttered, "the Daruma fell over…" I passed him some warm tea and he thanked me as he held it in his hands, but he didn't drink it while I was there.
There is this children's game called "The Daruma Fell Over" in Japan.
When the "it" person shouts "the Daruma fell over" and turns around, people who are approaching the "it" person would stop moving. If anyone is found moving he or she will become "it".
Don't approach me.
"The Daruma fell over…"
Now that I think about it, maybe that was what he meant when he repeated those words.
In 2017, Kotobukicho, along with other Doyagai (flophouse areas), has drastically changed their shape. As the population continues to age and the "boundary" between each area and its surrounding areas continue to blur, the flophouse areas are gradually blending into the other areas.
These photographs are taken between 2002 to 2017 in Kotobukicho, Yokohama.
Buy on shashasha
Born in Korea, Seung-Woo Yang first came to Japan in 1996. After graduating from Nippon Photography Institute and the photography department of Tokyo Polytechnic University, he completed his graduate research in Media Art at Tokyo Polytechnic University and continued his career in Japan. In 2016, his publication "Shinjuku Lost Child" with Zen Foto Gallery, a monochrome street photography series which focused on the people at Kabukicho, Shinjuku received the 36th Domon Ken Award. He also released "End of the Line - Kotobukicho" with Zen Foto Gallery in 2017 and had his solo exhibition in inbetween gallery, Paris, expanding his activities internationally. His other publications so far include "You're there and I'm here" (Shinpusha, 2006), "You're there and I'm here 2" (Zen Foto Gallery, 2011), and "The Best Days" (Zen Foto Gallery, 2012).
Yang Seung-Woo "The Last Cabaret"
Dates: August 28 (Fri) — September 19 (Sat), 2020
Yang Seung-Woo "Shinjuku Lost Child"
Dates: January 15 (Fri) — February 10 (Wed), 2016
Seung-Woo Yang "We're shit but champions" — Celebrating the new edition of "The Best Days"
Dates: June 21 (Fri) — July 13 (Sat), 2019
Yang Seung Woo "You're there and I'm here"
Dates: January 13 (Fri) — January 19 (Thu), 2012
"Doyagai - Day labouring districts of Japan" Photographs by Seung-Woo Yang, shoko Hashimoto, Haruto Hoshi, Issei Suda and Seiryu Inoue
Dates: July 22 (Sat) — August 17 (Thu), 2017
Yang Seung Woo "The Best Days"
Dates: November 6 (Tue) — November 24 (Sat), 2012
「Doyagai -continued-」Photographs by Seung-Woo Yang, Shoko Hashimoto, Haruto Hoshi, Issei Suda and Seiryu Inoue
Dates: September 15 (Fri) — October 7 (Sat), 2017


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Vandals target two Lexington coffee shops over the weekend
By: Kristen Edwards
LEXINGTON, Ky. (LEX 18) — Vandals targeted two Lexington coffee shops over the weekend.
On Saturday night, someone threw a rock through a window at A Cup of Common Wealth.
Kristen Edwards
It's the third of three windows that have been smashed in the past couple of weeks.
"There's about four of us now that have all had turns sweeping up glass," owner Salvador Sanchez joked.
Despite the destruction, Sanchez isn't letting this string of vandalism get to him.
"At some point, you just have to enjoy it and appreciate it for what it is," he said. "Can't do anything about it. There's no point in getting mad."
Good news is, in the last 8 years we've had a lot of opportunities to replace nearly all of our windows! It's starting...
Posted by A Cup of Common Wealth on Sunday, April 11, 2021
The owner of Third Street Stuff & Coffee is also using positivity and humor to get through what happened at her shop the same night.
"It's just a thing," Pat Gerhard said. "A blip on the daily life of a coffee shop. Yeah."
In the 16 years she has owned the store, she said it has been vandalized three times. Saturday's vandalism makes it four.
