5-7/8" X 8-1/2" X 3/16" Thick Heavy Duty Felt Sheets - 2 Pcs

Special Price!!! 5-7/8" X 8-1/2" X 3/16" Thick Heavy Duty Felt Sheets - 2 Pcs

Nov 08, 2011 19:32:27

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5-7/8" X 8-1/2" X 3/16" Thick Heavy Duty Felt Sheets - 2 Pcs Feature

  • Made of 100% Polyester Felt
  • Self-adhesive
  • Protect hardwood floors, furniture and other surfaces from marks and scratches
  • Search for "Cleverbrand's Heavy Duty Felt Pads" on Amazon for more options


5-7/8" X 8-1/2" X 3/16" Thick Heavy Duty Felt Sheets - 2 Pcs Overview

Made of 100% polyester felt, Cleverbrand's non- abrasive Heavy Duty Felt Sheets are suitable for protecting hardwood floors, furniture and other surfaces from marks and scratches. This package consists of two, 5 7/8" x 8 1/2" x 3/16" thick felt sheets with adhesive backing and are readily placed on any surface for protection.



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Felt Pads Value Pack (Furniture and Floor Protectors) 226 pcs of assorted sizes

Special Price!!! Felt Pads Value Pack (Furniture and Floor Protectors) 226 pcs of assorted sizes

Nov 07, 2011 22:21:07

Felt Pads Value Pack (Furniture and Floor Protectors) 226 pcs of assorted sizes
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Felt Pads Value Pack (Furniture and Floor Protectors) 226 pcs of assorted sizes

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Felt Pads Value Pack (Furniture and Floor Protectors) 226 pcs of assorted sizes Feature

  • Adhesive Backing
  • Easy to peel and stick
  • High Quality
  • Protects floors from scraping


Felt Pads Value Pack (Furniture and Floor Protectors) 226 pcs of assorted sizes Overview

Protect your beautiful flooring as well as your precious furniture, with our felt pads. Crafted of high quality material, our furniture and floor protectors are a perfect non-abrasive solution for preventing scrapes and marks on laminate, ceramic, vinyl or hardwood flooring. These pads may also be used to protect counter tops, shelves, desks, and any other surface that may be prone to scuffs and scrapes. Available in a range of sizes, we offer a variety of shapes to suit any of your needs. Just peel and stick! Included is 192 pieces - 1 inch Diameter, 32 pieces - 1 1/2 inch Diameter and 2 sheet - 5 7/8 inches X 8 1/2 inches.



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Felt Pads Value Pack (Furniture and Floor Protectors) 226 pcs of assorted sizes

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Best iPod Touch Cases on Sale - Review &amp; Buy Touch Covers For Your Mp3 Player

The best iPod touch case on sale is the first thing to look for, if you become a proud owner of 1G, 2G or a 3G edition. The hitech portable mp3 player deserves the best. Isn't the little gadget so dear to you? Whatever protection you choose to buy, it should be easily removable. There are some which require an extra effort to insert and remove are real turn offs. Let me give you a brief review on some of the popular ones available in the market.

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Folio Style Leather Cases

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Ever since the touch got launched, I've just been using the slipcase from my previous iPod, and always felt the need for a better solution. A solution that not only covered the player completely, but flipped open to allow the screen to be accessed without any hindrance. I settled for the this option because its a very tasteful one and has a sleek soft padding inside. Although a very negligible issue, the inner edges of the leather made it a little harder to access the screen, especially with web browsing. But you get used to it anyway in a short while. After all, the prized possession needs to be well protected well in the first place. And this option made my player look stylish even with the jacket.

Premium Silicone Skin Touch Protection

Amongst the other options, the premium silicon skin covers for 1st gen and Gen2 models are worth looking into. It even has attractive colors to choose from. The best part is that even if you accidentally drop the player along with the jacket, it recoils back and lands. It behaves like a shock absorber for vehicles. Obviously it has to do with the compressive strength of silicon based material. I would rather spend a few dollars more and buy this trendy looking thing if I have to, than the ugly and bulky ones. You may initially feel it's too light, but when you cover your player with it, it's just hard to tell. I'm planning to buy a purple one soon just for a change. These are very reasonably priced, and can sell from to at online retail stores, but I prefer buying from Amazon.

Transparent Clear Snap On Crystal Ones

If you think the leather option makes the cool thing look too corporate and the silicon jackets are too flamboyant, you can opt for transparent clear snap on crystal cover cases, for your iTouch 8GB 16GB 32GB 2G 2nd Generation. The transparent ones are a hit amongst youngsters, since it leaves the shiny player in view at all times. It's a nice, and sturdy one that protects the gadget well from falls and scratches, but often gathers a little bit of dust. This can be easily done away with, by cleaning it once in a while. Since it is a snuggle fit, it's not advisable to take it off too frequently, lest it should break the latches. It serves as a hip and cool covering if you wish to leave it the way it is. But If you like to regularly alter cases, it may not be the suitable for you. Treat this option more like a one time use. Excellent value for money. If you still want to open it up for cleaning, don't forget to use a thin knife edge or fingernails to pry at the latches from one side first.

Best iPod Touch Cases on Sale - Review & Buy Touch Covers For Your Mp3 Player
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How To Install Laminate Flooring

When you decide to install laminate flooring, you have the look of a hardwood floor, without the worry and the maintenance. You can easily install your own laminate flooring if you take a little time to do some research.

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The first thing you need to realize is all laminate flooring manufacturers have their own procedures for installation. It is recommended that you read and follow the installation procedures for the specific laminate flooring you buy. It may seem like they are all the same, but there are small differences in certain aspects of installation like gluing. If you don't follow the manufacturer's instructions that were supplied with your purchase, any mistakes you make may void the product's warranty. Though each manufacturer may have different procedures there are a few things they all have in common.

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The first thing you will need is a level sub floor to lay the planks over. The floor should be stable and flat with no gaps greater than 3 inches. You must ground off the high spots and fill in the low spots to make the floor flat. You have to take into account a ¼ inch gap along the whole edge of the installation. If the floor is too close to a wall or touching it, the flooring will most likely fail.

A laminate floor must be allowed to adjust to the final surrounding. This will take two or three days. You cannot bring home a floor and install it. You need to allow the laminate flooring to acclimate to the new environmental conditions before you begin the installation process.

When you begin, do not use any material that seems to have been damaged. If you do, your warranty may not apply. Be sure you inspect the large format laminate flooring for any flaws or defects.

If you need to fit the laminate flooring around any pipes, you need to measure, and drill the holes at least ½" larger than the span of the pipe. This will allow for any movement. Cut at a 45 degree angle to the holes in the tile.

You should always protect your laminate flooring by using felt protectors for chairs and any other heavy furniture you may have that may scar the flooring. If you need to move furniture, be sure you lift and move it before you set it back down on the floor.

If you install your own laminate flooring, you will save a ton of money. It doesn't have to be a difficult process if you familiarize yourself with the instructions and have all the tools you will need on hand. You can find out any additional information on the web or you can ask a friend for their help. You will be proud to stand back and see the beauty of your handiwork.

How To Install Laminate Flooring
Felt Floor Protectors

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Overworked Or Overwhelmed? The Struggle For Time Management

Here is a multiple-choice quiz question:

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Which word best describes the typical working American today:
A) Overworked
B) Underworked
C) Energetic
D) Lazy

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While much has been written of late as to whether A, B, C, or D, is correct, the most appropriate answer may well be: "None of the above." Powerful social forces have the potential to turn each of us into human whirlwinds charging about in "fast forward." Work, time away from work, and everything in between appear as if they are all part of a never-ending, ever-lengthening to-do list, to be handled during days that race by.

