Waching daily Mar 30 2017

[TITLE & MUSIC]

Hi there smart drivers, Rick with Smart

Drive Test talking to you today about

skills and techniques that you could put

in place to prevent yourself being

rear-ended. I was looking at Facebook last

week and there was a campaign against

distracted driving. And the campaign

showed this awful traffic crash of a

lorry driver--a tractor-trailer driver--on

the motorway in the UK careening down

the motorway and plowed into a line of

queued up traffic that was obviously

waiting to exit the motorway. It had been

determined he was distracted driving because there was a camera in

the cab of the truck - that the driver had

been changing the music on his phone. As

well the crash was caught on dashcam.

Somebody had a rear-facing dash cam and

the lorry was careening down the

motorway. It didn't even see the line of

queued traffic and didn't even apply the

brakes and simply plowed into the back.

And four children were killed in the

crash, which as a parent myself and those

of you who are parents we realized that it

just makes us absolutely sick because we

would do anything to protect our

children. A few years ago, there was a

video that we showed to new drivers in

training courses called "Sitting Duck" and

it was about the dangers of sitting

along highways and sitting along

freeways. And one of the things that we

teach new drivers for the purposes of a

road test, and one of the skills that you

should keep with you for the remainder

of your driving career and will help you

to not be rear ended when you're sitting

in a queue or sitting in traffic. So

that's what we're going to talk to you

today about - skills and techniques that

you can put in place to guard against

being rear-ended. Stick around, we'll be

right back with that information.

[INTRODUCTION & MUSIC]