Submitted by Pat Gerhard
She and Sanchez already have plans to replace what was broken.
Kentucky for Kentucky is helping Third Street Stuff and Cup of Commonwealth raise money to fix the windows by making "Broken Glass Coffee Shop Tour" T-shirts. Once the cost is covered to make the shirts, all proceeds will go toward repairs for the coffee shops.
Lexington Police said the incidents from over the weekend are under investigation. Anyone who knows anything is asked to contact police. You can also leave an anonymous tip at 859-253- 2020.


Pharmaceutical inspectors from more than 50 countries have joined the Pharmaceutical Inspection Co-operation Scheme by now. One of the main objectives of the PIC/S is developing harmonised GMP/GDP guidelines. The PIC/S provides guidelines - PIxxx- for its inspectors which are aimed to support them in the course of inspections. These documents are publicly available and present possible questions arising during authority inspections.
The PIC/S is currently working on the elaboration of guidance PI 041-1 "Good Practices for Data Management and Data Integrity in regulated GMP/GDP Environments". The second draft of the document was originally published on 10 August 2016 and released for discussion. The extensive internal comments have been consolidated by the PIC/S and resulted in a revised third draft. This third draft was published on 30 November 2018.
In addition to other organisations, the ECA has been invited to comment this new draft. For that purpose you will find a PDF comparing Draft 2 and 3 and the template for your comments in the ECA website members' area. For more information on the new PIC/S guidance draft please see the PIC/S website.
The document's basic structure (made of 14 chapters) has been maintained.
Subchapter 8.9 "Maintaining records" has been removed.
A new subchapter 9.8 "Management of Hybrid Systems" has been added.
Significant and comprehensive extensions have been made to the subchapters 9.3 "System security for computerised systems" and 9.4 "Audit trails for computerised systems".
A document comparison between the second and the third draft is available in the Members' Area of the ECA Data Integrity & IT Compliance Group.
The ECA will also dedicate a specific workshop to the new Draft 3 on 19/20 February 2019 in Berlin and invites stakeholders to participate in commenting on the document. The programme will be available in week 50/51 - details will follow.


Get The Upgrade you Deserve in the #NexusSwap Competition.
Imagine being able to replace your old home appliance with a stylish new Nexus product! That is the special offer that Nexus customers got to enjoy in The Nexus Swap competition.
Lucky customers in Ibadan and Lagos were allowed to swap their old appliances for new ones from Nexus at no cost. All they had to do was to take a picture of the Nexus appliance they wished to swap in any Nexus Brand Shop and merge it with the picture of an old one they were currently using.
Many customers uploaded the pictures on the Nexus Facebook handle https://www.facebook.com/Nexusappliances/ and on their personal Facebook with the hashtag #TheNexusSwap with a caption from the customer stating why Nexus should swap appliance.


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It gives me great pleasure to welcome you to our page, we thank you for taking the times to visit and hope you find plenty of useful information.
Thoroughbred Taekwon-do was formed in 1994, although I had been running my own school since 1990 under another name. Having trained in Taekwon-do for several years at many clubs in Australia and throughout the World, I had the opportunity to observe the way many schools and organizations were being run.
My main objective when forming Thoroughbred Taekwon-Do was to provide authentic, high quality instruction and many opportunities for students to develop and experience all that Taekwon-Do had to offer.
I am very pleased and proud to say that it has been a success beyond my wildest expectations.
The name Thoroughbred Taekwon-Do was derived for a number of reasons, obviously in reference to it's first batch of students from Melton, Victoria ('Thoroughbred Country'), but more specifically to coincide with images of pure breeding and strength in the form of I.T.F. Taekwon-do as created by the Founder of Taekwon-Do, General Choi Hong Hi (dec).
With our successful, methodical and professional approach to the development of our students and the operations of our schools, naturally we have attracted the attention, both admiration and unfortunately in some cases envy, of other ITF schools in the country.
