How To Develop Innovative Special Education Programs ? continuing ...

by admin on 09 August 2011 - 06:51:31

Innovation in special needs learning has never been easier and more crucial! Educators and administrators have a wealth of resources at their disposal via the internet. We are learning more about what works with those who rely upon us for assistance. And best of all, many of the components of a quality program can be implemented inexpensively, a real relief in these days of ?lots of show and little go? from government programs.

  1. Get good at grant writing. Money is available for special needs resources, so look and ask and research. It is money well spent to train in grant-writing.
  2. Hire capable staff well-versed in special needs theory and instruction. With the advent of inclusive education in the?early 1990?s, we saw a huge influx of?unprepared special needs students pushed into?the over-crowded classrooms of even less prepared mainstream teachers. Those of us who were rigorously trained in special education at top-notch universities back in the mid-eighties are shocked at what has happened, both to our students and to our fellow instructors. Make funds available for continuing education credits so that your good teachers?stay!
  3. Encourage parents and family members to fill out any forms that will help you to identify possible special needs learners. Ask about concerns and questions and listen to their concerns and feedback. They may notice things that they don?t understand about health, behavior, speech, language, emotional reactions, and habits. And they certainly know the child?s background. You can help them connect with resources.
  4. Familiarize staff with community resources. There are many foundations and organizations that will assist with almost any special need a child may have. Be the human liaison between your students and their families and the vast, confusing help network.
  5. Implement good evaluation techniques for all students. Select or develop tests that assess skills like comprehension, study skills, practical math, problem-solving, social skills, self-help skills and communication.
    Many tools evaluate students unfairly or test unnecessary skills. Before you administer any test, take it yourself. Students with special needs have a handicap to start with and need fair, appropriate evaluation.
  6. Hold your regular IEPC?s (Individualized Educational Planning Committee). Those whose input is needed should attend ? family and caregivers, general teachers, the special needs teacher, counselor, principal and any specialists (speech pathologist, physicians).??There may be times to include the student. Keep updated IEP?s (Individualized Educational Plans)?and monitor progress with the student. He must be involved and have a vested interest in his program.
  7. Develop or choose objectives based on identified areas of need in each student. Use clear, strong action verbs like ?write,? ?memorize,? and ?cut.?? There are several recognized objective lists. See the recommended resources for sites. Basically identify the student?s struggles and plan materials to help her learn to overcome them.
  8. Break tasks down into smallest components. Encourage mastery at each step of the way. Find many ways to boost student?s morale (it is generally pretty low). For example:
    Goal: TSW (in teacher jargon, that stands for ?the student will?) memorize the times tables from 1-10.

    Now break this down into bite-sized multiplication components and post an attractive chart on the wall, so that every time she memorizes a component fast, she gets a sticker.??

  9. When writing objectives, make reasonable time frames for students to achieve them. Better to make it too easy than too difficult.? But keep them challenging! The key here is to know the student; work for mastery. In special needs education, we have the?liberty of being able to individualize. So take advantage and do what works for each kid!
  10. Set up a neat, organized classroom that is comfortable and attractive yet not over-stimulating. Keep materials in labeled drawers or bins. Keep wall art?neat and simple. I like to use some nice, well-framed copies of art. Sensory integration is a skill that many special needs children struggle with. Change is intimidating.
  11. When choosing materials, focus on interactive and hands-on manipulatives. Remember, these students have failed with the ?traditional? system. Abstracts usually don?t make sense, so don?t offer what they have already struggled with. Make it real. Look for games, activities and visuals that can be used to help abstract concepts become clear.
  12. Make materials available to students. Generally the teacher-student ratio is low, so this can be monitored. Teach kids to explore concepts.
  13. When working with the ?regular? teacher, keep communication?open. If the student is unable to complete or comprehend work sent with them, be honest. Offer to adapt the lesson to give the student success. Find out the main task of the assignment and then help student with all the non-essentials. If the task is to write a mystery story and get in all the elements, then you can do all the busy work with the student (typing, spell-check, etc.).
  14. Enjoy the students! Make the classroom a safe haven! Laugh a lot with them about jokes they understand and enjoy!?

We owe all of our children the best we have in staff, resources and environment!