Hi there smart drivers, Rick with smart

drive test talking today about skills

and strategies that you can put in place

to prevent yourself being rear-ended one

of the things that we teach new drivers

for the purposes of taking a road test

is that when they stopped in traffic

behind other vehicles they have to be

able to see the tires of the vehicle in

front of them making clear contact with

the pavement as you can see here in the

image the reason that we teach them that

is that that leaves about one vehicle

length between you and the vehicle in

front of you and there are many reasons

why we do that one of the most important

reasons we do that is so that if the

vehicle in front of you breaks down or

the traffic becomes congestion or you

have to move you don't have to back up

in traffic to get around that vehicle

you can simply drive around that vehicle

that's one of the most prominent reasons

why we teach new drivers that now I

would encourage you if you've got your

license and you are driving to put this

scale back into place stay back from the

vehicle when you stop and traffic don't

drive right up to it because it also is

a measure against you being rear-ended

because if you're at the end of the

queue at the end of the line of the

traffic you can keep your eye in the

rearview mirror and be looking for the

traffic approaching from behind because

that the vehicles approaching from

behind you're not slowing down or

stopping that space in front of you is

often enough space that if you start

moving forward and tapping your brakes

to flash your brake lights or activate

four-way flashers that's going to get

the attention of the vehicle behind you

and often times that space that one

vehicle space if you move up that's

enough for that vehicle that driver

behind you to get his or her vehicle

stop before they plow into the back end

of you now if you're on the freeway and

you see somebody coming up behind you in

the mirrors and they're not slowing down

you can simply drive out and around the

vehicle and get out of the way and

you're probably not going to be

rear-ended so it's a very good technique

to continue

to keep in place after you get your

license now if you're stopped on a

freeway and I have been stopped on

freeways and highways and motorways and

interstates if there's a queue of

traffic and it is congested and you come

up stay back a fair distance i would

even three or four maybe five car

lengths stay back and activate your

four-way flashers the flashing light of

your four-way flashers draws in our

attention because our vision is

attracted to light and movement and

flashing lights on vehicle to get our

attention especially stop vehicles on

freeways where vehicles are traveling at

high speeds you need to get the

attention of the vehicles behind you and

indicate to them that you are coming to

a stop on a high-speed freeway highway

or interstate so that is one of the ways

that you can prevent yourself being

rear-ended and when you're sitting in

traffic if you're on a highway or some

other place like this awful incident in

the UK be on high alert if you're

anywhere on a freeway sitting on the

side of the road you're in a queue

you're behind stop traffic and

congestion and there isn't any vehicles

there aren't any vehicles behind you be

on high alert because you are in a

precarious situation there and

unfortunately sometimes this happens and

there's awful stories and many stories

that I've heard of crashes over the

years one of the most prominent ones

with some years ago on the 401 which is

the freeway that runs east-west through

ontario the province of ontario here in

canada there was a police officer that

had a tractor-trailer unit pulled over

on the side of the freeway and the

officer was standing up on the steps of

the truck talking to the driver of the

truck and another truck came down the

freeway somehow ended up off on the

shoulder of the road plowed into the

back of the cruiser and the back of the

truck and killed both the police officer

and the truck the driver in the truck so

any time that you're on an interstate a

free weight a motorway and you're

stopped be very afraid beyond very high

alert because you are in a dangerous

position so that's some techniques and

skills that you can put

place to prevent yourself being

rear-ended quick review of skills and

techniques that you can put in place to

prevent yourself being rear-ended we

teach new drivers to stay back one

vehicle length we stopped in traffic so

that you can see the tires of the

vehicle in front of you making clear

contact with the pavement that way

you've got enough room if you're in the

back of the queue whether you're on a

freeway or you're in town or wherever

you should always be looking in that

rearview mirror the centromere up at the

front and your two wing mirrors to make

sure that the traffic coming up behind

you is stopped now in the incident of

the lorry driver plowing into the back

of the queue if you're at the back of

the queue and you see some juggernaut

coming up behind you that's not going to

stop get on the horn get on the horn

drive around the traffic drive into the

ditch do whatever you need to do to get

your vehicle out of the path of that

vehicle because if they hit you straight

on they're going to plow you straight

forward if you get the vehicle onto a

bit of an angle or whatnot you're going

to decrease the amount of impact and you

may survive the crash whereas if you are

plowed straight into you're probably not

going to survive the crash so try and

get your vehicle off somehow anywhere

that you can reduce the head-on impact

of vehicles coming up behind you and if

you are in the queue and you see the

vehicle coming up behind you and you

know that vehicle isn't going to stop

the vehicles in front of you need to be

worn too so that everybody can move

forward and lastly just as an aside if

everybody stayed back one vehicle

lengths at the intersection with the

traffic all the traffic could move off

together where is when they are right

close together you have to sort of stop

and start to sort of move off and the

traffic doesn't move off from the latest

fastball so that's another benefit of

staying back one vehicle anchor question

for my smart drivers have you been

rear-ended what was your experience of

being rear-ended in a traffic crash then

comment down in the comment section

they're all of that helps out the new

drivers with their license learning how

to drive and be defensive and protect

themselves when driving your vehicle I'm

Rick with smart drive test thanks very

much for watching if you like what you

see here share subscribe leave a comment

down in the comment section as well hit

that thumbs up button check out all the

videos here on the channel if you're

working towards the license or starting

your career as a truck or bus driver

lots of great information here there's

had our website you can find great

information over there and online

courses that you can purchase as well

we're working on air brakes simplified

it's a manual to get your CDL air brakes

and fulfill that requirement for earning

your CDL license it's a great book it's

broken down into good information that

you need to know to drive a truck

successfully and the specific

information that you need to pass the

CDL license and 100 multiple-choice

questions thanks again for watching good

luck in your road test and remember pick

the best answer not necessarily the

right answer have a great day bye now

For more infomation >> How to Prevent being Rear-Ended in a Traffic :: Defensive Driving | New Driver Smart - Duration: 9:23.

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Beginning Landscape Quilting (Part 3 of 3) - SEWING WITH NANCY - Duration: 26:47.

Landscape quilting breaks many rules.

It's okay to cut inaccurately.

In fact, it's recommended.

Glue sticks are used instead of pins, and the pattern

isn't a pattern at all, just a photo.

Natalie Sewell, my good friend, taught me landscape quilting

many years ago, and I haven't stopped since.

And she's back to give simple techniques

for beginning landscape quilters.

Welcome back, Natalie.

Thank you, Nancy.

I'm glad to be here.

I've made hundreds of quilts over the years.

Right.

And in the process, I've learned to fine-tune

the whole technique.

In this series,

we're focusing on specific elements within scenes.

In the quilt "Prairie," which Nancy made,

you'll see distant and close-up coneflowers.

Designing a scene like this might seem daunting, yet

you'll soon learn how you,too, can become a landscape quilter.

Beginning Landscape Quilting,  that's what's next on

Sewing with Nancy.

Sewing with Nancy

TV's longest-airing sewing and quilting program with Nancy Zieman

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Next, Natalie and I will detail the scale of

flowers and how to add floral designs to your scene.

The prairie with coneflowers and lots of weeds and grasses

was inspired by this photo

that you now see.

Just a quick snapshot gave me the idea

to make a quilt this way.

Now, Natalie, in the first two programs of this series,

we went through ground cover and trees,

so we're not going to go through the ground cover.

If you'd like to watch the first two episodes, go online at

NancyZieman.com and watch them, but let's show our viewers some

of the fabrics that we used.

These are some of the fabrics that Nancy used

for ground cover.

And, as you can see,

they are small scale because that's what

she needed for the scene.

And notice as she gets higher in the scene, she uses

a little tiny bit of this

in order to create distance.

So that you can see the further away, the smaller;

closer to, at the bottom of the quilt,

then we used larger leaf prints.

Right.

We reviewed that in the first two series,

but the flowers, we don't always use floral prints

because you can't always find them.

So often we have to adapt and adjust flowers such as these

in order to make these.

Yeah, tulips started out, but then, coneflowers they became.

And it may seem a little odd,

but if you like to cut, you are in for a surprise

because I'm just going to show you the progression.

I cut out some of these open tulips.

This is the design that I cut out.

