Ready to lose weight and get healthy without diets and deprivation? Create the skills and habits you need in The Habit Project™ .
Sean Flanagan, a personal trainer and nutrition coach in Oakland, CA.
Disclaimer: this blog post series is about how to perform macro/calorie counting as part of a habit-based approach towards losing weight. For some people, even with drastically differences between conventional calorie tracking approaches and this one, logging food and counting calories can still be problematic. If you don't think you will be able to perform these methods without feeling restricted and inclined to engage in aggressive dieting practices, please DO NOT use them.
You've collected your initial weight/measurement estimated calorie/macro data. And hopefully, you have also been making notes about your hunger, fullness, and any other aspects of your subjective experience related to your eating habits (in other words, anything that is not explained purely by looking at the numbers).
You've analyzed your food logs to find your averages and ranges. You know your average estimated calorie, protein, fat, and carb intakes. And you also have an understanding of how much variability you have day-to-day for each of those. Hopefully, you also have some baseline expectations for how your estimated calorie intake correlates with your weight.
You've looked at your logs, notes, and analysis to identify the main "themes" within your eating habits that are keeping your calorie intake too high. From there, you've created a performance goal based on what overall changes you need to see with your eating habits on a weekly or monthly level.
Now it's time to wrap everything together.
By having a performance goal in place, you know what types of changes you want to see.
If you need to have fewer emotional eating episodes, you'll have no doubt that you're making progress when you go from 12 mini-binges per week down to just 3 of them.
But without a solid plan to make that performance goal a reality, that's where people start just repeating and amplifying the mistakes that they've made in the past.
In both of those examples, you end up pouring gasoline on a flame and making things worse.
"Just try harder" is, at best, a very weak plan. At worst, it creates greater feelings of the inner conflict, deprivation, and/or emotional discomfort that can drive overeating.
To turn your performance goals into something useful, you need to identify concrete and (ideally) daily steps you can take.
It all starts with making an educated guess… what can you do every day that might help with that goal?
And then practicing it and just seeing what happens.
These (typically) daily steps are called "Process Goals" in the context of goal discussion. But you can just call them "habits".
To make sure you're choosing a habit that you can succeed with, you will identify a version that you can be 90-100 percent confident in your ability to follow through.
Not 85-95. Not 80-90. 90-100. And if you're anything less than 90% confident, change as many variables as you need to become 90-100 percent confident.
Your mission isn't to give yourself a pep talk and say "I CAN DO IT!" to something that you don't believe you can do. Your mission is to make a version of your habit where you say to yourself "Of course I can do that! That sounds easy enough!".
It doesn't matter (big picture) if you miss some days.
It matters that you have the confidence in your process goal so that you can keep going after it enthusiastically.
Example #1: average calorie intake of 2,800 per day with a calorie range of 1,800 to 3,600.
The problem: looking at your hunger and satiety-related notes, it looks like excessive hunger was responsible for binge eating on several nights.
The performance goal: binge less often and/or binge smaller.
A potential process goal: Eat a more satisfying and complete breakfast.
An example habit declaration for this goal: "I am 90-100 percent confident that I will eat a more satisfying and complete breakfast by packing a protein source, carb source, fat source, and a fruit and/or veggie after I finish loading the dishwasher each night (Sunday through Thursday) for the next 4 weeks".
Example #2: Fat grams and percentage of calories from fat varying widely per day. Average intake of 100 grams per day with a range of 50-150 grams per day.
The problem: Looking at your hunger and satiety-related notes in comparison to your calorie-based food journaling, it appears that on days that you got 70 grams from fat in comparison to lesser amounts, you had significantly less hunger. In contrast, no significant further reductions in hunger with fat grams above 70 per day.
The performance goal: reduce the number of days per week where you eat more than 70 grams of fat.
A potential process goal: Plan meals with estimated fat intake in mind.
An example habit declaration for this goal: "I am 90-100 percent confident that I will plan meals with estimated fat intake in mind by entering hypothetical dinners into My Fitness Pal. If a meal is estimated to have more than 35% of calories, I will tweak it until I find a combo of foods that gets below that threshold. I will do this in the morning while drinking my coffee every day for the next week".
Example #3: average daily protein intake of 70 grams, with half of the days at 50 grams or fewer.
The problem: Looking at your hunger and satiety-related notes, you have found a clear correlation between low protein intake and being too hungry between meals. Further insult to injury, your calorie-based logs show that when you eat less protein, you eat more total calories.
Performance goal: 90 grams of protein or more 5 days per week (or more).
An example habit declaration for this goal: "I am 90-100 percent confident that I will eat more lean protein by having a primary protein source (such as Greek yogurt or turkey breast) at breakfast and lunch every day for the next 14 days".
Once you've decided on your habit, the real work begins.
Most of all, you need to work hard at resisting black and white thinking.
Avoid falling into traps about what you think you "should" do. Focus first and foremost on what you can do.
Are you losing momentum with a habit and now have no confidence that you can succeed for the rest of the time you've decided to practice it? If so, change it.
Did the habit – to your surprise – start moving you further away from your performance goal? If so, try to figure out why. And either change your approach to the habit or start practicing a different one instead.
While the Macros Mastery process is a 3 step process, the final two steps are the most important.
After collecting your estimated calorie and macro data, you don't necessarily have to keep logging and analyzing the numbers.
You could instead revisit Phase 1 every few months (as needed). You would just need to be VERY clear on your performance goals.
-Include a starchy carb at breakfast every day.
If calorie counting aggravates you too much, you could definitely just focus on these 4 areas over the next 2-4 months. And then when you're in need of new insights, go back to Phase 1. Get new calorie and macro data, make new observations, set new goals, and practice new habits.
The only downside to that approach is that if you accidentally bump your calories UP, you could miss that and not be able to address it quickly.
So if you REALLY want to keep a close eye on things and the thought of not tracking stresses you out more than tracking would, just keep cycling through the different phases.
Except now instead, "Phase 1" is technically never-ending. You're always tracking and collecting new data. And then at the end of each 1-4 week block dedicated to your habit, you then analyze your food logs to see how that habit influenced things.
Phase 2 – Review number data and set a performance goal.
Phase 3/1 – Decide on and practice a habit as you keep collecting number data along the way.
Phase 2 – Review number data for the block of time you dedicated to that habit and set another performance goal.
Does that all make sense?
If you have a history of dieting and with overly restrictive approaches with calorie counting, this method is extremely counter-intuitive.
But it's really pretty simple.
Focus on your habits more than your calories. And watch to see how your habits impact your calories.
What performance goal the most important to you right now?
What kind of daily or near-daily action will be likely to move you closer to that goal?
What is a version of that action that you are 90-100 percent confident that you can succeed with?
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text:
Kaput, Already
His small world. Can you hear me?
The Kaput Players
Bobbie James roses
I first listened to Blurred Lines (Robin Thicke, Pharrell Williams and T.I.) when the song was repeatedly condemned for trivialising sexual consent.* The negative publicity peaked as several UK student unions banned the track from campus. So, I went and checked it out.
Until that moment Robin Thicke had passed me by. I wish I could return to that edenic state of not knowing Robin Thicke; but short of a lobotomy or an industrial-sized memory wipe…
Over on YouTube, two things stood out about Blurred Lines: the video is a bit sleazy and the song owes a lot to Marvin Gaye's Got to Give It Up (Part One). The Gaye family thought it owed too much. And recently a California jury agreed with them. But it is no cause for celebration that a talented songwriter and producer like Pharrell Williams must pay out $7.3m to Gaye's children, who had nothing to do with the writing of Got to Give It Up. Meanwhile, the families of the musicians and producers who probably did contribute to the writing of the original song, are unlikely to see any of the pay out.