The ultimate compliment is the many schools who adopted the Thoroughbred Taekwon-Do teaching syllabus and methodology, and those who requested to be serviced by Thoroughbred Taekwon-Do for technical guidance. Some carried theThoroughbred Taekwon-Do name, others were not required to do so.
In all over 60 schools throughout Australia have been Thoroughbred's or associates, as well as working closely with New Zealand, South Africa, Singapore, Sri Lanka, Nepal and Malaysia at times.
It is with this approach and the support of selected high-caliber students and instructors, that I formed United ITF Taekwon-Do (Australia) in 1998, and later in 2002 selflessly relinquished personal ownership of the brand whilst being appointed inaugural President, a post still held to this day, in order to set up a new direction for the National Organization in Australia, in the hope of taking our schools to the next level of proficiency and achievement.
Today it is the largest and most successful National ITF Organization in Australia, founded on Thoroughbred Taekwon-Do principles.
The main objective of our teaching approach is to maintain the true value of Taekwon-do, primarily as a self-defence martial art, not merely a tournament-oriented sport. Students who study with discipline, application and dedication will be greater people with knowledge and skills, and more importantly the morality and sense of humanity, not merely the ability to kick and punch. It is these human values, which can be carried and developed throughout a lifetime, long after the physical skills have waned.
Although, many opportunities for the "sport' aspect of Taekwon-Do are made available and Thoroughbred Taekwon-Do has had unprecedented success in this area, both from an individual and team competitor success, our school prides itself on maintaining many of the traditional values of Taekwon-Do and a self defense focus. This presents a welcome change in an environment where more and more schools are neglecting the actual martial art in favour of the sport.
We have had many ITF World Champions come from our ranks, and won record numbers of Best Overall National and Continental Championships, and whilst we celebrate those achievements, it is the personal growth and development of our members that we most cherish, even beyond their involvement with Taekwon-Do.
Thoroughbred Taekwon-Do have been hosts and organisers of the biggest and most respected ITF tournaments on the National and International stage, making all participants from around the world, whether in our own organization or not, feel most welcome and be assured of fair judging and professional service.
The grading syllabus contained within this website was designed, after many years of training in I.T.F. Taekwon-do, observing systems from many schools to come up with a challenging and comprehensive, yet achievable, set of requirements.
This website can be used for all students and instructors from white belt to 9th Degree Black belt. It is set up in a logical sequence and in following with the recommended requirements of the International Taekwon-Do Federation.
Instructors will find this website an invaluable starting point, as both a guide as to what and how they should be teaching, as well as for their own Taekwon-do progress.
Whilst many of the historical and philosophical concepts were drawn from the works of the Founder of Taekwon-do, General Choi Hong Hi (dec), the actual grading requirements and step sparring routines are designed specifically for Thoroughbred Taekwon-do schools and affiliates.
As a general interest, I have included some useful information on tournaments, philosophy, history and the Student's Code of Conduct for members of Thoroughbred Taekwon-Do. People are welcome to replicate this information for their own schools.
My special thanks all people who have had a helping hand in the furthering of Thoroughbred Taekwon-Do and the ITF in Australia over the years. We have gone from strength to strength with each passing year, and are just as motivated and enthusiastic for success now as we were all those years ago, constantly raising the bar on our goals and objectives.
All the best with your Taekwon-Do training
Michael Muleta
VIIIth Degree Black belt
Founder, President & Technical Director– United ITF Taekwon-Do (Australia)
Founder, Senior Master Instructor & Examiner – Thoroughbred Taekwon-Do Managing Director – ITF Centre of Excellence


Liquid Eyeliner Packaging in Distinctive Shapes – Cosmetics Packaging Supplier | Fancy & Trend Enterprise Co., Ltd.
Fancy & Trend has created a number of new packaging designs for liquid eyeliner products in distinctive shapes. One particularly worthy mention is a "wine bottle" shape.