Blog > How to develop innovative special education programs

Source: http://www.studentle.com/how-to-develop-innovative-special-education-programs-1862/

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How to Throw a Punch Correctly [Video]

How to Throw a Punch CorrectlyIf you're lucky, you'll never have to defend yourself through physical violence. But if that time ever comes, or if you're ever enrolled in a Fight Club against your will, would you know what to do? You've seen punches thrown on TV plenty of times, but do you actually know how to throw one correctly?

Warning: Although knowing the fundamentals of punching is useful, it's also not enough to properly defend yourself without practicing. It's definitely not for you to go out and pick fights, but you all should be smart enough to figure this out on your own.

We've asked a few experts to help us learn the proper method of punching. We have martial artists Aiman Farooq, Christopher Waguespack, Keith Horan, and boxer Pete Carvill. Our pros will show you the right way of making a fist, the proper way of orienting your wrist, what part of the person you should hit and what you should do after the punch. The goal is to throw an effective punch without injuring yourself in the process.

How to Throw a Punch Correctly

How should my hand look and what part of it should make contact?

When you're punching, the fundamental thing you should know is that your thumb needs to be on the outside of your fist, between your first and second knuckles on your index and middle finger. "If the thumb is on the inside upon hitting a hard target you WILL break your thumb," says Farooq. Horan says to make sure your thumb is tucked below your curled fingers, to be out of the way of the impact. Chris Waguespack adds:

You do NOT want to keep your thumb on the side of your index finger (like you're keeping a frog or something in your hand). Instead you want to take your thumb and wrap it down across the bottom of your curled fingers. You also want to keep your fists tight, "but not so tight that you start cutting off circulation. It is important, in martial arts, to remain fluid and yet still powerful."

As for your knuckles:

There are varying schools of thought on whether you should have the knuckles of your index and middle finger out a little farther when punching in order to drive them in farther (this is typically emphasized in more traditional styles). I would say this is more of a personal preference issue and you should do whichever feels more natural. Technically speaking though that may work slightly better when punching specifically at certain pressure points as opposed to going for strictly for impact.

Horan recommends a linear punch, which most martial artists do, that looks like a "cross" punch in boxing.

[It's] known as a Front Punch, or a Front Two Knuckle Punch. It is extremely important that you align the first two knuckles in your hand with the bones in your forearm for maximum structure so you don't hurt yourself. Commonly people will hit with their ring/pinky knuckles and break their hand (known as a boxer's break) and that obviously impedes your ability to fight.

Waguespack says that the main reason why people hurt their hands when they punch someone is "because they punch with the flats of their fingers instead of their knuckles."

When you see people shaking their hands after a punch, it is usually because they impacted, more often than not, with the wrong part of their hand. Many people think that you punch with your fist straight. The truth is, you aim to punch with the first two knuckles. In order to achieve this, you need to slightly tilt your wrist down (which actually strengthens your punch as well). By tilting your wrist down slightly, you put your knuckles in front of your fingers. You also align your wrist with your forearm, so you are less likely to bend your wrist back or down and break it.

Farooq agrees that you should pay attention to how your wrists look as well.

The part of the fist that should be taking the impact is the flat area between the second and third knuckles. You want to keep your wrist straight while making impact there to maximize the force. The most common mistake I see with newer students is that they are bending their wrists either forwards or backwards and hitting with the top of the hand or the area between the first and second knuckles and the heel of the palm.

How to Throw a Punch Correctly

What types of punches should I throw?

If you've seen any boxing movies or played any type of fighting game, you'll know there are different types of punches thrown with varying speeds and angles. You might be tempted to throw the largest, heaviest punch you can, because you want to finish off your attacker quickly and get out of there, but Carvill says that's not the best idea. (It's probably the worst idea.)

Instead, it should be the basic one-two (also known as the jab-cross) that gets thrown. The reason for this is that one-two punches travel in a straight line and, therefore, are harder for your opponent to detect. For a beginner, your defense will also be tighter. And it should be thrown from the correct stance?a good example is the video above. You should throw any punches so that your arms stay level with your shoulders. If you have your chin down and the punch comes out straight, the shoulder will rise automatically and further protect your chin. Throw out the jab but don't throw it too hard?it's a range-finder. Then detonate your cross.

Where should I aim?

Because you want the fight to end as quickly as possible?you're not fighting just to fight?you want to incapacitate your opponent as quickly and efficiently as possible so you can escape. So where should you aim to do so?