And here's the open tulip.

I cut off the top because a coneflower has the seed section.

I cut it into petals.

This is some creative cutting.

And then, if you'd like to add some highlight,

you can add some extra purple.

Now, I must say, in the original design I used a pink color,

but I didn't have as much of that left to make the samples.

And, Natalie, I'm showing everyone that you can add

some creative touches here and some highlights.

Right.

And it looks kind of like it.

Now, we can put some of these up here

to show how we go about it.

Natalie, are you going to glue that for us?

I'm going to glue these already cut flowers.

And if you missed our first program, we're using paper glue.

It's okay. Glue sticks.

Just like you would buy for your children or grandchildren

before they go to school.

The nice thing about glue is that you can

pull things off without damaging them if you change your mind.

And I'm going to cut narrower, or down,

cut down some of the flower leaves or petals to make

some of those distant flowers,

and that's what's really important.

You can use the same coloration, the same print,

and then put a dot up here.

And it may not look like a coneflower to you,

but it will read that way.

So I'm going to make little

small little sections.

And just to give you an idea

of how that was created.

The stems were cut from a batik fabric.

And you can see the diagonal.

Natalie taught me this great trick.

Cut narrow strips of the fabric,

and I'm going to just add a little glue.

We'll show you later on how to tack this down permanently.

But, Natalie, it's really not difficult

to add some curve to it.

What's nice when you cut on the bias

is that you can get a nice curve.

And you can kind of see

crudely how we're starting this, but this is how you work at it.

If we take one more look at our scene, you'll see a variety

of sizes of these flowers, and it's all just by cutting down.

Right.

Cutting down, coloring a little

and you have any kind of flower you'd like.

This next scene is sunflowers.

I was able to find three different sizes of sunflowers.

Using the same concept, sunflowers along the fence

--that's one of my earlier scenes.

But now we have a beautiful window scene, Natalie.

A beautiful window scene that was actually

my very first flower scene.

And I didn't really know what I was doing

so I had 50 different kinds of flowers

pasted on here, and it was too much.

So I realized that I would have to take them off and

add more leaves.

It's really important that you have one flower

for every 20 leaves.

Mm-hmm.

Now, some of the fabrics I've used,

not necessarily in here but in lots of flower quilts,

come from fabrics that are quite dull, like these.

With Magic Markers

you can create any kind of color you want.

By overcoloring and overpainting.

Just simply by using a marker.

And you can get a wonderful effect.

Look at this very dull fabric here.

Very boring, but the shapes of the tulips

are really, really nice.

And by coloring it, we have created

lots of different, wonderful shapes.

Add a little black in the center,

and you have some very nice little poppies.

For example, this is--

And then you just cut them out realistically.

Mm-hmm. This is a good example.

Yeah, let's put it right here so they can see this.

Yeah, you just fussy-cut

around the edges,

or you could cut it down making it smaller.

Right, it could be quite small.

It's hard to give you all the ideas

but what we want to express is that

you can change the shape, if I can say that right,

shape and size of the flower

just by cutting, coloring, and adding it to your scene.

So you have lots of flexibility.

A trip to Rocky Mountain National Park

was the inspiration for this landscape design.

Designing a mountain quilt is a lesson in how to recreate

great distance with fabric.

I used hand-dyed fabrics, permanent markers,

and oil pastels to create the majestic mountains.

Natalie, we have a couple of things going on in this scene.

Right.

We talked about ground cover in previous programs.

Mm-hmm.

The ground cover is a very small scale.

And now these wonderful mountains that are,

I think, just wonderful, Nancy.

Well, thank you.

And the fabric

that we're going to show you

is hand dyed so it has light and dark.

And I chose this because of the inspiration.

Here's what I used for the inspiration

actually came from a guide sheet or guidebook

when I went into the Rocky Mountain National Park.

Then, this kind of second portion of this design

has some aspen trees in it.

And to get the

aspen trees, native and indigenous to this area,

I used another snapshot from that trip.

So I combined two snapshots.

Now, I have to be honest,

I used this from the guidebook

or the paper that you get when you get into the park, and

you're not going to copy things exactly from another artist.

But mountains are mountains and this was a snapshot.

And it's a wonderful snapshot and it helped you guide...

It did.

...your oil pastels and your markers

when you did the shading.

The shading makes all the difference in the world.

Exactly.

And that's what we're going to spend time on

during this segment

is using markers and oil pastels

and when we are working on our landscape designs,

we usually pin or tape our inspiration...

Inspiration.

Right close by, and we're going to start

with permanent markers to do some of the shading

of the valleys.

These dark stripes in the scene.

And a good thing with mountains and trees,

you don't have to really have something--

you can't really make a mistake.

Maybe get a little bit more of a darkness here.

Now, in the first two shows,

of course, we did the foreground and we did trees,

so we're not going to go over that now.

Yeah, you can see.

See how it's making

a difference already?

Getting it some depth.