Made with a PETG or SAN bottle, these distinctive designs are compatible with cosmetic formulae and ensure the product is maintained in premium condition until its expiry date.
Take a look at the eye-catching forms available!


How does your garden grow? With ease if you use smart gardening gear for planting, watering, weeding and pruning. These helpful garden tools can help you turn on your green thumb.
Reduce joint stress and increase leverage when gripping garden tools with the Peta Easi-Grip Long Reach Garden Tools ($139.95 for a set of four). Each tool's handle is more than 31 inches long to help prevent excessive bending and reaching.
Give plants hands-on attention in comfort with the Garden Kneeler/Sitter ($50). The foam platform cushions knees and a sturdy metal frame with handles helps stabilize your movements while kneeling. When tending to raised beds, flip it over for a bench.


text:
This summer to be the "busiest travel season ever", according to Expedia CEO
News, Travel, 🌍 World
Charleroi is about to get a new food market
Shanghai to New York in two hours? China to offer hypersonic flights by 2030
© Expedia Group
Dana Stefan
Dana is a Travel Tomorrow reporter. She graduated in Political Science and International Relations. She moved to Brussels from Romania for her studies and Mont des Arts made her fall in love with the city and remain here. She loves animals, especially dogs, and everything food related, but dessert most of all.
NewsTravel🌍 World
In a recent interview with Bloomberg, Expedia CEO Peter Kern predicted that "Summer 2022 will be the busiest travel season ever". He explains that it is not just the easing of Covid-19 restrictions and opening of borders that will lead to this outcome, but the combination of the availability of travel destinations with people's will, or indeed need, to travel that has been building up over the past two years.
We've been talking about pent-up demand for a long time, but until now there have been too many restrictions in place for people to do too much with it.
Peter Kern, Expedia CEO
He clarifies that savings constitute a big part of pent-up demand. People have been spending their money on home items and after two years of lockdowns they are ready to spend on experiences, either with cash or by using the loyalty points they have accumulated over the pandemic. Furthermore, he says "People are tired of going to national parks. They want to go to New York and go to a Broadway show", explaining that he expects culturally rich cities like Paris or Florence to face increased demand, despite US authorities advising against travelling to Europe.
He continues saying that the high prices inevitably brought by the high demand will not deter travellers. "Airlines are expecting to be back to historic levels by August", which combined with the increasing fuel prices will certainly mean plane tickets will get more expensive.
And yes, prices will be high. But at this point, I think people are willing to pay whatever the hell it takes to get away and go to a place they want to go.
His optimistic forecast is shared by other experts in the tourism industry. The World Travel & Tourism Council updated its economic modelling in February, estimating that US travel and tourism would exceed pre-pandemic levels by 6.2%, accounting for almost $2 trillion GDP. Across the pond, the European Travel Commission's data shows that 77% of Europeans plan to travel this summer. EUROCONTROL also foresees an 84% recovery of pre-pandemic air traffic levels this year. Misty Ewing Belles, vice president of Virtuoso, also told Bloomberg that people have started to book ahead again, with summer reservations being on the rise, as opposed to the last-minute planning trend that was necessary during the pandemic.
Kern insists that destinations that have been completely closed over the past two years, like Australia and India, will see a lot of tourists this year, but also, on the other hand, people are looking to get out of there, data from Expedia showing that almost a third of Australians have planned at least 3 trips for this year.
He also highlights the fact that the new-found flexibility in work locations also allows people to travel more. With a lot of companies keeping their work from home policies even now that the measure is no longer mandatory, employees will be able to travel more: "You could go through that whole thesis about how people are working from anywhere and untethering from the traditional calendar".
But in the summertime kids are out of school and the weather is good, so everybody goes everywhere – summer will always be summer.