when I get that feeling...
There were times Marvin Gaye took writing credits when maybe he should have shared more. And now his children are rich. Gaye was always a curious artist. After all, he lived in Ostend for a while when he had the whole of Europe to pick from. He didn't like to dance, but his music drew millions onto the dance floor. Some of his most memorable vocal recordings, that sound like a catharsis of the soul, wrestled from the deepest chambers of the heart, were actually recorded in brief mini bites. David Ritz's biography of Gaye, Divided Soul, relays how Gaye would visit the recording studio, get dropped into a section of his vocal track, sing a couple of lines of torment and heartache, and get punched back out again. Then later, he'd return to the studio, get dropped back in again to sing another snippet of anguish. Gaye was no single-take artist. The raw emotional exposure of the LP Let's Get it On was stitched together.
best love album ever?
But what of it? You do whatever works. You don't have to run all the way round Central Park to be a good actor. You can always pretend (as Laurence Olivier supposedly said to Dustin Hoffman on the set of Marathon Man.)
I remember a friend once assuring me quite crossly that Sinead O'Connor was genuinely deeply sad the day she recorded the video for Nothing Compares 2 U, and that her onscreen tears were for real. I'd suggested maybe she was acting.** Certainly the force of feeling in Marvin Gaye's If I Should Die Tonight or Just to Keep You Satisfied - both the gut-wrench and the joy - are suggestive of a man who has lived and loved and lost.
Authenticity will always be a problem concept in art. In the early 2000s Pharrell Williams made his first steps in the transition from songwriter to recording artist as part of the group N*E*R*D (No One Every Really Dies).*** The debut N*E*R*D album, In Search of…, flows with a string of great dance pop songs. The tunes are good, but the material is also noticeably synthetic. The artificiality is underscored by the lyrics of hard-to-believe tales of thug life - from raunchy lap dances to run-ins with 'Johnny Law'. Williams and his production cohorts were middle class nerds using the production handle of Star Trak, while the album title 'In Search of...' refers to a TV programme introduced by Leonard Nimoy. Any attempt therefore to pass as street is likely to fail.
Until you realise that verisimilitude is not the goal. This is craft songwriting at a distance. The track Bobby James is the aural equivalent of a creative writing class exercise: imagine you're 17, lonely at home, lost at high school, bullied and dumped on by life and the whole universe. And then one day a generic evil drug pusher sidles up, promising release from all the pain in the shape of a five dollar bag of crack cocaine. How does the rest of the story play out? Not very well.
The song's writerly self-consciousness sees its core message foregrounded in verse two:
'Man this would be cute if this were just a dream
A lesson for you to learn except you'd learn through me
You know like in the movies when it ends with a scream'
This sense of detachment is counterbalanced by Pharrell's straining, heartfelt falsetto 'Hey man, mister, give me some cash'. As the song peaks - 'Hey there, can you help me, please' - the listener is moved and feels empathy for the teen drug casualty, in spite of his cardboard construction.
The Gaye family have alleged that Pharrell Williams' song Happy is also a steal from Marvin's back catalogue. Critics have rushed in to defend Williams, rightly exploring the complex nature of creativity - citing the intricacies of genre, legacy, influence, referencing, channelling, pastiche, parody and homage (so many words for imitation).
What no one asks, is would it matter if all the people listening to Blurred Lines had never heard of Got to Give It Up? I think it would. I think there's an issue with Blurred Lines beyond authorship, ownership and theft, or the need to make sure artists get paid. It's about the roots and routes of music, and what happens when a culture forgets its history. It is plainly obvious that without Marvin Gaye's song, Blurred Lines wouldn't sound the way it does. It seems better that a lot more people know this now.
the official trailer for the film The Big Chill
The Big Chill ( Writer/Director Lawrence Kasdan) came out in 1983. Return of the Secaucus 7 (Writer/Director John Sayles) was released in 1980. Both films focus on a weekend reunion of survivors of 1960s student radicalism, who are battling to come to terms with the fact that it's the 1980s, already; and that they're turning 30, already. The former student radicals spend the weekend reminiscing, eating, drinking, having sex, and emoting; but mostly wondering where all the years went, and what happened to their dreams and ideals.
Return of the Secaucus 7 is a modest low budget film with a meandering style and some stilted acting. It's like an indy cinema template, before indy cinema had really got started. The Big Chill is slick and dramatic. It's manipulative mainstream Hollywood at its best (and worst) with a catchy rock and Motown soundtrack working to ensure viewers feel the right emotion, on, cue. The acting is great (including Jeff Goldblum, William Hurt and Glenn Close) - and you don't even have to put up with Kevin Costner spoiling the show, as all of his scenes as the suicide character were removed from the final cut.
did someone say yuppie?
The themes of jaded idealism, lost youth and the onset of middle age doubt, are broadly threaded through the film's dialogue. Even so, the writer/director Lawrence Kasdan leaves little to chance, with the headline message - that the 60s and its utopian dreams are officially over, dead, kaput, ready for burial - underscored by the fact that the Chillers have gathered together in order to mourn the recent death of their friend Alex. The golden boy of their group, Alex got lost in the after-swell of student activism and, having failed to find his place in the grown-up world, committed suicide.
I remember The Big Chill as a guilty pleasure. Probably not one to revisit after all this time. (Likewise its TV offspring, thirtysomething, with its absorbing hand-wringing over friendship, parenthood, personal growth and the correct way to fold laundry.)
The thing I didn't realise at the time is the Big Chill isn't the original piece of cinema it appears to be. Kasdan has said he was aware of Return of the Secaucus 7 when preparing The Big Chill, but hadn't seen it. Nevertheless the similarities and overlaps are considerable.
is this a microphone or a large cucumber?
Apart from sharing a similar set up, structure, ideas and themes, the two films have the same number of principal characters and both feature a crux moment where the group play sport together. The two films show the characters making video diaries, and each one opens with a scene in a bathroom with two characters speaking at cross purposes.
Kasdan worked on The Big Chill between making his debut feature Body Heat - a sultry, unabashed homage to Billy Wilder's noir classic Double Indemnity - and Silverado - his brave, but misfiring attempt at rebooting the Western. It is possible that with all this genre play, Kasdan lost sight of issues of authorship.
Or maybe the overlap between The Big Chill and Return represents an unintended commentary from the director on the nature of compromise - in that the arc from rad to corporate requires many sell outs, including one's ideals and ethics; but even, perhaps, stretching to the appropriation of another artist's work, re-routing the original material away from critique into blockbuster schmaltz.
As a movie writer observes: 'You can watch Return of the Secaucus 7 and feel you're getting an unvarnished look at how actual people lived during an actual point in time. But The Big Chill, despite all its '60s trappings, is really a monument to another, less exciting occasion: The Day the Yuppies Took Over Hollywood.'
I don't know if John Sayles has ever commented on the similarity between Secaucus and The Big Chill. You have to hope that he views imitation as the sincerest form of flattery. The overlaps between the two films were never tested in court, or widely discussed, and it is likely the vast majority of people who have watched The Big Chill think of it as an original piece of cinema. This not knowing bothers me.
the night is young
In Frances Ha (Noah Baumbach, 2013), a likeable film of the mis-steps and growing pains of a twentysomething woman in New York, there's a striking high energy scene where the lead character runs down the street to the edgy, percussive opening to David Bowie's Modern Love. It lasts maybe 60 seconds. And the viewer goes wow, that was good.
The only problem is, the same thing happens, with the same chunk of Bowie, in Mauvais Sang, a French film from 1986 by Leos Carax. I assume Baumbach intends the lift as a nifty homage to Carax's stylised tale of troubled youth - a film which is itself suffuse with references to the early cinema of Jean-Luc Goddard. But I just don't know what to think about the likelihood that most viewers of Frances Ha will assume they just saw something bold and new, when they actually didn't.
don't breathe in
Playing the Imitation Game is more fun when you're in on it. The first time I saw Woody Allen's Stardust Memories, I'd already seen Fellini's 8½, and his acerbic parody of the Italian original seemed cultured and intelligent. (That the opening scene, with its nightmare of asphyxiation, is a precise copy of Fellini, seemed a bit too much 'parody' though.) Both films are about filmmaking, celebrity culture, and the special kind of pressure that comes with being hailed a genius.