To say that we work too many hours, and that too much work is at the root of the time-pressure we feel and the leisure we lack, is to miss the convergence of larger, more fundamental issues. We could handle the longer hours (actually less than 79 minutes more per day) that we work compared to the Europeans. It's everything else competing for our attention that leaves us feeling overwhelmed. Once overwhelmed, the feeling of overworked quickly follows.

Nearly every aspect of American society has become more complex even since the late-1990s. Traveling is becoming more cumbersome. Learning new ways of managing, and new ways to increase productivity takes its toll. Merely living in America today and participating as a functioning member of society guarantees that your day, week, month, year and life, and your physical, emotional, and spiritual energy will easily be depleted without the proper vantage point from which to approach each day and conduct your life.

Do you personally know anyone who works for a living who consistently has unscheduled, free stretches? Five factors, or "mega-realities," are simultaneously contributing to the perceptual and actual erosion of leisure time among Americans, including:

* Population growth;

* An expanding volume of knowledge;

* Mass media growth and electronic addiction;

* The paper trail culture; and

* An over-abundance of choices.

Population

From the beginning of creation to 1850 A.D. world population grew to one billion. It grew to two billion by 1930, three billion by 1960, four billion by 1979, and five billion by 1987, with six billion by 1996, and seven billion en route. Every 35 months, the current population of America, 307,059,724 people, is added to the planet.

The world of your childhood is gone, forever. The present is crowded and becoming more so. Each day, world population (births minus deaths) increases by more than 260,000 people. The Census Bureau reports the United States records a birth every 8 seconds and a death every 13 seconds while adding an immigrant every 25 seconds. The result is an increase of one person every 12 seconds, hence 5 per minute, 300 per hour, 7200 per day. In a decade: 26 million.

Regardless of your political, religious, or economic views, the fact remains that geometric growth in human population permeates and dominates every aspect of the planet and its resources, the environment and all living things. This is the most compelling aspect of our existence, and will be linked momentarily to the four other mega-realities.

When JFK was elected President, domestic population was 180 million. It grew by 70 million in one generation. Our growing population has not dispersed over the nation's 5.4 million square miles. About 97 percent of the U.S. population resides on 3% of the land mass. Half of our population resides within 50 miles of the Atlantic or the Pacific Ocean, and 75% of the U.S. population live in urban areas, with 80% predicted by the end of the nineties.

More densely packed urban areas have resulted predictably in a gridlock of the nation's transportation systems. It is taking you longer merely to drive a few blocks; it's not your imagination, it's not the day of the week or the season, and it's not going to subside soon. Our population and road use grow faster than our ability to repair highways, bridges and arteries. In fact, vehicles (primarily cars) are multiplying twice as fast as people, currently approaching 400,000,000 vehicles, compared to 165,000,000 registered motorists.

Some 86% of American commuters still get to work by automobile, and 84% of inner city travel is by automobile. The average American now commutes 157,600 miles to work during his working life, equal to six times around the earth. Commuting snarls are increasing.

City planners report there will be no clear solution to gridlock for decades, and all population studies reveal that our nation's metropolitan areas will become home to an even greater percentage of the population. Even less populated urban areas will face unending traffic dilemmas. If only the gridlock were confined to commuter arteries. However, shoppers, air travelers, vacationers, even campers--everyone in motion is or will be feeling its effects.

Knowledge

Everybody in America fears that he/she is under-informed. This moment, you, and everyone you know, are being bombarded on all sides. Over-information wreaks havoc on the receptive capacities of the unwary. The volume of new knowledge broadcast and published in every field is enormous and exceeds anyone's ability to keep pace. All told, more words are published or broadcast in a day than you could comfortably ingest in the rest of your life. By far, America leads the world in the sheer volume of information generated and disseminated.

Increasingly, there is no body of knowledge that everyone can be expected to know. In its 140th year, for example, the Smithsonian Museum in Washington D.C. added 942,000 items to its collections. Even our language keeps expanding. Since 1966, more than 60,000 words have been added to the English language--equal to half or more of the words in some languages. Harvard Library subscribes to 160,000 journals and periodicals.

With more information comes more misinformation. Annually, more than 40,000 scientific journals publish over one million new articles. "The number of scientific articles and journals published worldwide is starting to confuse research, overwhelm the quality-control systems of science, encourage fraud, and distort the dissemination of important findings," says New York Times science journalist William J. Broad.

In America, too many legislators, regulators and others entrusted to devise the rules which guide the course of society take shelter in the information overglut by intentionally adding to it. We are saddled with 26-page laws that could be stated in two pages, and regulations that contradict themselves every forth page. And, this phenomenon is not confined to Capitol Hill. Impossible VCR manuals, insurance policies, sweepstakes instructions, and frequent flyer bonus plans all contribute to our immobility.

Media Growth

The effect of the mass media on our lives continues unchecked. Worldwide media coverage certainly yields benefits. Democracy springs forth when oppressed people have a chance to see or learn about how other people in free societies live. As we spend more hours tuned to electronic media, we are exposed to tens of thousands of messages and images.

In America, more than three out of five television households own VCRs, while the number of movie tickets sold and videos rented in the U.S. each exceeded one billion annually starting in 1988. More than 575 motion pictures are produced each year compared to an average of 175 twelve years ago. In 1972, three major television networks dominated television--ABC, NBC and CBS. There are now more than 400 full-power independent television stations and many cable TV subscribers receive up to 140 channels offering more than 72,000 shows per month.

All told, the average American spends more than eight solid years watching electronically how other people supposedly live.

To capture overstimulated, distracted viewers, American television and other news media increasingly rely on sensationalism. Like too much food at once, too much data, in any form, isn't easily ingested. You can't afford to pay homage to everyone else's 15 minutes of fame. As Neil Postman observed, in Amusing Ourselves to Death: Public Discourse in the Age of Television, with the three words, "and now this..." television news anchors are able to hold your attention while shifting gears 180 degrees.

Radio power--Radio listenership does not lag either. From 5:00 a.m. to 5:00 p.m. each weekday in America, listenership far surpasses that of television viewership. Unknown to most people, since television was first introduced, the number of radio stations has increased tenfold, and 97% of all households own an average of five radios, not counting their car radios. On weekdays, 95.2% of Americans listen to radio for three hours and fourteen minutes. Shock-talk disc jockeys make 0,000 to 0,000 per year and more, plus bonuses.

With a planet of more than five billion people, American media are easily furnished with an endless supply of turmoil for mass transmission. At any given moment somebody is fomenting revolution somewhere. Such turmoil is packaged daily for the evening news, whose credo has become, "If it bleeds, it leads." We are lured with images of crashes, hostages, and natural disasters. We offer our time and rapt attention to each new hostility, scandal or disaster. Far more people die annually from choking on food than in plane crashes or by guns, but crashes and shootings make for great footage, and play into people's fears.

With its sensationalized trivia, the mass media overglut obscures fundamental issues that do merit concern, such as preserving the environment.

Meanwhile, broadcasts themselves regularly imply that it is uncivil or immoral not to tune into the daily news--"all the news you need to know," and "we won't keep you waiting for the latest...." It is not immoral to not "keep up" with the news that is offered. However to "tune out"--turn your back on the world--is not appropriate either. Being more selective in what you give your attention to, and to how long you give it, makes more sense.

Tomorrow, while dressing, rather than plugging in to the mass media, quietly envision how you would like your day to be. Include everything that's important to you. Envision talking with others, making major decisions, having lunch, attending meetings, finishing projects, and walking out in the evening. You'll experience a greater sense of control over aspects of your position that you may have considered uncontrollable.

There is only one party who controls the volume and frequency of information that you're exposed to. That person is you. As yet, few people are wise information consumers. Each of us needs to vigilantly guard against being deluded with excess data. The notion of "keeping up" with everything is illusory, frustrating, and self-defeating. The sooner you give it up the better you'll feel and function.