Lastly, he admits that in some areas recovery will be slower, for example in Asia and Latin America where the number of cases is higher and lockdowns are stricter. He also says that cruising businesses will have a harder time recovering than airlines or hotels. And, even though families with children under 5 and people with immunodeficiencies will be more cautious, he says they will just "rent a VRBO (Vacation Rentals by Owner) at the beach instead of going to Paris and walking around. But, you know, people are eager to go somewhere. So I think people will find a way to get around".


Looking for an archery experience with a twist? Well, look no further! Combat Archery is the ultimate adrenaline-filled activity, combining the adrenaline-filled and bonkers sport of Dodgeball with the ancient art of Archery through the use of specially designed foam arrowed tips Accommodating those of all ages and athletic abilities, the competitive and team-building nature of Combat Archery makes it suitable for any occasion be it a hen/stag do, corporate event or a birthday party! Upon arrival at our Combat Archery venue, you'll be provided with a full safety briefing from our qualified instructors whilst being kitted out in all the latest safety gear.
Perfectly situated in the heart of Glasgow, our prestigious Combat Archery venue couldn't be easier to find. It's easily accessible for adrenaline-junkies and thrill seekers from across the nation via both the M8, M74 and the West Street SPT Subway Station. Full travel information will be printed on your booking confirmation receipt.


text:
Craig Leon
by marc jauslin
craig leon's seminal synthesizer albums nommos and visitingare finally re-editioned in definitive form as the anthology of interplanetary folk music vol. 1 for rvng intl.'s archival series.
issued respectively by john fahey's takoma record label in 1980 and leon's arbitor private press in 1982, nommos and visiting were the twin brainchildren of studio wizard craig leon. leon's production was pivotal in realizing the debut recordings by ramones, blondie, richard hell and suicide. while those albums broke ground in new worlds of sound, leon's own debut album was arguably, if not literally, more alien.
in 1973, the brooklyn museum hosted a comprehensive collection of sculptures by the dogon of the republic of mali, a tribe whose religion is based in reveries and recollections of a visit from an extraterrestrial species they named nommos. years after experiencing the exhibit, leon remained fascinated by the idea of alien visitors sharing not just stories of their home-planet, but musical traditions as well. for the classically trained leon, a puzzle was presented and a challenge in place: what would music sound like if handed down from an ancient alien species? and how best to imagine it?
upon meeting fahey in the late 70s, leon pitched the concept as an opportune time to employ the latest and greatest synthesizer technology available. an avant empathist and eternally free spirit, fahey enthusiastically green-lighted the project for his takoma imprint. after a secluded week in an austin, texas studio with his partner, wife and collaborator cassell webb, leon returned with a collection of incorporeal melodies generated by the oberheim ob-x, roland jp-4 and arp 2600 synthesizers propelled by primitive rhythms programmed on a prototype of roger linn's nascent drum-machine, the lm-1.
issued by fahey with zero expectation of the same radio airplay leon accomplished with his pop productions, nommos now stands as an innovative example of cosmic-synth composition that wasn't made for its time or any other. for this edition, leon has in fact re-animated nommos by re-recording the exact audio signals as preserved in the album's original studio notes. every patch, tape-delay speed and outboard setting was transcribed as first scored, materializing the best possible audio of an album whose masters were unaccessible to leon due to a major label merger milieu from years ago.
additionally, the re-master of visiting was supervised firsthand by leon. as its title suggests, visiting materialized in 1982 as a conceptual continuation of nommos. the album is in equal measure more improvisatory and constructed than its predecessor. both albums were intended to be listened to as a set in the first volume of leon's anthology of interplanetary folk music (the title was an homage to harry smith'sinfluential collection of folk music issued two decades prior). a creative evolutionist, leon made subtle edits and compositional additions to both albums to enhance the connectivity and encourage infinite interpretation.
craig leon's anthology of interplanetary folk music vol. 1 is still available as a double lp set on rvng intl.
source: rvng intl.