I'm looking at

some of these mountains here.

Good job, Natalie.

I think I'm going into your territory.

You just do that.

Give me a little shape of the mountain in the front.

Yeah.

Make sure you have your scene glued down

because that will help it as you are working on it.

And now you can use gray or white oil pastels

to make some of the snow.

And the oil pastels are found at an art store.

You taught me about these.

And art supply store or they're available from various,

lots of different companies online.

And they're wonderful tools, which we didn't discover

until we had done landscape quilting

for about six or seven years.

So gray and white, and it's just snow, you know?

Snow on the mountaintop.

Since the fabric has some white here already,

even though my inspiration doesn't,

I'm going to add some snow up here.

And here, too, in the distant mountain.

Sure.

The distant mountain Natalie's working on

is a lighter batik.

The distance is lighter than what's closer to you.

So, Natalie, as you're working on this,

I'm going to tell our viewers

about two other inspirations that we had for quilts.

Oh, good.

And the first one is "Mt. Rainier on a Clear Day."

And this is one of my first mountain scenes that I created,

and instead of using oil pastels,

I used a lighter color batik fabric for the mountains.

So you can use either/or.

Right.

"Peaceful" doesn't have

a lot going on in it, but it's a lot of greens and blues.

But, again, it's from Rocky Mountain National Park.

So I must have enjoyed that trip immensely.

You really did.

You can see from the process,

we've gone through various design elements,

trees, flowers, distant leaves, so many other things

and then rocks are in this design.

We had, Natalie and her fabric stash,

had this great rock fabric

which from distant to close up rocks

from one fabric.

It's all in finding the right fabric.

We put it together.

Now, Natalie, we're going to show our viewers

how to take the design,

baste it down, and then do the stippling,

quilting to put it all together.

After designing your landscape quilt top,

you're going to baste down the layers,

then layer the quilt, and do stippling.

And Natalie and I are going to show this to you,

just giving you a brief preview of what's to come.

The stippling is the overall stitching.

It's done with clear thread.

Natalie, in the sky, has some kind of overall stitch.

But in the mountains, I have not sewn some areas.

And that gives a valley look.

This area has not been sewn down,

and it helps with the dimension.

On the trees, you taught me this great tip

and that is not to stitch in the interior of the trees.

Right, that sort of gives a little depth to the scene.

On the reverse side, you can almost see where I've been,

or what the design is perhaps, just by the stippling edge

or the stippling design.

It's random. It's kind of a fun part.

But before we got onto this,

I'm just going to tell you

how to set up your sewing machine.

Importantly, you need clear monofilament thread

in the needle

and thread that matches

your backing fabric in the bobbin.

Put on a foot for free motion stitching.

It rises, as you'll see this with Natalie,

rises above the fabric.

It doesn't go close to the fabric.

It gives a little space so that you can move it around.

You'll have a straight stitch.

The most important thing

is to lower the feed dogs.

Cover them or lower them.

The little biting mechanism is not here.

And I have used a needle, a sharp needle.

About a size 80.

You don't need it much larger than that for the stitching.

First, Natalie, we're going to anchor down,

baste down all those cut edge pieces.

Right.

These are just glued, and by sewing it down,

I hold it in place

so that later, I can actually do the stippling.

So I'm going to just go to the outlines of...

Just do the outlines of the tree trunk,

the outlines of the branches.

Coming back down, just making sure everything's in place.

And you're holding the fabric rather taut.

Yes. Because we don't have a feed dog here.

Right, so I have to

hold it in place,

but following the lines, it's quite simple.

Following the lines of the tree trunk.

Of course, I don't need to sew down anything that I've drawn,

so I'm really just sewing down these major trees.

And just doing tacking the whole thing.

Exactly.

The whole thing.

Just tack it down.

You're going to press your fabric very flat.

Right.

And square it up.

Right.

If you want to add borders,

then that would be the time to add borders.

We can have that in the reference material

that accompanies today's program,

but today we're doing it without borders.

Right.

Then comes the layering.

Quilts always have three layers.

They do.

This is where you go back to some traditional methods

of quilt-making.

You want to make sure that you've found a fabric for a

backing that is the same intensity as the one in front.

For example, you wouldn't want to use

a black background fabric...

Sure.

...because it would show through.

So we've chosen a background fabric of backing fabric

that's very similar to the front

so that nothing will show through.

And I like to use masking tape to hold my background fabric.

Sure. Flat.

Flat, my backing fabric flat and then layer.

Always leave two to three inches on each side

so that you've got room to sew, and then we pin.

About a fist-width apart.

Yes.

And I use, we just use

regular dry cleaner pins.

We're going to share samples here, Natalie.

Okay!

Okay, I'll take this one,

and you take the other.

There we go.

Natalie's going to do the free motion stitching

following the design of the fabric,

following the design of the quilt.

"Old Friends" was the name of this quilt that we worked with

in the first program of the series.

And...