Keen focus on a handful of priorities has never been more important. Yes, some compelling issues must be given short shrift. Otherwise you run the risk of being overwhelmed by more demanding issues, and feeling overwhelmed always exacerbates feeling overworked.

Paper Trails

Paper, paper, everywhere but not a thought to think. Imagine staring out the window from the fifth floor of a building and seeing a stack of reports from the ground up to your eye level. This 55-foot high stack would weigh some 659 pounds. Pulp & Paper reports that Americans annually consume 659 pounds of paper per person. In Japan, it's only 400 pounds per person; in Europe, Russia, Africa, Australia, and South America, far less.

Similar to too much information, or too many eyewitness reports, having too much paper to deal with is going to make you feel overwhelmed, and overworked. Americans today are consuming at least three times as much paper as 10 years ago. The long held prediction of paperless offices, for now, is a laugher.

There are two basic reasons why our society spews so much paper:

* We have the lowest postal rates in the world, and

* We have the broadest distribution of paper-generating technology.

In a single year, Congress received more than 300,000,000 pieces of mail, up from 15,000,000 in 1970. Nationwide more than 55,000,000 printers are plugged into at least 55,000,000 computers, and annually kick out billions of reams. Are 18,000 sheets enough? Your four-drawer file cabinet, when full, holds 18,000 pages.

The Thoreau Society reports that last year, Henry David Thoreau, who personally has been unable to make any purchases since 1862, received 90 direct mail solicitations at Walden Pond. Under our existing postal rates, catalog publishers and junk mail producers can miss the target 98% of the attempts and still make a profit--only 2% of recipients need to place an order for a direct mailer to score big.

Direct mailers, attempting to sell more, send you record amounts of unsolicited mail. In 1988, 12 billion catalogs were mailed in the U.S., up from five billion in 1980--equal to 50 catalogs for every man, woman, and child in America. In the last decade, growth in the total volume of regular, third-class bulk mail (junk mail) was 13 times faster than growth in the population. The typical (overworked? or overwhelmed?) executive receives more than 225 pieces of unsolicited mail each month, or about 12 pieces daily. Even Greenpeace, stalwart protector of the environment, annually sends out 25,000,000 pieces of direct mail.

Attempting to contain what seems unmanageable, our institutions create paper accounting systems which provide temporary relief and some sense of order, while usually becoming ingrained and immovable, and creating more muddle. Certainly accounting is necessary, but why so complicated? Because in our over-information society reams of data are regarded as a form of protection.

Why is documentation, such as circulating a copy to your boss, so critical to this culture? Because everyone is afraid of getting his derriere roasted! We live in a culture of fear, not like a marshall law dictatorship, but a form of fear nonetheless. "If I cannot document or account, I cannot prove, or defend myself."

Attempting to contain what seems unmanageable, organizations and institutions, public and private, create paper accounting systems. These systems provide temporary relief and some sense of order. Usually they become ingrained and immovable, while creating more muddle. These accounting systems go by names such as federal income taxes, deed of trust, car loan, etc. Sure, accounting is necessary, but why so complicated? Because in the era of over-information, over-information is used as a form of protection.

Of the five mega-realities, only paper flow promises to diminish some day as virtual reality, the electronic book, and the gigabyte highway are perfected. For the foreseeable future, you're likely to be up to your eyeballs in paper. Start where you are--It is essential to clear the in-bins of your mind and your desk. Regard each piece of paper entering your personal domain as a potential mutineer or rebel. Each sheet has to earn its keep and remain worthy of your retention.

An Over-abundance of Choices

In 1969, Alvin Toffler predicted that we would be overwhelmed by too many choices. He said that this would inhibit action, result in greater anxiety, and trigger the perception of less freedom and less time. Having choices is a blessing of a free market economy. Like too much of everything else, however, having too many choices leads the feeling of being overwhelmed and results not only in increased time expenditure but also in a mounting form of exhaustion.

Consider the supermarket glut: Gorman's New Product News reports that in 1978 the typical supermarket carried 11,767 items. By 1987, that figure had risen to an astounding 24,531 items--more than double in nine years. More than 45,000 other products were introduced during those years, but failed. Elsewhere in the supermarket, Hallmark Cards now offers cards for 105 familial relationships. Currently more than 1260 varieties of shampoo are on the market. More than 2000 skin care products are currently selling. 75 different types of exercise shoes are now available, each with scores of variations in style, and features. A New York Times article reported that even buying leisure time goods has become a stressful, overwhelming experience.

Periodically, the sweetest choice is choosing from what you already have, choosing to actually have what you've already chosen. More important is to avoid engaging in low level decisions. If a tennis racquet comes with either a black, or brown handle, and it's no concern to you, take the one the clerk hands you.

Whenever you catch yourself about to make a low level decision, consider: does this really make a difference? Get in the habit of making fewer decisions each day--the ones that count.

A Combined Effect

In a Time Magazine cover story entitled, "Drowsy America," the director of Stanford University's sleep center concluded that, "Most Americans no longer know what it feels like to be fully alert." Lacking a balance between work and play, responsibility and respite, "getting things done" can become an end-all. We function like human doings instead of human beings. We begin to link executing the items on our growing "to do" lists with feelings of self-worth. As the list keeps growing longer, the lingering sense of more to do infiltrates our sense of self-acceptance. What's worse, our entire society seems to be irrevocably headed toward a new epoch of human existence. Is frantic, however, any way to exist as a nation? Is it any way to run your life?

John Kenneth Galbraith studied poverty stricken societies on four continents. In The Nature of Mass Poverty, he concluded that some societies remain poor (often for centuries) because they accommodate poverty. Although it's difficult to live in abject poverty, Galbraith found that many poor societies are not willing to accept the difficulty of making things better.

As Americans, we appear poised to accommodate a frenzied, time-pressured existence, as if this is the way it has to be and always has been. This is not how it has to be. As an author, I have a vision. I see Americans leading balanced lives, with rewarding careers, happy home lives, and the ability to enjoy themselves. Our ticket to living and working at a comfortable pace is to not accommodate a way of being that doesn't support us, and addressing the true nature of the problem head-on:

The combined effect of the five mega-realities will continue to accelerate the feeling of pressure. Meanwhile, there will continue to be well-intentioned but misdirected voices who choose to condemn "employers" or "Washington DC" or what have you for the lack of true leisure in our lives.

A Complete Self

We are, however, forging our own frenetic society. Nevertheless, the very good news is that the key to forging a more palatable existence can occur one by one.

You, for example, are whole and complete right now, and you can achieve balance in your life. You are not your position. You are not your tasks; they don't define you and they don't constrain you. You have the capacity to acknowledge that your life is finite; you cannot indiscriminately take in the daily deluge that our culture heaps on each of us and expect to feel anything but overwhelmed.

Viewed from 2021, 2011 will appear as a period of relative calm and stability when life moved at a manageable pace. When your days on earth are over and the big auditor in the sky examines the ledger of your life, she'll be upset if you didn't take enough breaks, and if you didn't enjoy yourself.

On a deeply felt personal level, recognize that from now on, you will face an ever-increasing array of items competing for your attention. Each of the five mega-realities will proliferate in the next decade. You cannot handle everything, nor is making the attempt desirable. It is time to make compassionate though difficult choices about what is best ignored, versus what does merits your attention and action.

Overworked Or Overwhelmed? The Struggle For Time Management
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Why Mortality Increases in the Elderly Within a Year of Hip Fractures and What You Can Do to Help

A startling 1 in 5 people over 65 who undergo hip fracture surgery will die within a year according to the Centers for Disease Control. Certainly, a fractured hip doesn't kill outright - rather it's the slow healing time that makes a person susceptible to other problems which cause death. We can trace the reason for death back to one thing: immobility. There are steps though that you can take to ensure the best outcome for your loved one.

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Humans are not meant to be immobile for any prolonged period of time. When we are the following changes may occur:
Skin breakdown Pneumonia Muscle atrophy Depression

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Let's review the significance of each of the above problems.