Keith Horan says that, unlike what you might think, you should not punch the face. "You'll either miss, or commonly punch wrong and hit the jaw and break your hand. The punch for the beginner is best used on the body, towards the chest, or if you're on the side, to the ribs."

Pete Carvill suggests a slightly different tactic, but also advises against the head.

If you want to knock someone out cold, aim for the throat. When they see the punch coming, they'll automatically drop their head, bringing their chin in line with your fist. If you want to piss them off, hit them in the nose. However, knocking people out cold in the street (been there and done that, and I've never been as scared before or since) is a terrifying experience for the person throwing the punch. If you know how to and can, throw a left or right-hook to the body. With the left-hook, you're trying to hit the liver. With the right, you want to get it under the heart. Hitting somebody in the body is a lot more effective, and safer, than hitting them in the head. Plus, heads are solid and made of bone.

Waguespack explains further why you should mix it up and go for body shots.

People always think that aiming for the face is a one time knock out blow. What they fail to realize is that, knock outs are usually lucky shots. You don't throw a punch and intend to knock the man out. If it happens, then great, but you got lucky. You throw a punch with the intent to cause your opponent to stumble/shake his head/blind him/etc., so on the street in a fight, keep your composure and remember that you are causing him pain in order to make him back down. Look at what he has open, take pot shots at his face, don't be afraid to punch a rib or a stomach. Remember that an untrained opponent knows nothing about breathing right when taking a hit, so one shot to the stomach could be more effective than a shot to the face.

As for your followthrough, don't think of it as a baseball pitcher. By using your hips, your follow through will be natural, even if you snap the punch back after punching him (like a boxer). This will also keep you from the "from the country" swings again.

Aiman Farooq, on the other hand, says that there are instances where you can go for the head, or more specifically, the nose.

When we are talking just an average fight you're going to want to aim for the face, however don't go straight on directly in. You want to come in at a slight angle where you are actually hitting the cheek bones first and moving in towards the nose or similarly from just above the jawbone moving inwards. The reason for this is that punching straight into the nose can be quite painful if you hit it incorrectly. This method maximizes damage and minimizes risk.

In more brutal situations (i.e. self defense) areas I would recommend hitting are the throat and the sides of the neck (close to the carotid artery). These strikes will severely disrupt the assailants breathing allowing for a much easier escape from a situation. If the situation somehow prevents you from hitting that high on a person points of contact I would recommend are the sternum (using the two knuckles extended like I had mentioned earlier to drive in) this is a style of punching very common in forms of Karate, it can knock the wind out of a person. However another point that would be very helpful is the kidneys. Hitting the kidneys can cause severe flinching and is very common in boxing.

If for some reason you find yourself knocked to the ground, the best point to strike would be the middle of the inner or outer thigh. While it may not be as vulnerable to a punch as many of the other previously outlined points the pressure points here are very sensitive and hit hard enough they can be very surprising to an opponent and cause them to drop. The typical attack to these parts however, is a kick.

What shouldn't I do?

If it hasn't been clear by now, your punches should be quick and compact, rather than crazy wild swings that you see drunken brawlers execute. Waguespack says:

Another important part about a punch, is to remember that you need to use your hips to maximize the power. What i mean by this is, as you go to throw your punch, roll your hips into your punch. This also forces your shoulder to support the punch, as well as engaging your core and causing more torque and power through the punch. Rolling your hips, also causes you to stray from the "from the country" swing that you see so many people do. This is a BIG no-no to throwing a punch. A) it's obvious B) it's wild C) it leaves you WIDE open if your opponent is faster and D) it's just not very effective.

Before and after the punch

KEITH HORAN IS A VOCAL ADVOCATE FOR MAKING A LOT OF NOISE WHILE PUNCHING.

The most important part of throwing any punch: You've gotta yell. There's a reason karate guys yell: It's ferocious, gets the adrenaline pumping, and awakens that animalistic nature in us that will drive us to overcome our fears of the fight. So yell and punch, and don't stop punching until they're on the ground. But don't follow them there, leave it at that and get out.

As for after the punch, Carvill's tip helps you have the proper followthrough. "Wherever you punch, aim for two inches beyond so you're punching through it." Farooq expands on this.

Followthrough is VERY important. Followthrough is actually, contrary to what one might believe, what will minimize the pain you experience when throwing a punch. The punch should follow a straight path in towards the target and out away from the target This is not to say that the punch should be slow, but there should be a full extension of your arm which allows for follow through followed by the hand coming back straight towards your face ready for blocking.