ah, vintage foreign film poster
Allen has also serially rehashed the cinema of Ingmar Bergman over his career, with Interiors, Midmummer Night Sex Comedy (Smiles of a Summer Night), and Another Woman (Wild Strawberries). So, you couldn't say I hadn't been warned. But it didn't stop me from completely falling for it with Husbands and Wives (1992). Arguably the last of Allen's film possessed with an aura of brilliance, I took Husbands and Wives and its documentary verite device to be a clever and original work. Many years later, I sat down to watch Bergman's Scenes from a Marriage and discovered that this wasn't the case. Bergman did it first, and Allen copied. And I didn't feel so cultured and clever any longer - just ignorant and a bit duped.
It's a bit like finding out your partner cheated on you years after you split up.
The list of my cultural cuckoldings is a long and embarrassing one. As a clueless young thing I saw the band Echo & The Bunnymen play live a few times. I was always impressed at how the band's encore included an extended version of Do It Clean, which would elongate into a medley of brief covers - songs by The Doors, Nat King Cole, James Brown, The Beatles, and so on. The medley would always segue through to the band's version of Land of a 100 Dances. 'Do you know how to pony, like Bony Moronie?' lead singer Ian McCulloch would warble on tiptoes with his haystack hair. 'Do you know how to twist? It goes like this, goes like this, goes like this....' And a discordant, fuzzy lead guitar would take over.
I thought this was really clever. Years later I saw archive footage of Patti Smith doing the same sort of thing. She'd been doing it when McCulloch was still at school. Did she 'borrow' it from someone else?And so it goes, on and on and on. Steven Soderbergh's film adaptation of Elmore Leonard's novel features a memorable love scene between George Clooney and Jennifer Lopez. The visual tone of the romantic interlude differs from the rest of the film, switching to a colour pallette blending grey, beige and charcoal as the light becomes muted, and the texture gauzy. The love scene progresses from hotel bar to bedroom, using a series of smooth edits that re-arrange the time sequence of flirtation, seduction and consummation into a non-linear mosaic.
It is a sophisticated assembly. It it is also a bold 'reference' to the love scene from Nicolas Roeg's Don't Look Now. As Sodebergh himself drew attention to this fact in interviews, maybe we don't need to ask what happens if nobody realises.
it's not easy being me
I think I know the answer anyway. Richard Ayoade's first film, Submarine, was lauded as wonderfully fresh and inventive. The poster plaudits celebrated the arrival of a new cinematic voice. Except the film was bulging with borrowings from the Truffaut trick book.
Never mind. Originality is hard to come by, and if you're going to look to borrow, then the filmic style of Francois Truffaut is a great place to look. The truth is, I love culture with references and influences and a family tree. I like nods and winks, good pastiche and well done parody. I don't even mind downright plagiarism and lifts, really. I just don't like it when I don't get them. And I think critics should know where the fresh new cinema they're praising comes from historically.
Submarine was a nice film and Ayoade seems like a nice man - perhaps the wrong guy to kvetch about. But there's a personal note to this. I took Vela (Ex no2) to see Submarine when it first came out. It was the centrepieces of a rare cultural day out together that didn't go well.
It was a sunny morning and we decided to walk across the park to get the train into town. Spring was happening all over the park. The morning had promise.
But as we passed a circle of daffodils, Vela suddenly announced that she was feeling down. She said she was actually so depressed that she'd be quite happy if that hanging tree over there toppled over and landed on her head and killed her. I looked at Vela in shock. She said she wanted to be erased for the rest of eternity. From there on in recovering our nice day out proved a challenge....
So, I almost made it all the way through a post without mentioning Vela, or sadness, or break ups, or illness.
Not that these things aren't on my mind. But I'm busy. (Or 'busty' as Vela used to say.) Also, it's spring, at last. I'm cycling home in daylight again; and from my kitchen window I can see the bulbs I planted last autumn coming up through the soil.
I thought to myself the other day it's sunny, the sap is rising, you could start dating again.
You fool. Remember, it was springtime when you first met Vela, nine years ago. Spring makes you go all light headed and romantic. Makes you believe in rebirth, miracles, and hope - against all the evidence. That's the problem with spring.
That said though. Should I? Could I? After all, I'm an adult, I can do whatever I like. Maybe even have fun…
And then I remembered how I felt on Valentine's Day.
And then there's the crooked stick. I have an appointment with the surgeon in a few days… Now, that's a chilly thought.
* I think the lyrics are too vague and ambiguous to call Blurred Lines 'pro rape'. However I can see why a lyric 'I know you want it', plus a sleazy video, might leave many viewers feeling affronted.
** Nothing Compares 2 U was O'Connor's cover of the original recording of the Prince song by The Family, a band put together by Prince that only ever made one (obscure) album. To this day most people will not have heard their (superior) version of the song.
*** No One Every Really Dies? Tell that to the coroner.
Posted by: Renlau Outil
Published in: Big Chill, Blurred Lines, dating, Ingmar Bergman, Marvin Gaye, music, Pharrell Williams, Return of the Secaucus 7, Screen, The Kaput Players, Vela, Woody Allen
Cheer upa: Spring is in the air. Sending good wishing your way...
Renlau Outil 23 March 2015 at 09:56
Thank you, Elena. And I'm sending back some good springtime vibes for you. Hope my vibes feel good.
Thanks for the springtime vibes. They do feel good after the long and dreary winter we had in Michigan.
P.S. Your writing is wonderful, as well as your sense of humor. I'm rooting for you - hang in there.
Thanks so much. That's really kind of you. I'm touched by your support.
Michigan! Wow, that's a long way away - from here at least. When I hear the word Michigan, I think of big tyres with thick tread - lots of them. And dirty snow. I don't know if that's fair.
Anyway, please subscribe to my blog. And share, if you feel inclined. It's good to share.
No, think Great Lakes, forests and lots of deer. We had so much snow dumped on us, it never really got a chance to get dirty. And yes, Michigan is home to Ford, Chrysler and GM headquarters.
I'm already a fan of your blog; I will, of course, share.
Please fight the dark mood, Ren.
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text:
Upper Norwood
Man finds poo smeared on toilet floor at Upper Norwood Sainsbury's
The supermarket on the Crystal Palace triangle was also criticised for having 'urine soaked stairwells'
Sam Truelove
Sainsbury's in Upper Norwood has been criticised after a customer noticed "urine soaked stairwells" and what appeared to be poo smeared across a toilet floor.
Darren Knights was so horrified after his visit to the Upper Norwood superstore, which is on Westow Street on the Crystal Palace triangle, he took a photograph of the neglected cubicle - which shows what seems to be faeces on the floor and toilet paper strewn about.
He then posted it onto Sainsbury's Facebook page for all to see.
On social media, Sainsbury's later apologised and blamed the state of the toilet on "plumbing issues".
Mr Knights' post read: "Sainsbury's Upper Norwood. Where to begin. This store is truly awful.
Junk food advert ban
Inadequate South Norwood school
Poo smeared in Upper Norwood Sainsbury's
New Croydon tower block
"Dodgy urine soaked stairwells, the store is terribly dated including the building itself. I needed to use the toilets recently, the pictures speak for themselves. Why on earth does anyone shop here?
"Having moved from Balham I was spoilt by the store there and Clapham, but I avoid Sainsbury's here, even the Penge store is not much better. Come on, get your act together."
According to Mirror Online, Sainsbury's responded to Darren's post apologising for the state of the toilets, writing: "I'm really sorry for the state of our facilities in the Crystal Palace store Darren.
"Did you notify a colleague regarding this? If not, please let me know and I will get in touch with them and feed it back."
Man rushed to hospital after stabbing near to West Croydon train station
Darren responded saying he was so "disgusted" he didn't bother.
Sainsbury's later added: "I have called the store about this and it has been logged. Please understand that the store has been having plumbing issues for quite a while and due to that it is taking longer than usual to resolve this.
"I hope you understand. Please get in touch with us again if there is anything else we can help with."
West Croydon
BoxparkThese are the 9 best Indian restaurants in Croydon for curry-lovers according to Tripadvisor The results of hundreds of reviews have produced these top nine eateries. How many have you been to?
Croydon NewsSouth Norwood Lake likely to be closed all summer due to dangerous algaeThe dangerous blue-green algae in the water can cause serious illnesses if swallowed and be fatal to dogs and other animals