1. The Hows and Whys of Skin Breakdown

Prolonged immobility leads to pressure ulcers. Indeed, very little pressure is needed before the blood supply to the area is compromised and tissue damage occurs. We measure pressure in millimeters of mercury (mm Hg) - the same measurement we use in blood pressure.

The pressure required for tissue damage to start is minimal (greater than 35 mm Hg for those who have blood pressure cuffs and want to try this out). This pressure decreases the blood supply to the tissue which then becomes starved for oxygen. The cell hemorrhages and then dies.

In order to know what 35 mm Hg pressure actually feels like, think of the pressure exerted on your arm when you have your blood pressure taken. Now 35 mm Hg is not the kind of pressure you feel when the cuff is fully inflated but rather the pressure that you feel when the cuff is just beginning to inflate after several pumps.

If you can't remember what that feels like, that's the point - it's so minimal. So the next time you're laying on the floor consider this: the pressure between your hip and a hard resting surface can exceed 300 mm Hg.

Post-operative patients have very limited mobility because of the effects of anesthesia, pain and weakness so they are not able to shift their weight around - things that we all do unconsciously thousands of time a day. That's why frequent position changes, heel protectors, and skin hydration are all crucial during this period.

2. Pneumonia

When we are laid up in bed for several days, we don't fully inflate our lungs nor are we able to easily cough and move secretions around. The tiny air sacs that are at the end of our bronchial tubes collapse when they are not properly inflated with air, a condition called "atelectasis". After several days, bacteria can then build up and lead to pneumonia.

That's why patients are encouraged to cough and deep breath after surgery especially because normal moving about is severely restricted. An incentive spriometer, a cylindrical device with a tube attached that the patient sucks on, is an inexpensive tool that encourages deep breathing and complete aeration of the lungs.

3. Muscle Atrophy

The process of healing after hip surgery is a long one involving physical therapy and a willingness on the individual to do the exercises. But the weeks of limited mobility lead to muscle atrophy, causing individuals to tire more quickly which then leads to greater limitations.

The hard work of physical therapy can not be underestimated even though the gains may seem so minimal at first. The goal during this intial post-op phase is to maintain muscle tone and strength in the face of limited activity. That's why it is also important to make sure that pain medication is given before each session in order to maximize results.

4. Depression

Hip surgery is hard at any age but much more difficult on the elderly whose ability to bounce back quickly is diminished by a slower healing time. This combiined with the following, contribute to depression:
Loss of independence Fear of being placed in a nursing home Fear of further falls Discouragement because of the slow progress

In many cases, depression is accompanied by loss of appetite and poor sleep, both key components in insuring successful healing. The use of anti-depressants and nutritional supplements can help.

Because anti-depressants may take a while before their benefits are felt, be especially alert for the first signs of depression so that medication therapy can be intiated promptly. Be sure to seek out the help of the facility's social work and pastoral care staff.

Individuals do heal from hip surgery and return to independent living but it requires interventions and cooperation from mutiple disciplines:
physical/occupational therapy nursing medicine social work dietary and finally, patients and families.

Focusing on these aspects of care will help maximize healing.

Why Mortality Increases in the Elderly Within a Year of Hip Fractures and What You Can Do to Help
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Angels at Work in Your Life

Most people believe in angels, but people have different ideas about them: they're far away, they only come around to protect us, they existed more in the past, they're a pretty decoration around the holidays, or that they'll see them one day when they get to heaven.

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So let me tell you about angels.

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They are real and are around you every minute of the day, at least your guardian angels are. And yes, you have more than one. You may not know of their presence, but I can promise they are there. They will not interfere in your life except to protect you from harm if it's not your time to go. However, they are waiting for you to ask for their help, and when you do, be ready.

Angels are made completely of love; they are messengers, guides, protectors, encouragers, supporters,
gift-givers, miracle-workers, inspiring, calming agents and instructors who will gladly come instantaneously to your aid with just your thought. They have become my best buddies and I cannot imagine life without their daily guidance.

When you have an intention (thought), the universe immediately goes into action and begins to align with the vibration you sent out. This is the reason all thoughts create your life, so if you think fearful thoughts you create fearful (negative) situations, but if you think from a place of love you create wonderful (positive)
experiences. That's where the angels come in, when you create from love, for they are by your side to assist you every step of the way, if you only ask.

I am in communication with my angels, the archangels and ascended masters all day every day. We talk all day long and when I have a problem or challenge I immediately call for their guidance. Never have they let me down and they always respond in divine timing if I simply listen. Sometimes they make me laugh, sometimes they surprise me, sometimes amaze me, and always they come from love. Sometimes I just ask for them to stick around me all day because I enjoy knowing they're nearby, or I acknowledge how much I appreciate and love them. That knowing creates a deep serenity.

I began hearing them years ago but didn't know who or what it was. As I became aware of who was speaking to me, and that I wasn't going crazy, it opened a whole new world for me. The beauty of it is that you can also work with your angels. Some people can hear them, some feel them, and others see them. I have been blessed with hearing, seeing and feeling them. But the key is to listen to their messages.

What is it like to work with angels?

I have called upon writing angels when I've been instructed to write an article or book, and amazing things come into my brain, sometimes words I've never used before. They have comforted me when something upsets me and have given me signs when I asked for them. It might be a feather strategically placed nearby or an appearance of a coin on the floor in front of me. (They apparently like to use those signs) I might notice that a candle flame is flickering but there is no wind or moving air. Lights may flicker, something may brush against you or you may suddenly feel warmth around you or see light from an unexplained source. You might suddenly hear a particular song on the radio that gives you insights or see certain numbers repeated over and over, perhaps the house number of the new house you haven't seen yet but the universe is in the process of bringing to you. Here are some examples of angels at work.

1. My boyfriend and I had a disagreement of sorts. There was that period of silence that followed, and I was getting no where in breaking it. So I asked the angels to take over and finally let go of trying to fix it. Immediately as I gave up the control, they began working on him, talking to him and believe it or not, waking him up. He kept trying to go back to sleep but they kept after him until he got up; the rest you can probably guess.

2. My angels kept telling me to put my house up for sale some time ago. It was right before the holidays and not a good time to do this, at least that's what I told them. But they persisted and I argued my "case" with them until one day I gave it up and put up the for sale sign. But guess what...months went by and no sale. Every time I'd ask them what was going on and why they told me to do this without results, they'd tell me to be patient. Yikes, that again. I finally relaxed and waited. It took a total of 6 months for the house to sell, but in the end the things that unfolded were amazing. My younger son was to buy the house, but he wasn't ready and neither was I to let go of it. Neither of us knew this part of the story at that time.
I grew a lot during the experience and it was an example of patience and trusting the process for my realtor, part of the reason for the experience. She was upset with the progress but I knew there was a bigger picture unfolding.

3. I've sent angels to help others when they're having difficulties. Sometimes the person tells me they felt their presence, but even if they don't I know they are there. How? Because the situation resolves in amazing ways that often surprises the other person. Or perhaps I asked for peace to envelop the person without their knowledge, and when we talked later they mention how an unbelievable feeling of peace surrounded them suddenly, about the same time I sent it via the
angels. The angels want us to be happy and enjoy life, so they will do everything they can to help us, always in ways that will raise us up into higher levels, if we simply ask. They love to make us smile!

4. I might ask for insights or clarity and within a short period of time things come to me that I would have never thought of. That's why I said earlier to be ready if you
ask for their help. Sometimes they keep me awake during the night with so many thoughts and ideas. I've asked them why they do it then and they just smile and say "all is well." And you know what? Even if I hardly receive any sleep I'm always fine!