He also says that the stuff you do before you throw a punch is equally important.

Another key to punching is how the punch is prepared. Think of any fights you've seen. Compare a boxing match to a drunken brawl. The key difference in the punches is the part before the punch. Boxing has mastered the art of the effective and efficient punch. Typical untrained people will bring their hands as far back as possible in order to "wind up" their punches. This is extremely counter productive as it will actually lower the power of your punch and make it extremely telegraphed. You want to start your punches from right by your face and keep your motions tight. The way to maximize power is to engage the full body though and this is done by twisting your back foot and hips in to the punch. With a power punch (typically a right cross) you'll pivot your right foot up to the ball of your foot as you extend the punch outwards and twist your hips as well, this allows you to push up from the floor and use that towards the power of your punch. Similarly with a jab (more of a speedy punch off of the front hand) you can do a lighter twist with your front leg in order to get a little more power.

While this is less related to the actual punch itself and more of a general fighting tip, it is VERY important to keep your hands up by your face, basically bringing the top of your knuckles to just below your eye level. When punching you want to punch from there and snap the hands straight back to there after the punch.

The philosophy of punching

I want to emphasize that even though you may know how to punch, it doesn't mean that you should, because once you do, things are out of your control. Pete Carvill explains:

The most important thing about punching is that it should be the LAST thing that you do. If you can walk away from a fight, do so. If you are being mugged and they just want your possessions, let them take them. There's no sense in trying to be a hero or thinking you can take on the world. When a punch is thrown, the game changes?you could get a beatdown, or worse. You could even land a punch on someone and kill them if they fall badly or there's something wrong with them (I know of two separate incidents in which people were hit once and lost their lives, and it's not worth it).

And when you've thrown your punch and your opponent is either down or recovering,

Run. Outside the gym, I've only ever had one street fight where punches have been thrown. I was seven years old and was stopping this bully from pushing another seven-year old around (it was a girl as well). I pushed him away from her, he attacked me and I knocked him on his backside with one punch. I then ran like hell. Unless you want or have to stay there, there's no point in sticking around.

Acting!

But what if you just want to look like you know how to throw a punch, say, if you're filming a new fan-made Street Fighter series for YouTube? Jenn Zuko Boughn, stage combat instructor, shows us exactly how to do that.

For a real punch, the alignment not only is necessary for efficiency, but also so that the punch-er doesn't get just as hurt (or more so) than the punch-ee.

We stage combatants are in the business of effective illusion, however, and as such don't want to land our punches on anything solid. As a teacher of a teacher of mine once said, "Air don't bleed" (1). Now we are not throwing "real" punches on stage or film, true, but it has to be an accurate illusion. As I always say to my stage combat students: we want to be safe first, but we also want to look awesome. A fake-looking punch is not awesome-looking, so I do think it is important for stunt fighters to know what it's like to land a punch, so they know what it feels like and can thenceforth act it well. This, however, is where martial artists who begin stage combat come into issues. What they do in stunt fighting feels fake to them. Sometimes, they'd rather "just spar," which is the worst thing you could do on film or onstage, for several reasons (2).
The main point, though: stage combatants want to a) be safe, i.e. never land a punch on their partner, and b) look as though they really have landed a punch on their partner.

How to Throw a Punch CorrectlyThis punch looks like your basic clock across the face. It can be as big as a haymaker, or as small as a close-in-looking rap across the cheek. The illusion we're creating for an audience is that of one pretty powerful punch sideways across the face. Since our actors' faces are often their resumes, however, we don't really want to do this (even to a stunt double). So here's what we do instead. First, the actors measure their distance from each other to make sure the attacker's extended fist is at least 4 inches away from touching the victim's face. Then:

Attacker: Wind up arm: forearm parallel to floor
Victim: Place hands for sound effect

Attacker: Pivot hips, push fist in a straight line in the air
Victim: React with face sideways, sound effect

Attacker: Drift fist down towards floor
Victim: Act the pain

Obviously, in film the sound effect isn't done by the actor, it's done by the post-production crew. But the main idea is that the actors' fist and face end up nearly a foot apart, though because of the flattening of perspective of an audience member's perception (or a camera's eye), it looks as though the actors are much closer and the punch hits home.