sensation fix
the group was based in a farm near florence, and had a krautrock-like attitude that leaves them as a unique band in the italian prog field. mainly an electronic band, based on keyboards and with very little use of voice, they released no less than three albums in 1974, one of them only intended for promotional use, and all based on instrumental-only themes in the same style as many german bands of the cosmic couriers genre.
electroscope, england, experimental, folk
Electroscope
electroscope return... back from bogota! this duo existed from 1996-2000 releasing 104 titles in four years in an attempt to bridge the gap between joe meek and the united states of america. following a decade recording solo as pefkin and phosphene, gayle brogan and john cavanagh are back playing pin matrix games for may, combining the sounds of a vcs3 synthesizer, a 1950s radio microphone and vortex of vocals.
randall mcclellan, sun araw, healing music of rana, archive 2
Randall McClellan
randall mcclellan was a founding member of the electronic music studio at the eastman school of music in 1967 where he later received a ph.d. in composition, theory and musicology. a growing interest in north indian music and vocal technique prompted him to develop his personal compositional practice into an active platform for inducing altered states of mind.
Posted in rvng, ramzilike
tagged with craig leon, john fashey, takoma records


text:
Human Spaceflights
Space Station's '42' Crew Links Expedition to 'Hitchhiker's Guide'
By Robert Z. Pearlman 2014-09-26T11:52:15Z
The official crew poster for the International Space Station's 42nd expedition parodies "The Hitchhiker's Guide to the Galaxy."
What do astronauts and cosmonauts, a towel and a paranoid android have in common?
The International Space Station's Expedition 42 crew, who is set to take up residency onboard the orbiting laboratory in November, has embraced the connection between their numerical designation and "The Hitchhiker's Guide to the Galaxy," the Douglas Adams' sci-fi franchise, adopting its imagery and slogans for their official poster and unofficial patch.
"I was super excited when I was assigned to an [space station] expedition, mostly because I was assigned to an ISS expedition, of course, but part of the excitement was that it was 42," Samantha Cristoforetti, a European Space Agency astronaut, said in a recent press briefing. "I am a big science fiction fan and one of the things I really love is this 'trilogy in five parts' that some of you might know." [Snoopy to Sci-Fi: NASA's Most Offbeat Mission Posters]
"The Hitchhiker's Guide to the Galaxy" is the first of five comedic science fiction books penned by Adams, as well as the title of the book within the novels. Adapted from a British radio series in the 1970s, the "Hitchhiker's Guide" was made into an American feature film in 2005 starring Martin Freeman, Sam Rockwell and Zooey Deschanel.
The story follows Arthur Dent as he narrowly escapes the destruction of the Earth and, with his friend Ford Prefect, explores the galaxy in search of a decent cup of tea and the meaning of everything.
"In this book, it is kind of funny but '42' is the 'Answer to the ultimate question of life, the universe and everything,'" Cristoforetti said. "Now, nobody knows what the question is, but 42 is the answer."
International Space Station Expedition 42 flight engineer Samantha Cristoforetti holds out her thumb, mimicking the hand on her "Don't Panic" patch, inspired by "The Hitchhiker's Guide to the Galaxy." (Image credit: NASA TV/collectSPACE.com)
Don't leave Earth without it
Following a trend that began during the now-retired shuttle program, the Expedition 42 crew — Cristoforetti, together with commander Butch Wilmore and flight engineers Terry Virts, Alexander Samokutyayev, Elena Serova and Anton Shkaplerov — selected a movie poster to parody for their official crew poster.
"I am incredibly excited to share with you the Expedition 42 poster!" Cristoforetti wrote Tuesday (Sept. 23) with the online reveal of the poster. "If you like it half as much as I do, it will still be your favorite expedition poster ever."
Closely mimicking one of the movie posters for the 2005 "Hitchhiker's Guide" film, the Expedition 42 poster "stars" Cristoforetti as Trillian, Wilmore as Arthur Dent, Serova as Ford Prefect, Samokutyayev as Humma Kavula and Virts and Shkaplerov as the two-headed Zaphod Beeblebrox.