5. One day I was driving my car and although I knew my gas was getting low it had slipped my busy mind and I had driven almost the entire way home before realizing I hadn't stopped for gas. This wasn't my usual pattern and as I set out a couple hours
later for another destination, I noticed almost immediately that my low gas light had come on. Since my car was quite new and I had never let it get this low before, I wasn't sure how much gas I had left. I will admit I felt a little panicky for a moment since I was nowhere near a gas station and kind of out in the country. But I caught my thoughts and shifted to asking for the angels help. I continued driving and suddenly noticed that the low gas light wasn't on anymore and the needle had risen to a higher level than before. Now I've heard stories like this before but this was a first for me. I chuckled all the way to the gas station and continued to thank my angels for their help throughout the day. The gas gauge needle never went lower the rest of the trip to the gas station. There was no doubt in my mind that my angels had worked here.

Here's an important key.

When the angels help you, or even as you call upon them for assistance, thank them immediately, even before the request has been granted. They want to feel your appreciation and they should receive it.

Help and guidance are a thought away

They await you now. Ask them to make their presence known to you, or ask for more awareness of spiritual insights. Ask them to bring you the desires of your heart as long as those desires come from a place of love. They will bring you what you desire, or something better! Do you need help with making a decision? Are you longing for a life partner? Would a different job work for you but you don't know how to find it? Are you concerned about finances? Are peace and serenity something you would cherish at this time? Ask for your angels to bring it to you, for they are waiting for you to ask.

All of my work - wholeness coaching, energy work, speaking, writing - is a direct result of my communication with my angels. I wish this for you, and when you open to it you will be amazed how your life becomes extraordinary from that moment on.

Angels at Work in Your Life
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Interview With Kay Williams and Eileen Wyman, authors of &quot;Butcher of Dreams&quot;

Kay Williams is a professional actress who has played leading roles at regional theaters around the U.S., including the San Francisco Actors Workshop and the Pittsburgh Playhouse. Among her many credits are the title role in "Miss Jairus," Cybel in "Great God Brown," and Georgette in "The Balcony," all plays that are part of the repertory of the 42nd Street Theater in "Butcher of Dreams." She has also performed in many, many new plays off-Broadway in Manhattan and knows how difficult it is for talented new playwrights to get produced and talented new actors to get noticed. She has acted in radio, television, and films. For several years, she worked behind-the-scenes as assistant producer with an award-winning independent filmmaker in New York. Kay is a co-author of "One Last Dance: It's Never Too Late to Fall in Love," a novel started by her father, Mardo Williams, and finished by her and her sister Jerri Lawrence. The book won a Best Regional Fiction Award from the Independent Publishers Association and was a Finalist in a National Readers' Choice Award, sponsored by the Romance Writers of America.

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Eileen Wyman is a writer of short fiction and has edited many books and film scripts. She has had a career in radio/television and is a gifted comedy writer, crafting jokes for speech writers and comedians, humorous fillers for various magazines, and captions for cartoonists. She has written additional dialogue for films. During her long career, Eileen has held a variety of odd jobs to make ends meet-teacher, social worker, office temp. When she grows up, she wants to be either a wizard or a world class tennis player.

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Tyler: Thank you, Kay and Eileen, for joining me today. It's always a treat to have two authors to talk to. Let's begin by having one of you just tell us basically what "Butcher of Dreams" is about?

Eileen: "Butcher of Dreams" is a suspense thriller set in the 1980's Hell's Kitchen when porno shops, girlie shows, prostitution and crime ran rampant. With this seedy and ominous Off-Broadway theater district as the backdrop, sensitive, talented actress Lee Fairchild is attempting to start a repertory theater in an abandoned burlesque house.

Grieving for her husband, who recently died of a heart attack (and missing her daughter who's away at college), Lee is vulnerable and, against her better judgment, falls into a passionate affair with a younger man. After a ritual Aztec mask is stolen from her home during a cast party, bizarre, seemingly unrelated events plague the theater. A homeless person is found dead on the third floor, his ring finger missing; an actress is poisoned; an actor stabbed. Strange marking are found painted on a set in construction. Is the stolen Aztec mask with its ancient curse somehow connected?

Who is the madman behind the destruction that is threatening the future of the theater (Lee's dream-come-true)? Lee's mercurial cast and crew become suspects as events escalate to ritual murder, and Lee herself becomes a target.

Tyler: Wow, that sounds like quite a plot. Will you tell me a little bit more about the Aztec mask and the curse associated with it? Is the ritual murder related to the Aztec culture?

Kay: The mask has two grotesque half faces, three bright blue fiercely staring eyes, a long black tongue hanging out of its mouth. (The long black tongue signifies thirst, a thirst for blood perhaps.) When Lee and her family visited Mexico, an Indian reluctantly sold the mask to her husband Richard, saying it would bring bad luck to anyone who owned it. Supposedly, it had been stolen from the Tomb at Monte Alban, the City of the Dead, and had been used in Aztec sacrifices. Six months later Richard was dead of a heart attack. Maybe the Indian was right, Lee thinks. Richard was too young, too healthy to have had a fatal heart attack.

At the cast party later, the actors, intrigued by the mask, take it down from the wall, and as a lark, several try it on. Alan confesses, "The mask took me over." His friend Walter asks to borrow it for a talk he's doing on Indian rites and occult practices for the Society of Medical Anthropology. At the end of the party, Lee discovers the mask is missing. And that's when the havoc begins. Detective Green thinks someone may be trying to scare them out of the theater which, with the gentrification of Hell's Kitchen, may soon become a desirable property. Green also postulates that a cult is involved.

Aztec/Mexican symbols, rites and rituals, including the Cult of the Animal Protector, are intrinsic to the plot right up through the chilling climax.

Tyler: Eileen and Kay, I'm always curious about writer collaborations? What brought the two of you together and how did the two of you work together to write "Butcher of Dreams"?

Kay: We've known each other for a long time. We were having dinner at a Greek restaurant in our neighborhood, drinking wine. Acting roles for me seemed to be drying up. I'd just taken a permanent job that wouldn't allow me to do auditions during the day. Eileen came up with the idea. "We should write a novel." It sounded to me like it was worth a try. The beauty of it was that we could work on it before and after work and on the weekends.

We have different strengths and we felt we could collaborate very well, complementing each other. For instance, Eileen is great at writing humor, especially satirical and black humor; she excels at short pithy character descriptions and terse, meaty descriptions of places, and her ability to come up with off-the cuff quips and funny one-liners for characters is uncanny. Over 25 years as an actress made me strong at character development and narrative line. As we brainstormed, we knew it would have to be a story about the theater. And about New York-in fact, about our fascinating, seamy, grimy, scary neighborhood-where a number of small off-Broadway theaters eked out an existence. You're supposed to write about what you know, right? We also knew we wanted to try suspense.

Together, we drafted a plot-that mutated as we went along. But we did know exactly how we wanted the story to start and how we wanted it to end. We decided to tell the story through the eyes of an actress. She had to be very emotionally vulnerable. So we came up with a back story for her. The antagonist had to be sneaky and scary, a world class liar, slippery as a bar of soap. We wanted the reader to wonder whom to believe among this band of actors-all first class dissemblers. We knew we didn't want the story to revolve around actors working on Broadway, actors who'd made it. We wanted to show the reader what a struggle it is to make a name in the theater (or in any other artistic endeavor, for that matter).

We also wanted to include Aztec/Mexican rites and rituals. And for that, we did research at the library.

I usually did a first pass at a draft. Eileen would make changes. We'd get together and argue and discuss. Through Mystery Writers of America, we found a writers group. So we'd read 10 pages at a time to the group, get feedback and make changes based on their suggestions.

Tyler: Tell me a little bit about the main character, Lee Fairchild, and why you think she is an attractive character to the reader?

Eileen: Lee is smart, tough, talented, able to manage and act successfully in her own off-Broadway theater. She's independent, but vulnerable. She's caring and imaginative. She's lonely. We thought of her as a combination of Holly Hunter and Emma Thompson. She has the intuition of an artist, seeing everyone's side. Lee is so empathetic her husband once told her, "You could identify with a mailbox." That is her strength and her weakness.