Thinking back to my childhood I was free. Free from insecurities. Free from social pressure. Free from judgement. I was who I was and in my innocence, didn't think twice about it.
Then somewhere along the way things started to change and little by little I learned how to act a certain way to be accepted by others.
Now, as an adult, I know that my worth isn't found in the acceptance of others, but in my identity in Christ.
God gave me my personality and my desires for a specific reason. He wants to use them to Glorify Himself and be a light to a very dark world.
So who am I to selfishly hide behind my insecurities when God wants to use me for His Glory?
I loved this post, thank you for the reminder.
As a former youth Pastor's wife, I read your post and wished more young girls could grasp this concept. Then I realized as a 50+ year old woman, I still need to grasp this same concept. Well written. Thank you for sharing.


The test which detects autoantibodies to a panel of cancer antigens in some patients with melanoma may eventually provide an alternative to microscopic examination of a skin biopsy.
In recent days Australian and international media have highlighted a study from West Australian researchers reporting their work in developing a blood test that can detect early-stage melanoma skin cancers. Currently melanoma skin cancers are detected by visual inspection of the skin either by being noticed by the affected person or by a doctor doing a skin examination. Confirmation of the diagnosis of melanoma can only be made by microscopic examination of a skin biopsy by a pathologist.
The Australian researchers have used a microarray containing 1627 different human proteins, many of them known to be involved in the development or progression of different types of cancers. By testing blood samples from people with melanoma and healthy controls the researchers were able to identify autoantibodies in the subjects' blood against some of these protein antigens.
All samples from both healthy controls and people with melanoma contained a range of autoantibodies. Using statistical methods, the researchers were able to identify a panel of 10 autoantibodies that enabled them to identify most people with melanoma. This combination of markers identified 79% of people with melanoma including very early stage melanoma skin cancer. This means that of every 100 people with melanoma who are tested, 79 will be identified and 21 (1 in 5) will be missed. The specificity or true negative rate of the test was 84%. This means that of every 100 people without melanoma who are tested, 84 will be correctly identified and 26 (1 in 4) will be labelled as possible melanoma. These figures are encouraging but not ideal for a screening test.
The authors also point out that so far melanoma patients have only been compared with healthy controls. In practice some of the people being tested will have other diseases such as different kinds of cancer and other disorders such as autoimmune diseases which may have the potential to cause false positive results and reduce the specificity of the test even further.
Nevertheless, this is an important advance as this is the best performing blood test developed so far. Further work may be able to improve the test performance and allow it find a place in clinical usage.