Here it is.

I'm going to start, it's layered, and I'm going to start

the actual machine stippling.

It's going to take several kinds of stitches.

I'm going to do the grass up and down.

I'm going to go along the sides of the trees

and not into the tree trunk.

I'll make little lines in the leaves.

But the background is going to be stippled,

and that's what I'm going to show you right now.

Okay, and the needle down and then sew.

I'm using little, tiny swirls.

That's my signature stippling.

Each person develops a style of their own.

And mine are like little puzzle pieces.

You get a rhythm.

You move the fabric slowly.

Notice I'm gripping it with my left hand.

I'm a lefty, so you might want to reverse how you do this.

And then you're going to outline the tree trunks.

Yep.

I'm making my way over there right now.

This is really fun and can be very relaxing

once you get your rhythm going.

Up the branch.

And now I'll show you a leaf.

Down the middle, along the sides, onto the next leaf.

It's rhythmic.

And that's how we finish the stippling of the quilt.

During this series, we've given you

many design element ideas,

and we've finished it up with how to layer

and then how to do this stitching.

Start with a small project, right Natalie?

Exactly, and a simple one.

Don't try-- maybe mountains aren't you first quilt.

[Laughter] True.

That's why we ended with the mountains.

But a tree, as we did with the October Evening.

Thank you, again, for being my guest.

It's my favorite topic to teach.

Oh, and so much fun teaching it with you.

And I hope you'll enjoy landscape quilting.

♪ ♪

We all want to leave a legacy.

Today's Nancy's Corner guest chose an independent project,

which he dedicated to the preservation and the memories

of Mexican indigenous textiles.

Please welcome

Bob Freund

who joins us via Skype today from Santa Rosa, California.

Welcome, Bob.

Hi, Nancy.

Thanks so much for having me on.

It's a real honor.

It's our pleasure.

You're a historian, and you've chosen your life's work

to gather textiles from Mexico.

Explain to our viewers why you did this.

Well, in 2000, I began documenting my large collection

of textiles village by village, and as I went to these villages,

I realized that the grandmothers were the ones that were wearing

the costume and the granddaughters were in Nike

T-shirts and jeans and sneakers.

Sure.

They didn't want anything to do with it.

And so it was going to go by the wayside.

So I decided that it was time to do an intensive study of this.

I've done 750 villages, at least.

And we have several to share with our viewers.

First, from the ethnic group of the Mazateca.

Brilliant colors, great running stitches, great hand stitches

and explain this beautiful gown.

Okay, that is called a huipil.

It's a traditional garment that's, basically,

hand-embroidered, originally hand-woven material.

It's got cross-stitching and running stitch, depending on

the taste of the embroiderer, and then they apply,

across the chest and the bottom of the huipil,

a series of ribbons which identify the regional--

or the town that they come from.

Additionally, you don't see it there,

but there's also a wrap skirt that goes underneath it.

A red and white striped wrap skirt that's also hand-woven.

Weaving, hand stitching, applique

we're going to see it all.

And this next image shows

a beautiful coverlet,

as well as shawl using the same stitching.

Right.

That's from the town of Hueyapan, Puebla.

It's a Nahua Indian group,

and they have a very traditional society there.

They've become quite good

at doing coverlets like that.

And that's a cross-stitch.

That one there is particularly cross-stitch.

That's one of the larger types.

They basically work on shawls for the most part,

or what they call rebozos,

which are done with a chain-stitch

or a cross-stitch on wool,

which is either hand spun or bought

and woven on back strap looms or treadle looms.

This is a project that takes, I would say,

years to create something this large.

I've been working on it for 15 years.

But even the women, to create the garments.

My, amazing.

Amazing.

In Santa Teresa, there's a festival.

These women are attending the festival in their native gowns.

They're the wives of the mayordomos

or the leaders of the festival.

Part of the responsibility is that they feed everybody

in the village.

Those buckets are full of food that they're giving.

The garment itself is applique.

The designer, the person that wants to have the piece made,

basically picks out the material and then they cut it out

and they give it to a seamstress who applies it.

And it also has designs placed on there

in a linear fashion by a treadle machines

because there's no electricity in those regions.

Sure.

You've collected a great number,

and you've donated the collection.

Explain how others can appreciate and sometime

hopefully see your collection.

Right now it's in the process of going to

the Middle American Research Institute at Tulane University,

which they will-- anybody that walks in there can go see it.

They have an enormous collection of textiles from Middle

or what's called Mesoamerica.

It's Mexico, Guatemala, Costa Rica.

Mexico and Guatemala primarily.

Anybody that wants to see can go there and just say,

"I want to see the collections."

They can just them which one,

and they'll pull it out and show it to you.

They're desperate for people to come and study this stuff.

That's what it's there for.

It's to preserve it forever.

Well, Bob,

I thank you for doing this

so we can all enjoy it in the future.

Thanks for being on Sewing with Nancy.

Thanks for having me.