Another note: this punch looks good when either of the actors' backs is facing the audience. From the side, the space between the actors is clearly visible. So cameras must be placed strategically, and a proscenium stage is best for this type of punch. The victim's "selling" of the reaction is the key to maintaining this illusion.

How to Throw a Punch Correctly

Funny/sad stage combat story: This involved a stage slap, not a punch, but it's a similar idea.
I was part of the Chorus in a musical a while back (I won't name names or I may insult someone). The director knew I had stage combat experience, so he asked me to show a safe stage slap to the actor and actress playing the leads, who needed to execute said slap as a climax of the play. So I did. They tried it twice, maybe three times, then the actor (who was the recipient of the slap) decided he'd rather really be slapped, as it "felt more authentic." I of course urged him to reconsider: with enough practice, it looks quite real and you are a great actor, I'm sure you can?no? Okay. I washed my hands of the affair and let him let himself get slapped four nights a week for the next month.

Of course, you can imagine what happened: one night, the adrenaline was especially high, or the angle was off, or well, something. All kinds of odd little nuances happen onstage; when there's a hand smacking a cheek, even more so. Anyway, the actor got smacked pretty hard that night. He came backstage between scenes, red-faced, discombobulated, hurt, and annoyed. I didn't say "I told you so" (though I thought it). I'm just glad he wasn't worse hurt than he was (4).

NOTES:
1) Dale Girard, author of Actors on Guard, said this often as he taught/directed.
2) Real punches just don't read to an audience: they're not clear, they're not easy to trace with the eye, they're fast. A stage punch is really super-big, and the actor must indicate hugely. This is something no martial artist in his right mind would do. Stage Combat is about telling a story, not about fighting. Also, though we enjoy watching Jackie Chan hurt himself in out-takes, or hearing about the escapades of stuntpeople, getting hurt on the job is not anything anyone wants. Getting hit in the face is not an easy thing to take once, certainly not over and over, no matter how tough one is.
3) Along with this punch (often called the "straight punch"), there is the jab (which is the illusion of a straight jab to the nose), the cross-punch, the snake punch, the uppercut, and all kinds of variations when ground-fighting. You can see some interesting behind-the-scenes punches in the extras of Fight Club, as well as the student-run videos on the MSCD stage combat YouTube channel.
4) The first chapter of my Stage Combat book relates an "Unlucky Thirteen" bad things that can happen to a face when it's been slapped for real.

Acknowledgements

A big thanks and a properly-thrown fist bump to all our contributors that found time between punching objects/people/animals to show us how to do it correctly.

Photo by olly/Shutterstock

Christopher Waguespack has been a martial artist in Karate and Tae Kwon Do for 21 years, and you can find him on Google+ or Twitter, where he throws out quips like he throws out jabs.

Aiman Farooq is a second-degree black belt and an instructor of American Martial Arts for four years, and teaches basic Taekwondo techniques, Muay Thai, American Kickboxing and Brazilian Jiu-Jitsu, as well as military fighting styles like Haganah and Krav Maga. You can find his LinkedIn profile here, if you need to hire someone to punch someone else in the face. (Just kidding, he doesn't do that, as far as I know.)

Keith Horan is a fourth-degree black belt in Shaolin Kempo Karate and has owned his own school since 2005. He's probably also been owning people for many years prior. You can find his website here.

Pete Carvill is a freelance writer and journalist, has been boxing for ten years, and runs a boxing class called BoxClub Berlin. His editors are all very slightly afraid of him. You can find his website here.

Jenn Zuko Boughn has a blog, a book and a YouTube account where she instructs you how to stage fight. She probably wishes she could go back in time and help make the punches in the first two Rocky movies more believable.

Do it right is a section where we explore common activities that we all think we're doing correctly, but might not be. And if you know someone who insists that they're doing something right, feel free to pass this along to show them what the experts say. Do you want to know if you're doing something right? Email us at doitright@lifehacker.com and we'll find out


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Leaving the sport, gaining an eating disorder ? Health & Fitness ...

LOS ANGELES ? Alyssa Kitasoe studied herself in the mirror, and the image was shocking.

She had been standing near the bathroom sink, vomiting into a plastic container. When she looked up, through eyes blurred with tears, she was disgusted by what she saw.

?It was like seeing a ghost of yourself, or a monster,? Kitasoe recalled. ?I remember just staring at myself.?