text:
Anser ansergreylag goose
By Saul Vargas
During the summer the Graylag Geese, Anser anser, live in Scotland, Iceland; Scandinavia and Eastward to Russia, as well as Poland and Germany. The Iceland birds migrate in autumn to the British Isles, and usually arrive in October. The Netherlands, Spain, France, eastern Mediterranean, and North Africa are places in which the rest of the European population spends winter. (Soothill & Whiteherd, 1996)
During the breeding season Greylag geese live in lowland marshes and fens that have a lot of vegetation, as well as offshore islands. Outside of the breeding season they spend time in fresh-and salt-water marshes, estuaries, stubble fields, pasture lands, and potato fields. (Soothill & Whiteherd, 1996)
Greylag goose plumage is grayish-brown, with pale margins on feathers in the upper part. In the lower part it has a white belly, and grayish shading on the lower breast. Similar to all of this is the neck and the head. It has an orange, large bill. The feet and legs are flesh tissue colored, and in most adults there is spotting and blotching in most adults. Young birds do not have this characteristic, and have grayish legs. On average the length of a mature bird is 80 cm (31 inches). The mass of the birds tends to be in the range of 2500 to 4100 g. The average weight of males is 36 g (1.3 oz) and for females is 32 g (1 oz). Wingspan reaches 76 to 89 cm. (Soothill & Whiteherd, 1996; Dunning, 1993)
2160 to 4560 g
76.12 to 160.70 oz
In Iceland, the breeding season starts in early May, and in Scotland it begins in late April. In middle Europe the breeding season starts a bit earlier. The nests are built among reeds and bushes. They are also build in high and elevated places, as well as marshy regions, and small isles to keep eggs and goslings safe from predators.
The number of eggs varies from three to twelve, but is usually only four to six. The eggs are creamy white, and about 85 x 58mm (3.3 to 2.3 inches) in size. The eggs are incubated only by the female, and take 27 to 28 days to hatch. After hatching, the goslings usually wait until drying out to leave the nest. With the supervision of their parents the young birds feed themselves, and in about eight weeks they are fully independent.
Geese take from 2 to 3 years to reach sexual maturity but usually mature at 3 years. (Soothill & Whiteherd, 1996; del Hoyo et al., 1992)
Most Greylag geese live until they are twenty years old. (Lorenz, 1991)
243.33 (high) months
243.33 months
20 (low) years
Sociable by nature, the Greylag geese occur in different size groups, from small families to flocks that go up to the thousands. They usually fly in v-patterns when traveling long distances. They are able to run rapidly in land, and move without difficulty to avoid predators. (Soothill & Whiteherd 1996)
Food include grasses, rhizomes of marsh plants, and roots, and some small aquatic animals. They also eat spilled grain in stubbles, and different kinds of root crops, as well as turnips, carrots, and potatoes. (Soothill & Whiteherd, 1996)
For Greylag geese, threats from the air include golden eagles, ravens, and hawks, and on the ground, prowling dogs, foxes, and humans. (Lorenz 1991)
hawks (Accipitridae)
domestic dogs (Canis lupus familiaris)
red fox (Vulpes vulpes)
Arctic fox (Vulpes lagopus)
Thousands of years ago Greylag geese were domesticated and used for many purposes. One of the purposes of raising geese is because of the meat, which is very rich in flavor . The down (soft feathers) of the birds has also been very useful for many commodities such as stuffing in pillows, as a lightweight, mattresses, outdoor clothing sleeping bags, and insulating material. (Austic, 2001)
Farming has been affected due to overpopulation. Greylag geese flocks have been known to harm potato and carrot fields in different parts of Europe. (Schneck, 1999)
Greylag Geese once were very common in Western Europe, but due to the draining of marshes there has been a severe drop in numbers. Currently, this species has increased in numbers up to a point of reaching flocks of tens of thousands. (Schneck 1999)
An interesting fact about Greylag geese is that they were once considered sacred by the Romans after reportedly saving the city of Rome in 390 BC. When the Gauls tried to climb in, the geese warned the Romans with their loud calls about the attempted invasion. After this, Caesar believed that the geese were sacred and it was ordered that the geese were to not be eaten in Pre-Roman Britain. (Schneck 1999)
Saul Vargas (author), Fresno City College, Carl Johansson (editor), Fresno City College.
Austic, R. 2001. "Discovery.com" (On-line). Accessed Nov 27, 2001 at http://www.discoveryschool.com/homeworkhelp/worldbook/atozscience/g/229700.html.
Bunning, JR, J. 1993. Avian Body Masses. Boca Raton, Florida: CRC Press,Inc..
Lorenz, K. 1991. Here Am I-where Are You? The behavior of the Grayland goose. New York, and San Diego: A Helen and Kurt Wolff Book. Harcourt Brace Jovanovich.
Lorenz, K. 1979. The Year of the Graylag Goose. New York and London: A Helen and Kurt Wolff Book. Harcourt Brace Jovanovich Inc..
Schneck, M. 1999. Ducks & Waterfowls, A portrait Of The Animal World. New York City: Robert M. Tod.
Soothill, E., P. Whitehead. 1996. Wildfowl, A World Guide. Singapore: Kyodo Printing Co..
del Hoyo, J., A. Elliott, J. Sargatal. 1992. Handbook of the Birds of the World. Barcelona: Lynx Edicions.
Genus Anser bean geese
Anser: pictures (47)
Species Anser anser greylag goose
Anser anser: information (1) Anser anser: pictures (9)
To cite this page: Vargas, S. 2002. "Anser anser" (On-line), Animal Diversity Web. Accessed January 22, 2022 at https://animaldiversity.org/accounts/Anser_anser/