Tyler: Does Lee get herself into any dangerous situations, and if so, will you give us a little hint of one?

Eileen: One night Lee works late at the theater. When she leaves, she discovers the battery from her car has been stolen so she has no choice but to stay overnight. (She'd converted a small room on the theater's second floor into a bedroom but hadn't used it after the body of the derelict was found.) In the middle of the night, she hears sounds coming from the third floor construction area. She goes upstairs to investigate. Lighted candles are everywhere. A giant figure draped in a long white robe (an actor's costume, from "The Balcony"), complete with cothurni (high, thick-soled laced boots, also part of the costume), is wearing the hideous Mexican mask that was stolen from Lee's home. The figure stands before a mirror, a bird, painted blue-green, in his hand. He performs a ceremony with the live bird, cutting its wing, crooning to it softly. He discovers Lee hiding behind a shelf of paint cans. As they struggle, Lee tries to lift off the mask to see the face behind it. The last thing she feels are hands around her neck. She survives, suffering only a small cut between her thumb and forefinger. Her next encounter is not so benign.

Tyler: The subtitle is "A Suspense Novel about the Theater." What about the theater appeals to you, especially as a subject for a mystery?

Kay: In the theater, film and TV, where we'd each had years of experience, we'd met many temperamental actors with overblown egos, actors with a heart of gold, actors living alternate lifestyles, brilliant but erratic directors and playwrights. We knew they would make unforgettable characters, characters easy to be suspicious of. In "Butcher of Dreams," we have Alan Dunbar, Lee's Artistic Director, who has troubling gaps in his resume; Ernst Kromer, her other director, who is a tyrant, rigid and uncooperative. In the acting company, we have wraithlike Fleur Mahoney, whose first role is a dead girl-and she almost is; Barry Blackwell, talented actor, compulsive practical joker; Harry O'Brien, company stage manager, who'd kill for a role; beautiful Samantha Read, Barry's live-in lover. Other major characters from the "real" world are just as quirky: Michael Day, Lee's sexy and mysterious assistant; Alan's lover, Walter Kaplan, eccentric psychiatrist and medical anthropologist; Heather, Lee's 18-year-old daughter, who has a surprising secret life; pock-marked, cynical NYPD Detective Mordecai Green, who moonlights as an actor.

Tyler: What specifically about the 42nd Street Repertory Theater, the setting for the book, makes it a great setting for a mystery?

Eileen: The fact that it's an off-Broadway repertory theater-almost an anomaly in New York City; that it's under-budgeted and under-staffed leaves room for plenty of mistakes and mishaps. The time is the mid-eighties. Small, struggling off-Broadway theaters lined 42nd Street. The theater was just three blocks from the Hudson River where an enclave of the homeless lived in cardboard boxes. At that time, the neighborhood was crime-ridden. Live nude shows, erotic bookstores, x-rated movies were just a block away from our apartment complex (we live in Manhattan Plaza, housing for performing artists). Crack cocaine was sold by dealers in the streets. Prostitutes blatantly solicited.

(By the time we finished the book, the Disney Corporation had renovated the Amsterdam Theater, moved in "The Lion King" and Hell's Kitchen was well on its way to being gentrified. Now our area is one of the safest, cleanest neighborhoods in New York City.)

Tyler: What would you say were your biggest influences in writing mysteries?

Kay: We love stories with an odd twist; characters who are slightly askew. These authors are among our favorites: Ruth Rendell, writing as Barbara Vine, P.D. James, Elizabeth George, Dorothy Sayers, Patricia Highsmith.

Tyler: What do you think sets "Butcher of Dreams" apart from the many other mystery novels out there?

Eileen: The book's mixture of temperamental actors, undercurrents of the supernatural, and a madman on the prowl set it apart from the many cozies, police procedurals, legal mysteries, high tech thrillers that dominate today's mystery world. This one is about people whom you like and learn to dislike, dislike and learn to like, real people in believable-if slightly bizarre situations. After all, it is the theater so that added theatrical flair is a must.

Tyler: What do you find most difficult about writing a mystery?

Kay: To give enough clues but not too many so that the reader will guess the culprit right off the bat. It's great to have a writers group as your first audience because if they say, "I suspect so-and-so," you know you have to be a little more subtle and pull back on information you're giving the reader. Also it's difficult knowing what to reveal when. Again, it's a great help having a writers group to bounce first drafts off.

Tyler: What did you most enjoy about writing and collaborating on "Butcher of Dreams"?

Eileen: Collaboration gave us more than one voice.

Also, Kay tended to overlook the flaws in the performers because she identified with them so strongly. I, as a theater-goer and lover of theater, wanted them to behave better. We feel we reached a happy medium.

Tyler: What will your next writing projects be? Do you plan to collaborate on writing more books?

Eileen: We've started a sequel to "Butcher." It opens in Leningrad in 1991-filmmakers competing at the Leningrad International Film Festival, against the chaotic backdrop of a disintegrating Russia. Then the action moves to New York and deals with the Russian Mafia in Brighton Beach and the 42nd Street Rep as it's evolved in the past five years. Also the reader will get a glimpse into the world of making independent films.

Tyler: Do you both plan to stick to writing novels now, or will you return to the theatre-maybe even turn one of your novels into a play?

Kay: We may attempt a screenplay of "Butcher of Dreams." But first we have to get further into our Russian book.

Tyler: Thank you, Kay and Eileen, for joining me today. Before you go, will you tell our readers about your website and what additional information can be found there about "Butcher of Dreams"?

Eileen: Our website is: http://www.calliopepress.com/butcherOfDreams/index.shtml

Additional information on the website includes: suggested book discussion questions, comments about the book from reviewers and readers; authors' pictures and bios; excerpt; ordering information.

Tyler: Thank you, Kay and Eileen. I hope you have many more successful collaborations together.

Interview With Kay Williams and Eileen Wyman, authors of "Butcher of Dreams"
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Ancient Greek Agora

From the moment people began to organise themselves into groups they had to have a place where they could meet and make decisions on matters of common interest. Such places demonstrate the existence of a community life: they were the public squares. We don't know what they were called in pre-historic times; we do know that the Greek word for such a place is agora, from the verb agorevein (speak), which shows clearly its initial function. With the growth of trade and the use of speech in buying and selling, the verb agorevein lent its form to agorazein which acquired the meaning of "purchase", to reflect new needs. Similarly, the movable table for transactions was then called "trapeza", the modern Greek word for bank.

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In pre-historic times, when the first settlement was established on the protected southern side of the Acropolis, the northern side was used as a necropolis, or cemetery. In a well from the neolithic period, a statuette representing a headless semi-reclining woman was found dating from the 3rd millennium BC. It is a marvellous example of primitive sculpture with the characteristic abundant flesh indicative of fertility. Many examples of Mycenean pottery were found in the same vicinity as well as a number of large jars (pithoi). Among the funeral customs of antiquity was that of enclosing the bodies of very young children in such jars, which were then buried; older children were laid straight in the ground. Only after puberty was the cremation of the body permitted. As the city grew, the graves were moved to the Dipylon area which was the potters' district, Kerameikos, so that very few graves remained in the area around the Areopagus hill after 1000 BC.

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Thus were the Agora and Speech related. Plutarch reports that the Agora first began to function as a meeting place for the residents of the federated townships during the rule of Theseus, when a Prytaneion was established. The altar bearing the sacred fire of this first official building became the symbol of newly constituted state. Other important buildings were the Bouleuterion, the Eleusinion sanctuary and the temple of Aphrodite Pandemos. The latter was a tribute built by the municipalities to the goddess with the great power over human nature. There was a great deal of traffic in the area, making it suitable for the practice of the oldest profession; the women were dedicated to the goddess thereby giving the term "pandemos Aphrodite" its meaning of prostitute. We do not know the precise location of these early sites, although they must have been somewhere in the clearing between the Areopagus and the northwestern corner of the Acropolis.