A year earlier, Kitasoe viewed herself very differently. A striking young woman with long black hair and a radiant smile, she was strong and proud ? the UCLA gymnastics logo on her clothes providing instant respect around campus. She even felt confident wearing a tiny leotard in front of the piercing eyes of judges during her routines.

That all changed when she quit her sport. Since the age of 7 she had devoted her life to gymnastics, and without it she felt a loss of identity.

She tried coaching as an undergraduate assistant, but shuffling mats and floorboards didn?t fill the void.

So she developed a new fixation.

Her body.

Since she was no longer working out 25 hours a week, the pounds crept onto what had been her fit 5-foot-1, 115-pound frame ? a frightening prospect for a girl who for nearly 10 years had endured weekly weigh-ins.

?You still have the mind-set that you need to be tiny,? said Kitasoe, now 24 and four years removed from the most dramatic of her struggles. ?You compare yourself to the way you were.?

It was the start of a destructive cycle.

As soon as she awoke each morning, her thoughts were consumed by food. But she resisted eating until the evening, when she would gorge, at times devouring an entire pizza and large bag of chips.

Then, overcome with guilt, she?d induce vomiting.

She knew she was hurting her body, but she didn?t care.

?If someone would have told me if I did it one more time I would die,? Kitasoe said, ?I don?t think that would have stopped me.?

It?s a common problem. At least one-third of female college athletes have some type of eating disorder, according to studies published in 1999 and 2002 by experts Craig Johnson and Katherine Beals, who together examined nearly 1,000 female student-athletes participating in various sports.

As Kitasoe knows, the struggle doesn?t conclude at the end of an athletic career. Sometimes, that?s where it starts.

?There?s a competitive drive in that successful personality that?s going to manifest itself somewhere,? said Becci Twombley, director of sports nutrition at UCLA. ?Eating fixations can happen.?

What happened to Veronica Sykes is a prime example. The former University of California field hockey star nearly ran herself to death after a shoulder injury sidelined her during her senior year.

?The team is such a unit,? Sykes said, adding that when she got hurt and was unable to contribute she immediately ?felt like an outsider.?

Needing a distraction, she decided to pour all of her energy into running. But before she knew it, that seemingly healthy quest morphed into something else.

?The same quality that made me great at sports made me want to get really skinny.? Sykes, now 25, recalled. ?I was going to be the best at running and not eating.?

Running four hours a day while consuming only about 400 calories, she shed 21 pounds from her 5-7, 135-pound frame. She couldn?t sleep and was constantly anxious.

When asked what ultimately led to her eating issues, she said, ?I think the real issue is the depression when your sport ends. And that was never mentioned? in school.

Kitasoe continued to binge and purge ? often up to four times in a day ? for about a year after quitting gymnastics. Her family and friends had no idea she was suffering from an eating disorder because she looked relatively healthy.

Inside, however, she was tormented. Eventually, she became reclusive, steering clear of even her closest friends and venturing out on campus only when she had to attend a class or practice.

?I didn?t want to go anywhere or see anyone because I felt so gross, so ugly,? Kitasoe recalled. ?At my lowest point, I just wanted to cover everything up. It was hot outside, but I?d wear a hat, sweat pants, Uggs and big shorts.?

Researcher Johnson, chief clinical officer of Eating Recovery Center in Denver, said one reason former athletes are at risk is that schools and coaches lose track of them once they retire. ?The NCAA is focused on the athletes that are immediately in their purview,? he said. ?Once the athletes have moved out of their oversight, they don?t really have the resources to follow them.?

Beals, an associate professor at the University of Utah, suggested universities offer programs for athletes ?to help them transition into the real world.?

At UCLA, Twombley says she receives 15 to 20 calls a year from former athletes seeking nutritional advice, including some who are struggling with clinical eating disorders such as anorexia nervosa and bulimia nervosa.

In the absence of any formal program, she and several associates created a manual for graduating athletes hoping to prepare them psychologically, physically and mentally for life without their sport.

?The biggest thing, in my mind, was our offensive line in football,? Twombley said. ?We make them into enormous human beings. We need to make sure these people know how to eat as a normal person before they leave here.

?A gymnast needs to know she doesn?t always have to be so lean to function in society. Swimmers need to know they?re not always going to burn 10,000 calories a day in the pool. That?s how we came up with the idea for the manual.?