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.notice {  padding: 10px 15px; overflow: hidden; border-left: 10px solid transparent; border-top: 1px solid transparent; }
.notice + .notice { border-top-color: #333; }
.notice.info { border-left-color: rgb(32, 96, 224); }
.notice.warn { border-left-color: rgb(224, 224, 32); }
.notice.error { border-left-color: rgb(224, 32, 0); }
.notice.fade { height: 0px; padding: 0 15px; transition: height 0.4s ease-in, padding 0.4s ease-in, border 0.4s ease-in, color 0.4s ease-in; border-left-color: transparent; border-top-color: transparent; color: #222; }

/*---------------------------------------------------------
- light theme
---------------------------------------------------------*/

.light { background: rgb(240,240,240); color: rgb(90,90,90); }

.light .notices { border-color: rgba(0,0,0,0.1); background: #fff; }

.light .left-toolbar { border-color: transparent; color: rgb(90,90,90); }
.light .left-toolbar .tool { border-color: transparent; }
.light .left-toolbar .tool:hover { background: rgba(0,0,0,0.1); border-radius:3px; }
.light .left-toolbar .tool.disabled { color: rgba(122,124,124, 0.4); }

.light .tooltip { background: #fff; box-shadow: 0 2px 4px #aaa; }
.light .tooltip .header { color: #333; }
.light .tooltip .description { color: #666; }
.light .tooltip .disabled-message { color: #c44; }

.light .selected.query-item .query { border-color: rgb(33, 164, 222); }
.light .selected .form { border-color: rgb(33, 164, 222); }

.light .searcher { background:#fff; box-shadow:0 0 8px #aaa; }
.light .searcher .search-results .group-type { background:rgba(0,0,0,0.05); }
.light .searcher .search-results .search-result-group + .search-result-group .search-result-items { border-left: 1px solid rgba(0,0,0,0.1); }
.light .searcher .search-results .search-result-group + .search-result-group .group-type { border-left: 1px solid rgba(0,0,0,0.1); }
.light .searcher .search-results .result-description { color: #777; }

.light .query-selector-filter { color: #777; }
.light .query-selector-filter .searching-for .search-text { background: #fff; }
.light .query-selector-filter .clear-search { color: #966; }

.light .query-item .query { background: #fff; border-color: #fff; box-shadow: 0 2px 2px #ccc; color: #444; }
.light .form { background: #fff; border-color: #fff; box-shadow: 0 2px 2px #ccc; }
.light .form-repeat { display:none; background: #fff; box-shadow: 0 2px 4px #ccc; }
.light .entry-field { background: rgba(0,0,0,0.00); padding:5px 0; border-bottom:1px solid #eee; border-radius:0; }
.light .label { color: rgb(33, 164, 222); }
.light .form-description { color: #777; }
.light .form .size { color: #777; }