The space station's Robonaut 2 guest stars as Marvin the Paranoid Android.
According to Cristoforetti, the poster was designed by a NASA artist, though the costumes and props— including the "Point Of View gun" being held by the Italian astronaut — were real and "not photoshopped."
"Thanks to the [movie's] production company and to the Douglas Adams family for allowing us to do this!" stated Cristoforetti. "Enjoy, don't panic and always know where your towel is!"
The "Expedition 42's Guide to the Galaxy" official poster is not the crew's only "Hitchhiker's" reference. Cristoforetti also had small embroidered tags made up with the words, "Don't Panic."
"'Hitchhiker's Guide to the Galaxy' is the title of the book but it is also a book in the novel that everyone carries with them," she described. "It has these big words written on the cover, which is 'Don't Panic.'"
The patches, which also include the number 42, feature a familiar icon.
"And so we had this little patch made, which has a little hitchhiking hand," she said.
Cristoforetti, Virts and Shkaplerov will 'hitchhike' their way to the space station on Russia's Soyuz TMA-15M, which is scheduled to launch on Nov. 23. Wilmore, Serova and Samokutyayev, who will first join the Expedition 41 crew, left Earth for the orbital outpost on Soyuz TMA-14M on Thursday (Sept. 25).
Click through to collectSPACE for the print-quality version of the "Expedition 42's Guide to the Galaxy" crew poster.
Follow collectSPACE.com on Facebook and on Twitter at @collectSPACE. Copyright 2014 collectSPACE.com. All rights reserved.


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Hardwood. of removing residue from between the cracks in your flooring. When you want to clean your floors without damaging them, avoid lifting your microfiber mop up off the floor when you clean.
Many times, carpet pad is held in place with staples. thoroughly clean the floor of all dirt, dust, wax, oil and grease as well as adhesive. Mineral spirits will also remove grease and wax.
Prep the floor by sanding, and removing or replacing nails or staples. Start on one side and. Specializing in hardwood furniture, trim carpentry, cabinets, home improvement and architectural.
Tired up lumpy, loose carpeting? You can restretch your old carpeting in less than a day. In fact you can fit, trim and restretch a new carpet in a modest size room yourself. With a few special rented tools and the coaching in this article, you can do a great job even if it's your first try. The.
So you fertilized your lawn last week, and now you've got some streaks of pale grass where you missed, and some really dark streaks where you hit twice. To prevent this, use two short lengths of wood as markers. Whenever you start a new row from either end of your run, drop a marker at the edge of.
Pull the carpet padding up with your hands and remove any remaining staples with pliers. Cut a piece of laminate flooring or 1-by (3/4-inch-thick) poplar or other hardwood (for painted risers.
Moisture barrier padding does what the name claims, but sometimes this can backfire. the floor (carpet, padding, and subfloor), it can be virtually impossible to remove. your basement and prevents dog urine from seeping into the subfloor wood. seals the gaps between segments of the pad and doesn't involve staples.
In the Good Housekeeping Institute's Cleaning Lab, we test wood floor cleaners for how well they remove a sticky, dried-on gelatin mixture we precisely paint onto hardwood planks. s own or any.
May 4, 2017. When we pulled up the carpets we found staples attached to the wood boards underneath. All of these must be removed prior to install. It has to.
As I had started to remove some carpet sections in dining room and living room, I found the old padding has hardened to the wood floor. staples they used to secure the shag carpet Remove non degraded carpet padding.
Aug 23, 2013 · How do you remove old carpet? This question is for all of us who bought a new house that has that crazy red shag carpet circa 1976. Which pretty much means anyone who's ever bought a house in Pittsburgh's city limits (I'm allowed to make fun of my own city's styling flaws).