Kitasoe wishes she had been offered some guidance when her career as a gymnast abruptly ended. She didn?t receive help until she told one of her former teammates that she was bulimic and received an unexpected ultimatum:

She had one week to tell her former coach or the girl would tell the coach herself.

?At first, I was really upset,? Kitasoe said. ?But I needed that nudge.?

Kitasoe reluctantly told her former coach, Valorie Kondos Field, who identified with the struggle. She had been a ballet dancer in her youth.

?When I stopped dancing, I bought six of the biggest bags of chips I could find and I got some romance novels and sat in my little apartment eating chips and junk food for four days straight,? Kondos Field said. ?I put on 20 pounds, and it took 20 years to even out and not do the yo-yo syndrome.?

Kondos Field suggested that Kitasoe see a psychologist. She did, and in their first meeting, she remembered hearing eight words that changed her life:

?It sounds like you?ve suffered a great loss.?

?It was a lightbulb moment,? Kitasoe said.

She had never allowed herself to mourn. Kitasoe cried the day she retired from gymnastics but suppressed her emotions after that.

Now she was finally allowing herself to grieve. She sobbed in the psychologist?s office, the tears continuing to flow as she wrote a paper for a sociology class.

?Reflecting back since I have retired, I have been so unhappy and lost,? Kitasoe wrote.

At that point, she began to reclaim her life.

She started exercising again ? initially at midnight so she wouldn?t run into anyone ? and slowly reintegrated herself into her old social circle. She even clued in her parents to her problems.

?I wanted to be happy again,? Kitasoe said.

Kitasoe wants to spread awareness about the eating issues athletes may face after they retire. It?s something she still tussles with occasionally.

Not too long ago she attended a pool party where her friends congregated in a hot tub, drinking beer and laughing.

It took Kitasoe a little longer than her friends to strip down to her bathing suit, but she eventually joined them in the water.

She was able to do so, she said, because of her new identity.

?I?m not boxed in and defined by being a UCLA gymnast anymore,? she said. ?I can walk into a room and just be me, Alyssa.?

Source: http://bangordailynews.com/2011/08/08/health/leaving-the-sport-gaining-an-eating-disorder/

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Improving Vehicle Electrical System | Best Registry Cleaner ...

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Source: http://pcregistrycleanerz.com/improving-vehicle-electrical-system.html

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'Next stop, Jupiter': NASA's mission to the giant planet blasts off

NASA launches Juno, its newest planetary explorer, on a 1.7 billion-mile, five-year voyage to Jupiter. Scientists hope to pierce Jupiter's cloudy veil and fill in the blanks on the origins of the oldest planet.

Juno, NASA's newest mission to Jupiter, is on its way to the solar system's largest planet.

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After a 50-minute delay, an Atlas rocket carrying the four-ton spacecraft arced into the sky from Kennedy Space Center in Florida on Friday. Just under an hour after launch, controllers confirmed that the craft was performing flawlessly, its three enormous solar panels fully extended to support the first solar-powered spacecraft to visit an outer planet.

"Next stop: Jupiter," said a clearly pleased Scott Bolton, a planetary scientist at the Southwest Research Institute in San Antonio, Texas, and the mission's lead scientist.

Past NASA missions have flown by Jupiter or, in the case of the Galileo mission, orbited the giant planet and toured its moons. But this is the first mission to focus its instruments full-time on the planet itself.

Despite the attention scientists have heaped on Jupiter to date, basic questions remain unanswered. For instance, no one knows how deep the clouds go. The dynamo that generates the planet's powerful, expansive magnetic field is a mystery.

Beyond understating the planet's structure and behavior, scientists are interested in a more-detailed look at Jupiter because it is widely believed to have been the first planet that formed after the sun did, some 4.6 billion years ago.

Starting with a rocky core roughly 10 times the mass of Earth, Jupiter quickly swept up gases, blossoming into the giant that astronomers see today, according to current ideas about Jupiter's formation.

As a result, the planet is thought to contain, beneath its swirling cloud tops, a virtually pristine record of the chemical composition of the disk of dust and gas that surrounded the newborn sun, as the planets formed.

The data Juno gathers has the potential to make a significant contribution to scientists' understanding of the solar system's evolution, Dr. Bolton said during a post-launch briefing today.

The transition from a sun with a disc to a sun with its first planet "is a big step," he says. "We don't really understand what happened ? what the elements and volatiles were doing early in the solar system." Volatiles are elements that readily shift from solids to gases at low temperatures.