After the monarchy was abolished and the citizens acquired the right to express their opinion, a need clearly arose for more public buildings and a larger place in which the citizens could gather. The level ground east of the Areopagus was regarded as being the most suitable location for the Agora which was to have several new sanctuaries and public fountains. While the Acropolis was devoted exclusively to religion, the Agora from the very beginning assumed the function of a civic and administrative centre. No trace of these first public buildings has survived up to our time, since they are underneath the present, densely populated district of Plaka.

The establishment of colonies, which the orator Isocrates would later refer to as the best possible solution to political problems, and the resultant growth of trade made it absolutely essential to have a more convenient place to do business. Thus, early in the 6th century, Solon selected the most appropriate spot for the Agora, i.e. the site we know today. The flat ground north of the Areopagus formed a triangle with its apex facing northward and its western side protected by a plateau. On the east was the main road which started at the Dipylon Gate, the entrance to the city, and ascended to the Acropolis. In addition, the roads from the outer townships ended in this lowland near a little creek called the Eridanos.

From the first moment, it proved to be an excellent choice. The plateau was named Agoraios Kolonos, and on its slopes the first public building was erected, very possibly a council chamber. Small temples followed, as did a Bouleuterion (Council House) and a Prytaneion. Solon chose the entrance to the city as the best position for a portico and gave orders for the written laws to be kept there. The Agora was beginning to take shape.

In the second half of the 6th century, during the tyranny of Peisistratos, the site was provided with a water supply and drainage system. A monumental fountain and rainwater duct were built. Like all dictators, Peisistratos was not especially keen on the idea of increasing space for meeting and voting; instead, he filled the city with projects to benefit the public. During the years of his rule, the great road followed by the Panathenaic procession took on its final form. On the south side of the Acropolis, the people's courthouse of the Heliaia was built and, at the northern crossroads, the Altar of the Twelve Gods.

The Persian campaign left much of the city in ruins which began to be cleared away after 460 BC, when Kimon was in power. Many new buildings were put up then, including porticoes with shops, a large Bouleuterion, special places for meetings of military leaders (strategoi) and civic administrators (prytanes), as well as altars and monuments honouring local heroes. On the highest point in the Agora, the temple of Hephaestos, the blacksmith god, was built. This Doric temple preceded the Parthenon, and also housed a statue of Athena, goddess of wisdom. Thus were the two gods brought together showing the association between philosophy and art, teaching that intellectuals and artisans cannot live one without the other.

During the years that followed, the Agora became the true heart of the city. Although decisions were made in the Council of the Deme and in the neighbouring Pnyx, the draws to determine who would take part in the administration of the state were held in the Agora. The laws, their enforcement, the penalties imposed on violators, the minting of currency, buying and selling - all had their own particular spot in the Agora. Processions, races, auctions and feasts were all characteristic of this political, civic, cultural, commercial and sometimes religious centre. The streets of the growing city may well have been narrow and full of hazardous potholes and the wooden houses may have had but one ground floor room with perhaps a wooden addition above. The walls of these houses may have been brick and susceptible to thieves. Cooking fires may have been lit on the road and the lack of proper sewers may have been responsible for epidemics. But when the Athenian citizen entered the Agora, he felt that he was participating in and contributing to the miracle of his times. Philosophers, orators, politicians and citizens caused Demosthenes to say, in the 4th century, that the customary greeting between Athenians meeting in the Agora was: What's new? At the end of the Hellenistic period, the Agora was crowded with buildings, including a recent graceful portico donated by Attalos of Pergamum. The Romans who followed began competing to build other edifices which caused the Agora to spill out beyond its initial bounds. Altars, temples, a library and gymnasium, porticoes and colonnades, all of which were open to the public, made Saint Paul say that the Athenian citizens and metoici did nothing but stroll around the Agora discussing politics. Athenaios from Egypt was also highly impressed, and wrote in his Deipnosophists that in the Athens Agora, one could find with equal ease: fruit, false witnesses, complaints, pap, pedlars, honeycomb with honey, peas, trials, lotteries, roses and irises, laws, hydraulic clocks, pimps, informers, myrtle branches...

The weakening of the Roman Empire brought barbarians. In 267 AD, the Agora was sacked by the Herulians who respected only the temple. A wall was built from the rubble of the buildings, but it could not save the Agora from Alaric's Goths in 396. This total devastation was followed by reconstruction which kept the site functioning until 529. This was the year of the final blow against Athens, when the Byzantine emperor Justinian ordered the closing of the philosophical schools, which the new religion regarded with such hostility. The Agora was abandoned, its monuments fell into disuse and then decay, the site was gradually covered over by earth and mud because there was nobody to keep the drainage ducts cleared. During subsequent centuries, houses were built of the plentiful debris. On top of the buried antiquities, the lovely Byzantine church of the Holy Apostles was built in the year 1000. Meantime, the ancient temple of Hephaistos had already been consecrated to St George.

Throughout the 400 years of Turkish rule (1456-1829), the Athenians lived perched on the north side of the Acropolis, where the heart of the Polis had once beaten most proudly. Many houses were destroyed during the Greek War of Independence, especially during the siege of Athens by Kiutahi Pasha. But with the designation of the city as capital of the new Greek state, new homes were soon built on top of the ruins of older ones. The architects Kleanthis and Schubert, who had been assigned to reconstruct the capital, vainly proposed that the new city be built some distance away from the old one so as to leave the ground free for future excavations. Short-sightedness, pettiness and profit, however, proved stronger than reason. The first traces of the ancient Agora were revealed in 1859, when foundations for houses began being dug. Much later, in 1931, the American School of Classical Studies undertook regular excavations which continued until after 1945, with constant appropriations of property. It is estimated that more than three hundred thousand tonnes of earth and rubble were moved in order to bring the Agora to light. Today the ancient heart of Athens, spread out as far as permitted by the surrounding modern buildings, reveals its beauty, its eloquent ruins and its rich memories of days past, days of eternal glory.

The most impressive monument in the ancient Agora is indisputably the great Doric temple which dominates the site. Built on the top of a plateau, known as the Agoraios Kolonos, this temple is the best- preserved ancient building in Greece, having survived a great number of adventures, threats and changes including the alteration of its original name. For centuries, this temple was known as the Theseion, as it was believed to have been a temple dedicated to Theseus, a conclusion drawn from its sculpted decoration depicting the hero's feats. This restless prince of prehistoric Athens was mythified by the Athenians, as the Attic counterpart of the Doric Hercules. Tales were invented about his birth, his achievements, his wanderings. It is said that he fell in love with the beautiful Helen when she was still a child and he an old man, and that this love pitted him against her brothers the Dioscuri, which forced him to seek refuge on the island of Skyros. There the local king Lykomedes killed him by throwing him off a cliff. After an oracle from Delphi, Kimon went to the island in 469 BC to fetch the bones of the founder of Athens and bury them properly in his ancestral city. A temple was built on Theseus' grave and was called Theseion, which Thucydides mentioned as a place where hoplites would gather. Aristophanes used the mocking name "Theseion-frequenter" to denote people who, having nothing to do, would wander about aimlessly. Plutarch wrote that the Theseion was a refuge for slaves, but its precise location is unknown.

Pausanias refers explicitly to the large temple in the Agora as being dedicated to Hephaistos and indeed he even described the cult statues there: one of Hephaistos and one of Athena with blue eyes. The celebrated Roman orator Cicero greatly admired the bronze statues which had been sculpted by Alcamenes just after 421 BC, praising the artist for his skill in presenting the lame Hephaistos standing upright without showing his physical disability. This testimony is the only trace of these statues that remains today.