You're welcome.

I know that you can't always watch Sewing with Nancy

at this time, and that's why my show is available on demand at

[www.NancyZieman.com].

You can also sign up to receive sewing and quilting updates on

my blog and other social media platforms.

Thanks for joining us. Bye for now.

Nancy and Natalie Sewell have written a

"Beginning Landscape Quilting" book.

It features a photo showcase of all the techniques

taught in this three-part series.

The book is $14.99 plus shipping and handling.

To order this book, call 1-800-336-8373

or visit our website at: sewingwithnancy.com/2907

Order Item Number BK2907

"Beginning Landscape Quilting"

Credit card orders only.

To pay by check or money order

call the number on the screen for details.

Visit Nancy's website at [www.nancyzieman.com]

to see additional episodes, Nancy's blog, and more.

Sewing with Nancy

TV's longest-airing sewing and quilting program with Nancy Zieman

has been brought to you by

Baby Lock;

Madeira Threads;

Koala Studios;

Clover;

Amazing Designs and Klassé Needles.

Closed captioning funding provided by Pellon.

Sewing with Nancy  is a co-production

of Nancy Zieman Productions and Wisconsin Public Television.

For more infomation >> Beginning Landscape Quilting (Part 3 of 3) - SEWING WITH NANCY - Duration: 26:47.

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Emma Skye Jewelry Designs "Hit Refresh" Necklace - Duration: 2:53.

For more infomation >> Emma Skye Jewelry Designs "Hit Refresh" Necklace - Duration: 2:53.

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Mr. Feeny Who Do You Count On? - Boy Meets World S3E17 - Duration: 1:37.

For more infomation >> Mr. Feeny Who Do You Count On? - Boy Meets World S3E17 - Duration: 1:37.

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Your Bottled Water is Filled With Fluoride! Learn Which Brands to Avoid - Health - Duration: 4:55.

Your Bottled Water is Filled With Fluoride! Learn Which Brands to Avoid

You may have heard about some of the buzz surrounding fluoride. Its negative effects,

according to research, appear to have become severe. The downsides of fluoride use have

been brought to light and are now being discussed worldwide. Fluoride is found in many public

water products, and may pose some serious health threats. If you�re a bottled water

connoisseur, you�ll want to read on.

Experts have been arguing for years about whether or not fluoride in drinking water

is toxic to humans. Recent studies have finally shown evidence that it is. Extremely high

levels of fluoride have been shown to cause neurotoxicity in adults, resulting in negative

impacts on memory and learning. Researchers from the Harvard School of Public Health and

China Medical University in Shenyang combined 27 studies, finding strong indications that

fluoride also adversely affects cognitive development in children.

A study published in the Journal of Epidemiological & Community Health found that those who consume

fluoridated water are more likely to suffer from thyroid issues, which often result in

depression and obesity.

According to the study, �In many areas of the world, hypothyroidism is a major health

concern and in addition to other factors � such as iodine deficiency�fluoride exposure should

be considered as a contributing factor. The findings of the study raise particular concerns

about the validity of community fluoridation as a safe public health measure.�

In the United States, about 70% of public water supplies are fluoridated. Intake cannot

be controlled, it�s available to everyone regardless of age or health, and it accumulates

in the body. While fluoride is often associated with preventing tooth decay, research has

found no significant relationship between tooth decay and fluoride intake among children.

Many children are instead being overexposed to fluoride, leading to dental fluorosis,

a discoloring of tooth enamel caused by too much fluoride.

The health risks of drinking fluoridated water are numerous. It can have negative impacts

on oral health, interfere with brain functions, cause damage to the pineal gland, affect thyroid

function, damage bone and decrease overall health. Knowing which bottled water brands

to avoid is vital to keeping yourself and your family safe from the damaging affects

of consuming too much fluoride.

High-risk bottled water brands full of fluoride that you�ll want to avoid include:

Arrowhead Belmont Springs

Crystal Rock Crystal Springs

Deer Park Diamond Springs

Ice Mountain Mount Olympus

Ozarka Poland Spring

Sierra Springs Zephyrhills

Some fluoride-safe water bottle companies are listed below. Here�s a complete list.

Arbor Springs Aquafina Water

Aqua Pure Black Berry Farms

Blue Ice Natural Mineral Water Cascade

Century Springs Clear Mountain Spring Water

Crystal Spring Natural Spring Water Dannon

Deja Blue Eureka

Evian Flowing Springs

Fresh Market Glacier Bay

Hidden Valley Natural Mineral Water Mountain Valley Spring Water

Oasis Pure Drinking Water Polaris Water

Smart Water Whole Foods 365

Health Affects of Drinking Bottled Water

While knowing which bottled water brands to avoid is important, bottled water has its

own impact on health and the environment. Around 67 million water bottles are throw

away every single day, causing a staggering amount of waste. Drinking from plastic water

bottles can also pose some serious health risks, including learning and behavioral problems,

altered immune system function, early puberty in girls and fertility problems, decreased

sperm count, prostate cancer, breast cancer, diabetes and obesity. Thanks to BPA, an estrogen-mimicking

chemical found in plastic, your health may be at risk if you�re drinking bottled water

on a regular basis.