A planet that has 318 times Earth's mass and whose dominant ingredient is hydrogen, with a little helium and dashes of a few other gases mixed in, Jupiter is expected to open a unique window on this transition.

But that window won't open for five years. The mission plan calls for Juno to begin orbiting Jupiter's poles on July 4, 2016.

Between now and then, Juno faces a 1.7 billion-mile cruise that will take it around the sun once, then bring it past Earth in 2013 for a boost from Earth's gravity for the final leg of its trek to Jupiter.

During this period, the science team and the controllers will put Juno through some preparatory paces, calibrating instruments as well as getting to know the new craft's "quirks and idiosyncrasies," says Jan Chodas, Juno's project manager.

Source: http://rss.csmonitor.com/~r/feeds/csm/~3/FWyAHYd9Aic/Next-stop-Jupiter-NASA-s-mission-to-the-giant-planet-blasts-off

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How to discuss my same-sex relationship with my parents | Ask the ...

Six years ago at the age of 24, I came out to my parents. It was an awful experience in which their reaction was for more hurtful than I had anticipated. My parents and I have not discussed it since and avoid all discussion of the topic. I have been reluctant to talk with them because their reaction to my coming out was so painful for me. For the past five years, I have been in a committed relationship with a wonderful man. Our relationship is happy and healthy; we both are active in our communities and have rewarding careers. We have been living together for the past several years and live several thousand miles from my parents. Since my parents or I have not discussed anything related to my sexuality, they do not know of my relationship or living situation. They have suddenly informed me that they will be visiting in a few months. Obviously, if they come to visit they are going to discover my relationship and living situation. Their rejection of me when I came out was so painful that I?m scared to confront them on this. They need to know, but I am not sure what to say, how to say it, or how to deal with another round of rejection from them.

A: I am sorry we live in a world where parents alienate their children the way your parents have. This is sad.

Tell your parents where you are at and the truth of your life before they come. They need to know and you need to say whom you are and what it means for them to visit. Be clear and straightforward. Explain you have a life that they are welcome to visit, but that there are some guidelines.

Explain that you love them, but that they are only welcome if they can respect your decision and can honor that decision by treating your partner well. Explain that such a visit is acceptable if they can do that, but that you are not willing to hide who you are to them. Tell them that you are happy and thriving, and that you want to share more of your life with them, but these are the ground rules.

How they respond is up to them, but you will have done all in your power to be open, honest, and clear with your needs.

?I love you, but until you are able to accept me the way I am, and treat my partner with respect and dignity, we won?t be seeing much of one another. I?m sorry about that, because I love and miss you, but I won?t go back into the closet to help you feel more comfortable. This is my life and I want to live it honestly and with someone who I love and feel better with.?

Wishing you patience and peace,
Dr. Dan
Proof Positive Blog @ PsychCentral

Daniel J. Tomasulo, Ph.D., MFA is a licensed psychologist specializing in group psychotherapy and psychodrama, and author of the new book, Confessions of a Former Child: A Therapist?s Memoir. Visit www.formerchild.com for more information.

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Last reviewed: By John M. Grohol, Psy.D. on 7 Aug 2011

Source: http://psychcentral.com/ask-the-therapist/2011/08/07/how-to-discuss-my-same-sex-relationship-with-my-parents/

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What is the best website about real estate notes (seller financing ...

If this answers your question, please click the Google +1 Facebook or Tweet buttons to share. thank you!

Question by Jack Thames: What is the best website about real estate notes (seller financing): land contracts, trust deeds, notes, etc.?
I was wondering about the best, trusted resource to be able to sell a note backed by a mortgage to get some cash, if I need some extra money for a vacation, college, emergency, etc.

Best answer:

Answer by Jenny Adams
Fantastic question, Jack, and one of the best sites to sell your note, in my opinion, is Notefinderwebsite for real estate notes, seller financing, land contracts, trust deeds, etc. Notefinderwebsite even has a section where you can sell your note. That is fantastic!!! Go www.notefinderwebsite.com and get some cash for a vacation, college, and/or any emergency

What do you reckon? Answer below!


Source: http://www.awesomefaces.net/business-finance/what-is-the-best-website-about-real-estate-notes-seller-financing-land-contracts-trust-deeds-notes-etc/

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