.light .peek-results { color: rgb(33, 164, 222); }
.light .peek-results .table-container { border-color: rgb(176, 229, 255); }
.light .peek-results .table-container .headers { background: rgb(222, 244, 255); border:none; }
.light .peek-results .table-container .header { background: rgb(222, 244, 255); color: rgb(33, 164, 222); border:none; }
.light .peek-results .table-container .field { color: rgb(33, 164, 222); }

.light .creator .types .type { background: rgba(0,0,0,0.05); color: #555; }
.light .creator .types .type:hover { background: rgba(0,0,0,0.15); color: #333; }
.light .creator .types .type-container { color: #777; }

.light .query-results .table-container .headers { background: rgba(0,0,0,0.1); }

.light .selection-rectangle { stroke: rgb(33, 164, 222); fill: rgb(222, 244, 255); rx: 5px; ry:5px; }

.light .query-workspace .surface { background: #fff; box-shadow: 0 2px 2px #ccc; margin:10px; border-radius:3px; }
.light .query-description-input { color: #777; }

.light .canvas .attribute { background: #eee; color: #555; border-color: #ccc; }
.light .canvas .relationship { background: #ccc; color: #222; }
.light .canvas .entity { background:rgba(165, 85, 187, 1); color: rgba(255,255,255,0.8); border-color: #ccc; }
.light .canvas .attribute-filter { background:rgb(222, 244, 255); border: 1px solid rgb(33, 164, 222); color:#555; }
.light .canvas .item.uiSelected { border-color: rgb(33, 164, 222); border-width: 1px; }
.light .canvas .projected { border-style: solid; }
.light .canvas .chunked:before { content: " "; position: absolute; z-index: -1; top: -2px; left: -2px; right: -2px; bottom: -2px; border:1px solid #ccc;  border-radius: 20px; }
.light .canvas .column:before { content: " "; position: absolute; z-index: -1; top: -2px; left: -2px; right: -2px; bottom: -2px; border:1px dashed #ccc;  border-radius: 12px; }
.light .canvas .column.projected:before { border-style:solid; }
.light .canvas .column.uiSelected:before { border-color:rgb(33, 164, 222); }
.light .canvas .negated { background:#F98B8A; color: #222; }
.light .canvas .item.overlapped { background: #bbb; color: #222; }
.light .canvas .item.error { border-color:rgba(134, 0, 0, 0.2); background: rgb(255, 221, 221); }
.light .canvas .relationship.error { }
.light .canvas .error-description { border:1px solid rgba(134, 0, 0, 0.2); background: rgb(255, 221, 221); }

.light .canvas .no-nodes:hover { background: rgb(230,230,230); }

.light .table-container .headers { background: rgba(255,255,255,0.1); }
.light .table-container .header { background: none; }

.light .error-count { background: rgb(255, 221, 221); color: rgb(134, 0, 0); }
.light .error-group { background: rgb(255, 221, 221); color: #333; }
.light .error-heading { border-bottom: 1px solid rgba(134, 0, 0, 0.2); color: rgb(134, 0, 0); }
.light .error-items > *:hover { background: rgba(255,255,255,0.2);}
.light .editor-warnings { background: rgb(255, 227, 132); color: #555; }
.light .editor-warnings .error-heading { color:  rgb(140, 112, 2); border-color: rgba(177, 142, 1, 0.4); }
.light .canvas .error-description .button { margin-top:5px; background: rgb(249, 186, 186); }

.light .sorter .field { background: rgba(0,0,0,0.05); }
.light .sorter .field.grouped { background: rgba(0,0,0,0.2); }
.light .sorter .sort-direction { color: #aaa; }

.light .tabbed-box .tabs { background: rgb(240,240,240); border-color: rgb(230,230,230); }
.light .tabbed-box .tabs > .tab.active { background: #fff; }
.light .tabbed-box input[type="text"] { border-color: #eee; }
.light .tabbed-box .button { background:rgba(0,0,0,0.1); }
.light .tabbed-box .button:hover { background: rgba(0,0,0,0.2); }

.light .table-container .table .header .icon { color: rgba(0,0,0,0.3); }
.light .table-container .table .header .icon.active { display:flex; color: rgba(0,0,0,0.6); }
.light .table-container .table .row.active { background: rgb(202, 237, 255); color: rgb(33, 164, 222); }

.light a { color: rgb(33, 164, 222); }

/*---------------------------------------------------------
- dark theme
---------------------------------------------------------*/

.dark { background: #222; color: #ccc; }
.dark input[type="text"], .dark textarea { color: #ccc; }

.dark .left-toolbar { border-color: transparent; }
.dark .left-toolbar .tool { border-color: transparent; }
.dark .left-toolbar .tool.disabled { }

.dark .query-item .query { box-shadow: 0 2px 2px #111; }
.dark .form { box-shadow: 0 2px 2px #111; }
.dark .form-repeat { display:none; box-shadow: 0 2px 3px #111; border:1px solid #3d3d3d; }

.dark .peek-results .table-container .headers { background: #00443f; }
.dark .peek-results .table-container .header { background: #00443f; }