That's why we've found some of the best hardwood floor cleaners that can clean and protect your floors, remove scuffs, and leave your hardwood. The set includes an ergonomic mop handle, microfiber.
Dec 10, 2011 · This article is part of our series on How to Install Hardwood Floors. While preparing to lay 1100 square feet of hardwood flooring, we discovered significant variation in the OSB subfloor that will serve as the nailing surface for the hardwoods. This article provides detailed instructions for leveling a subfloor based on our project. Project Overview: Uneven OSB Subfloor The subfloor beneath.
"I always recommend scraping up staples. opposed to removing and dropping the baseboard, since you will then have a paint line." Amos said it is possible to install vinyl over existing flooring.
May 3, 2014. Underlayment is a term used for the padding placed below a floor. I'm stapling the flooring down to a plywood Subfloor on the main floor over a basement. For a nailed or stapled down hardwood, you can use a 'felt paper' or 'Red Rosin. between the tile and the subfloor once the carpet is removed.
Dear Angie: How do you remove carpet padding that has adhered to a hardwood floor. The padding might have been glued or stapled to the floor. Over several years, it might have bonded to the.
You might find the carpet is heavier than you imagined, so you might need help carrying it out of the room. The padding. installing a hardwood floor or installing a floor of some other material.
5. Remove the carpet pad. Start at the corner and pull back the padding. Fold the pad over and cut into strips, just as you did with the carpet. The pad may have been stapled or glued to the subfloor.
First step, rip out your old carpet and carpet padding. Remove all of the. There will probably also be hundreds of staples left in the subfloor from the carpet padding. You can remove. Once the paint is fully dry, carefully remove any dust from the floor surface before sealing. The Ultimate Guide To Painting Wood Floors.
Oct 10, 2013 · The solution: Change the thermal and pressure boundaries. OK, I know this heading may seem a little cryptic, but stay with me. In the old-style vented crawl space, a layer of poor-performing fiberglass insulation is supposed to provide a thermal barrier directly beneath the first floor of.
Carpet removal cost includes: removal of carpet, padding, tack strips, and staples from plywood or hardwood floor. Load debris to truck and haul to nearest.
Jun 26, 2017 · How to Take Out Carpet. Removing old carpet is the first step toward having something besides old, stained carpet as your floor. Even if you are hiring someone to install new flooring, you may want to pull out the old carpet yourself. You.
Feb 28, 2019. Wood floors often transmit too much sound from one floor to the next. Is it possible to add padding to a wood floor for sound absorption?
Removing carpet can be a difficult. Grab a corner of the carpet pad and pull it up from the hardwood floor. Staple that attached the padding to the floor will either pop out with the pad.
PITTSBURGH, Jan. 3, 2019 /PRNewswire/ — "Pulling staples out of a hardwood floor by hand is tough. STAPLE REMOVER to offer a quick and easy way to remove staples from carpeting and carpet padding.
Oct 10, 2013 · The solution: Change the thermal and pressure boundaries. OK, I know this heading may seem a little cryptic, but stay with me. In the old-style vented crawl space, a layer of poor-performing fiberglass insulation is supposed to provide a thermal barrier directly beneath the.
Refinishing hardwood. Remove furniture, drapes and all other portable items from the room being sanded. Cover doorways, air vents and permanent fixtures with plastic sheeting. Seal closets with.
Mar 24, 2014. Stair Project Begins: Removing the Carpet and Prepping the Wood. taste anything he can find on the floor, I broke it up and completed a stair at a time…. rolling the carpet up as I went. After I removed the padding, I used a crowbar, hammer and a flat edged screwdriver to remove the tack strip and staples.


The 10th anniversary ASNA AGM will take place on Sunday 17th April 2011 at the Frontier Centre, Northants from 11.00 - 12.30pm.
For more details or to confirm your attendance, please contact ASNA administrator Helen Batten on 01491 821104. Further details will be posted on this website.