For more infomation >> Your Bottled Water is Filled With Fluoride! Learn Which Brands to Avoid - Health - Duration: 4:55.

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The Hidden Chakras Understanding Our New Emerging Meridians - Duration: 9:00.

The Hidden Chakras: Understanding Our New Emerging Meridians

New chakras are emerging on the Earth plane, though many of these have been chakra points

in the spiritual body all along and as humanity progresses, we have raised the vibration of

the planet and ourselves.

This has brought about the physical world presence of these new chakras which have,

and will continue to manifest themselves on the physical plane, creating changes in all

of us.

Who is Affected?

As you raise your vibration and consciousness, so too does Gaia (Mother Earth) and because

of this, vast changes are occurring; chakras are merging, moving, and forming, an upgrade

that will roll out in 3 stages.

Firstly, the forerunners, those of you who begin their spiritual awakening prior to 2012

will experience these shifts, before the Second Wave Awakeners who began their journey between

2012 and 2016.

Finally, the rest of the world will experience the upgrade.

New Chakras

So what changes are going to take place?

Here we take a quick rundown looking at these new chakras, and show which shifting chakras

they have absorbed (along with the duties) and how this will impact your physical life.

You can refer to this Chakra map throughout the article, thanks to Karen Downing and Suzanne

Jonas for drawing this up!

image Crown Chakra � (Purple and white)

Starting our journey at the top of the head, the Crown chakra is where the connection to

the spirit occurs and spiritual energy enters the body.

This sits, as a crown would, on the top of your head.

As this chakra grows, it will become almost like a column of light extending up to meet

the Ultimate Being Chakra (where your connection with the ultimate being or God occurs) drawing

it down as they merge into one.

This process will see you have an increased ability to tap into esoteric knowledge, and

you will see truth and untruth a lot more plainly.

As this process happens, you will begin to feel much taller in your physical body.

In order to properly complete this merging, a release of hidden truths is necessary.

Third Eye Chakra � (Indigo)

This chakra, located at the centre of the forehead, is associated with physical and

spiritual sight as well as dreaming.

It is through this chakra that you can see the energy of the spiritual realms.

This chakra works in synchronization with the Nasal Chakra for telepathic communication.

By now, everyone on Earth will have upgraded this chakra, and will notice a greater focus

in it, thanks to the Nasal Chakra taking over some of its duties.

Nasal Chakra � (Navy blue)

Responsible for being receptive to others� communication as well as one�s own senses

of smell, taste, and hearing, this chakra is located at the tip of the nose.

It works with the Third Eye Chakra for telepathic communication by being the receiving point

of telepathic signals sent out by others.

You may feel like you have a keener sense of smell, and can smell scents you are unable

to identify right away; these are in fact mostly associated with Higher Energies.

Another signal that this chakra has opened in you, is a change in your taste in food.

Spiritual Communication Chakra � (Silvery-blue)

This chakra started out about 18 inches above the head of your physical body, but over time

has lowered and merged with throat chakras to sit in your throat.

It is where the Higher Self communicates with spiritual realms.

This new position means it is taking over for the throat and lower throat chakras in

the body, helping to bring your own truth into action, allowing you to speak and live

it.

As well as this, it aids the physical communication with other people.

As this shift occurs you might notice you can�t hold yourself back from speaking your

mind!

Late 2017 � Late 2018 will be when most people experience a settling of this chakra

in its new place.

If you�re experiencing vertigo lately, this is because this chakra is still on its journey

down and is currently overlapping with the Crown Chakra.

Universal Love Chakra � (Magenta)

Located centrally and close to the heart, this is where interconnectivity with all living

beings is fostered.

It is essential to possessing peace and tolerance, not just for everybody else, but for yourself.

It is taking over the traditional Heart Chakra which has merged with the Root Chakra.

By now, everybody will have already experienced the shift and absorption of chakras.

You may have experienced an expansiveness in the chest in the past couple of months,

possibly accompanied by coughing or a low fever.

Belly Button Chakra � (Tangerine orange)

Connected to group energy and collective needs, this chakra provides nourishment for the body

and soul, governing physical digestion and nutrition, as well as playing a vital role

in creativity.

You should be able to guess where this is located!

This chakra will take on the old roles of the Sacral chakra which governed human fertility

and creativity and success in the arts.

During this shift in energies, lasting through 2018, you may experience digestive discomfort

and pressure just under the bellybutton.

Additionally, the duties of the Solar Plexus Chakra, where we define ourselves, and which

is linked to self-worth, self-confidence, and self-esteem will be absorbed.

The majority of fears from other lifetimes are stored in the physical body in this chakra,

and during the shift, a lot of deep fears will be purged from the body.