.dark .canvas .attribute { background: #404040; color: #ccc; border-color: #888; }
.dark .canvas .relationship { background: #707070; color: #222; fill: #707070; }
.dark .canvas .entity { background:rgba(165, 85, 187, 1); color: rgba(255,255,255,0.8); border-color: #ccc; }
.dark .canvas .attribute-filter { background:rgba(48, 119, 105, 1); border: 1px solid rgba(121, 167, 171, 1); color:rgba(255,255,255,0.8); }
.dark .canvas .item.uiSelected { border-color: #0ba; border-width: 1px; }
.dark .canvas .projected { border-style: solid; }
.dark .canvas .chunked:before { content: " "; position: absolute; z-index: -1; top: -2px; left: -2px; right: -2px; bottom: -2px; border:1px solid #888;  border-radius: 20px; }
.dark .canvas .column:before { content: " "; position: absolute; z-index: -1; top: -2px; left: -2px; right: -2px; bottom: -2px; border:1px dashed #888;  border-radius: 12px; }
.dark .canvas .column.projected:before { border-style:solid; }
.dark .canvas .column.uiSelected:before { border-color:#0ba; }
.dark .canvas .negated { background:#F98B8A; color: #222; }
.dark .canvas .item.overlapped { background: #bbb; color: #222; }
.dark .canvas .item.error { border-color:rgba(187,85,85,1); background: rgb(123, 63, 63); }
.dark .canvas .relationship.error { color: #ccc; }
.dark .canvas .error-description {  border:1px solid rgba(187,85,85,1); z-index:10; background: rgb(123, 63, 63); }
.dark .table-container .headers { background: rgba(255,255,255,0.1); }
.dark .table-container .header { background: none; }

.dark a { color: #0ba; }

/*---------------------------------------------------------
- miscellaneous
---------------------------------------------------------*/

/* clear pixel is used to replace the ghost images created by the HTML5 drag drop api */
#clear-pixel { position:absolute; pointer-events: none; }

/* banner that shows up when the connection to the server goes down */
.dead-server-banner { position:absolute; top:0; left: 0; right:0; padding: 20px; background: red; color: black; z-index:10000; }

/*---------------------------------------------------------
- waiting room
---------------------------------------------------------*/
.waiting-room { display: flex; font-family: Lato, Arial, Helvetica, sans-serif; flex-direction: column; align-items: center; justify-content: center; }
.waiting-room > div { width: 50%; max-width: 640px; padding: 25px; background: white; box-shadow: 0 2px 2px #aaa; border-radius: 3px; }
.waiting-room h3 { font-size: 18pt; text-align: center; margin-bottom:25px; }
.waiting-room p { line-height: 20px; }
.waiting-room p+p { margin-top: 25px; }

redpajama_set_name: RedPajamaGithub


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Here at Austates, we take pest and weed equipment very seriously. Part of that seriousness is our commitment to staying on top of, and ahead of, the latest trends in the pest control services market. Our industry is constantly changing and adapting with the times, and pest control professionals have to learn and adapt too.
That's why we've put together a quick look at the latest trends in the pest control services market, to ensure you know what is going on in our industry and to help you be at the absolute top of your pest control service.
One of the most impressive recent developments in the pest control industry is the use of smart, connected technologies to eliminate pest problems. From automated surveillance to GPS tracking, connected pest control systems are being used by companies like Rentokil to treat pest issues in zero-tolerance industries like food production. It's no longer a simple trap-and-kill business, but now pest control services are being expected to survey, monitor, record, and write in-depth reports on some of the worst and most difficult pests. Not only does this require us to use smarter technologies, but also to become smarter in the way we deal with our clients.
Alongside connected pest services, communication and recording technology is rapidly changing our industry. Property managers can now use video-chat applications like Apple's FaceTime to give pest control professionals a live view of their pest problem, allowing pest control professionals to give an instant diagnosis. Many pest professionals are now also using video monitoring devices, including smaller cameras like the GoPro, to record and narrate inspections. These make the job of the pest controller easier, but also allows pest controllers to build more trust with property managers and other clients.
A major market driver at the moment is the increase in insurance-based pest control services. More and more insurance providers are branching out into pest insurance, especially for hotel and large businesses. This means many pest control professionals are starting to get contracts with these insurance providers, and some larger pest control businesses are selling insurance too. Pest control professionals have to not only ensure they are aware of insurance requirements but increasingly have to build relationships with insurance companies.
Least-impact products and services have been prominent in our industry for a while, and now bio-rational materials are the next step in that trend. Non-toxic and non-negative solutions are increasingly becoming the standard, and the most breakthrough of these solutions is the use of pheromones in insect pesticides. Pheromones are nothing new in this industry, but now they are being combined with pesticides to lead insects away from areas such as kitchen or playgrounds where traditionally pesticide was tricky to use.
All of these trends are changing the way our industry is going and changing the way many pest control professionals are working. We are only starting to understand how these new technologies could work for us, but the possibilities are looking endless!
Don't get caught behind the times! Now is the time upgrade your pest control equipment. Maybe you need a professional, custom-made vehicle spray unit. Or what about the newest in termite control equipment? Contact Austates today!


Notes: Due to limitation of space country names were abbreviated. Russia stands for Russian Federation, UK stands for United Kingdom, Iran stands for Islamic Republic of Iran, Congo stands for Democratic Republic of the Congo, Tanzania stands for United Republic of Tanzania, USA stands for United States of America.
Key fact: In 2100, ten out of the twenty most populous countries will be in Africa. Nigeria will be the third most populous country - replacing the United States of America.
In 1950 there were seven European countries among the twenty most populous countries of the world (including the Russian Federation).
There were only two European nations among the group of the twenty most populous nations in 2010 - Germany and the Russian Federation. China and India were, by far, the most populous countries in the World in 2010..
Already by 2050 there will be only one European country among the twenty most populous nations - the Russian Federation. India will have become the most population country with some 400 million people more than China.
By the end of the century ten out of the twenty most populous countries will be in Africa (Nigeria, the United Republic of Tanzania, the Democratic Republic of the Congo, Uganda, Kenya, Ethiopia, Zambia, Niger, Malawi, Sudan). Nigeria will be the third most populous country in the world. China's population will be some 600 million smaller than that of India.


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Max Woody's mother worked at Clinchfield Mill in Marion and his father was permanently crippled while working a job with the railroad, and was never able to work again. Max says his family lost everything they had, their home, car, bank account. Around this time the Great Depression hit and Max was born. Although there was a lot to endure, his family survived. Hear how Max came from a family of skilled craftsmen and how he got his start in chair making.