The temple was built after 449 BC, based on plans by an unknown architect, similar in size to the temple of Poseidon at Sounion and that of Nemesis at Ramnus, near Marathon. It is indeed remarkable that, despite all the disasters that befell the Agora during the years of the barbarian invasions, the temple was left intact. Later, under Byzantine rule, it became a church consecrated to St George. An apse was built on the eastern side, and a door was opened on the west. In about 1300, the original ceiling collapsed and was replaced with the present-day vaulted brick one, which stands in sharp contrast to the rest of the building. It may even have been due to these changes that the temple escaped destruction, particularly during the years of Ottoman rule. It used to be said that in order to permit services to be held in the church, the Turkish governor would demand the weight of the key to the building in gold. At that time, keys were huge and gold rare, which was why the building only opened once a year. Services were held solely on the feast of St George, a fact which lent the building its picturesque name: St George the Akamatis (Lazybones).

In the early 19th century, during the Revolution against the Ottoman Empire, the temple was called "thirty-two columns"; it was used to chant the Te Deum when King Otto arrived in the capital in 1834, signalling liberation from the Turks. A marvellous painting of the period shows us the young king being welcomed by the awestruck crowd, as he started out unsuspectingly along the road to his destiny. Services were held in the church for the last time in 1934, on the 100th anniversary of the new Athens; two years later its restoration as an archaeological monument began.

The temple of Hephaistos stands firmly on a foundation of three steps, the bottom of which is poros stone, the other two are Pentelic marble; the columns are of the same material, 13 on each of the long flanks and six on the facades. Outside the columns there are traces of pedestals of votive offerings and statues. On the east side, is a carved representation on the floor beside the columns which shows that some lazy people used to spend their time either playing something like modern board games or scratching the marble with the age-old destructive mania of bored people.

Although the external dimensions of the building are typical of the classical age, the interior was an unsuccessful effort to achieve the perfect symmetry of the slightly later Parthenon.

The pronaos which once existed had two columns which were removed when the building was converted into a church, and was more spacious than the corresponding opisthodomos on the west side. Another equally unsymmetrical element could be seen inside the temple, where the inner Doric columns, five columns on the flanks and three on the west, were very close to the outer walls, and appeared to diminish the space. In front of the three columns on the west side a base of grey stone shows where statues of the gods had stood. Nothing has remained of the initial marble flooring, since for some centuries now it has been the custom to bury famous citizens here. On the interior wall of the north side one can still see an Englishman's gravestone bearing an epigram by Lord Byron.

The sculpted decoration of the temple has not been well preserved since for centuries it has been exposed to the weather and changes of season. The pediments have suffered most of all: on the east the sculptures have been lost altogether, while on the west some animal hoofs have remained which might have been part of a representation of the battle with the centaurs, a subject directly related to Theseus. The eastern metopes narrated the labours of Hercules while on the north and south side there are four relief slabs again depicting the feats of Theseus. On the exterior wall of the temple proper, there was a frieze on the facades alone, not on the flanks. On the eastern side Theseus was presented fighting against his kinsmen the Pallantides, who had disputed his hereditary right to the throne of Athens. To portray all these fighting figures, the sculptor used the entire width of the cella facade. By contrast, on the opposite, western side, the classical battle of the Centaurs and Lapiths occupied considerably less space.

Around the temple there were two rows of shallow pits at regular intervals. Even today, on the south side one can see traces of enormous clay jars half-buried in the ground; they were flower pots for the ornamental plants that adorned the site during the Hellenistic and Roman age. In a dry city like Athens, plants have always been welcome; we know that in an earlier age, Kimon himself had taken care to plant myrtle and plane trees in the Agora. There was once an enclosure round the sacred precinct of the temple, but not a trace of it remains. The same is true of the access point from the Agoraios Kolonos plateau to the lower level of the Agora; the grand staircase which used to be there has been completely destroyed.

Just north of the temple, but at a somewhat lower level, traces were found of an enormous colonnaded structure which had been almost entirely hewn out of the natural rock. Archaeologists believe it to have been a 4th-century building that was either related to the Athenian army or, because of the large number of Panathenaic amphoras found there, a storehouse for sacred oil. But the existence of strongly- built walls and a system for collecting rain water in underground cisterns makes it difficult for scholars to identify this strange building and its function. There was another building, too, on the Agoraios Kolonos: the little temple dedicated to Urania Aphrodite, the ruins of which were discovered accidentally in 1890, during the building of the railroad that was to link Athens with Piraeus.

We know that Aphrodite was a very ancient deity. The personification of love and fertility, she began in Babylon where she was worshipped as the all-powerful Ishtar. In addition to temples, the inhabitants of Babylon with its mythical wealth, had dedicated even the main entrance of this heavily walled city to their powerful protector. This is the gate which we can see restored today in the Museum in Berlin. The same divinity was called Astarte in Phoenician regions while the monotheistic Semites feared her as Ashtaroth: a divine but extremely dangerous woman who made it difficult for them to observe the strict rules in their lives. Herodotus reported, in the third book of his history, that in the land of the Phoenicians the all-powerful goddess had another name as well: Alilat. The Sumerians called her Inanna and the Persians Anahita for whom she was protectress of the water, which in their dry country was life itself. The influence of this supreme goddess spread throughout the entire Mediterranean, carried by Phoenician seamen who brought her as far as the city of Eryce on the western tip of Sicily, where she was worshipped on top of a steep rock. In the other great Phoenician colony, Carthage, she was called Tanit.

This goddess with the many names was worshipped according to the needs of the society in which her sanctuaries were located. Not only were her names different, but so were her rites: orgies, sacred prostitution, even the sacrifices of first-born children, as was the case in Carthage in the worship of the bloodthirsty Tanit. It is worth noting that the symbol of this Carthaginian goddess can be seen in Delos, on the threshold of the house of the dolphins, like a magic charm to keep misfortune away from the householders.

From clay slabs found on the coast of Syria, we learn of the correspondence of an Ugarit chief with his counterpart in Alasia, as prehistoric Cyprus was called. These relationships explain the way in which the Eastern divinity was carried to the island of Cyprus, where as early as the 12th century BC, there was a sanctuary dedicated to her near Paphos. But here the insatiable goddess changed form. She became identified with the sea and was named Pelagic.

In his Cosmogonia, Hesiod wrote some strange things about how this universal heavenly power came to be in the Helladic world. He said that Kronos castrated Uranus and threw the immortal parts of his divine father into the sea somewhere near Kythera. On that spot, a great foam was created out of which emerged the beautiful goddess. This accounts for her name in Greek, as Aphrodite means "arisen out of the foam". The waves embraced her and brought her gently to Cyprus where she acquired yet another name: Cypris.

Associated with humankind's most powerful emotion, Aphrodite was worshipped everywhere with zeal, as her cult conquered one region after the other. She enchanted both gods and mortals, accompanied by a retinue consisting of the mischievous Eros, the Graces, Desire and Lust. She was by her nature a fateful goddess, who could not stand to be spurned; she punished the unloved harshly, as she did Hippolytus, son of Theseus. The proud goddess tormented him and led him to his doom because the rash young man dared to prefer to worship the virginity of Artemis. In Sparta, Aphrodite was worshipped as a martial goddess, in keeping with the paramount local values, and in Athens she was exalted as Urania, heavenly protectress of the noblest form of love. There was of course the other sanctuary, in her Pandemos form, but it was as Urania, her refined form, that she was honoured on the Agoraios Kolonos, alongside the temple of her husband Hephaistos who had gone through so much during their married life. Pausanias referred to the sanctuary of the goddess and to its cult statue, a work by Phidias from choice marble, but today only a few stones have been saved on the slope of the hill beside the train tracks. In order to build this central communications line, the ruins of the greater part of this ancient building were sacrificed.

Ancient Greek Agora
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