As such you might experience anxiety or fears you cannot explain.

This process will be over for everyone by the end of 2018.

Hands Chakra � (Gold)

We use our hands to give and receive, and the chakras in the centres of our palms are

essential to this.

They govern everything regarding wealth, knowledge, and kindness.

When the Hands Chakra closes, you tend to become withdrawn or dwell in victimhood.

You may notice itching hands, which indicates that these chakras have taken on the responsibility

of pulling ideas from the upper chakras into physical form, manifesting in creativity,

from the Sacral Chakra.

Root Chakra � (Ruby red)

This holds the spiritual body in the physical body; when you feel clumsy it�s due to this

chakra being out of balance, meaning you feel less grounded in your physical body.

This chakra is also central to sexual energy, located where the legs and torso meet, between

your rear and genitalia.

In the new energy, this chakra will merge with the Heart Chakra and you will begin to

see how sexuality and love energy merge together in a new way.

It will be through this chakra that you connect with the new vibration of Earth.

By the end of 2019 this merge will have completed for everyone.

The Heart Chakra, responsible for giving and receiving love to and from others, has moved

and merged with Root, as the Universal Love Chakra has taken over most of its responsibilities.

Foot Chakra � (Brownish red)

Associated with the strength to walk forward on one�s life path, this chakra is located

in the center of the sole of each foot.

It is the responsibility of this chakra to anchor the soul on the Earth plane.

This is active in all groups and is essential as it tethers us, through the Earth�s new

vibrations, to the old reality, should we need to safely reconnect.

Looking to the Future

Over the coming years, a lot of shifts in energy will be occurring in all of us, on

the physical and spiritual planes.

This shift is happening in Earth itself too, so be aware of all the opportunities that

might unfold, and find strength in yourself as your old energies merge into new ones.

It is an exciting time to be alive!

For more infomation >> The Hidden Chakras Understanding Our New Emerging Meridians - Duration: 9:00.

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Prismo - Weakness [NCS Release] - Duration: 3:17.

Yeah, I came into the lesser fire

My body aches to be satisfied

My weakness come and goes

My weakness come and goes

I'm reaching out for the easy high

Please fortify this strength of mine

My weakness comes and goes

My weakness comes and goes

Weakness comes and goes

Weakness comes and goes

Weakness comes and goes

Weakness comes and goes

Yeah, I came into the lesser fire

My body aches to be satisfied

My weakness comes and goes

My weakness comes and goes

I'm reaching out for the easy high

Please fortify this strength of mine

My weakness comes and goes

My weakness comes and goes

Weakness comes and goes

Weakness comes and goes

Weakness comes and goes

Weakness comes and goes

My weakness echoes in my soul

With all the echoes in my soul

My weakness comes and goes

It goes (x2)

My weakness echoes in my soul

My weakness echoes in my soul

My weakness comes and goes

It goes (x2)

For more infomation >> Prismo - Weakness [NCS Release] - Duration: 3:17.

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How to Be Brave (When You Want To Hold Back) - Duration: 11:32.

Special magic fingers to kick things off…talking about how to be brave when you want to hold

back!

I actually just did this!

And then it didn't record, so I'm doing it again.

So thanks for hanging in with me, guys.

Have been having this conversation quite a bit with folks about *being brave* and what

that means and how to do that!

Because so many of us hold back what we really want to say or this amazing idea that we have

or this thing that we so would love to give but we think that people won't like it or

that we're just being crazy or unrealistic (is a really popular one).

And so I had actually written about this back in September (and there's a blog post that

I will put in the comments as a link) but I wanted to speak about this a little bit

more because it's something that comes up again and again and againnnnn in so many conversations.

When I'm working with clients and we're talking about the goals that they most want

to go after, the progress they want to make, it almost always requires courage.

It requires practicing being brave.

What I really want you guys to get is that being brave is a *practice.* It is an *experience.*

It's a *choice.* It's something that you choose to do.

It is not an innate quality that one has—that they are "brave" people and then there's

you.

There's YOU *being brave" if that's something that you choose.

So recently I chose to practice my courage muscles and practice being brave by learning

a new type of exercise.

I'm someone who has an athletic background, I was a competitive swimmer, I played water

polo and I had heard about this exercise called the Barre Method and had been told that it

was amazing, but really hard at the same time, and can really transform ones muscular structure

and become very strong in the core and lean and all these good things.

So I decided I would go check it out!

I was reminded of how much courage it takes just to try something new.

Just to go about doing something that could seemingly be not that big a deal, like you're

"just" going to a new class, you're "just" trying a new exercise.

But I talk to enough of you to know that's actually something that requires courage.

And it requires you getting over your Clever Brain.

Your Clever Brain is that internal resistance.

It's what I call your internal security system that absolutely wants you to stay where

you are, to stay in what is known, to stay consistent with the narrative that you have

about who you are and what you can do and what you can't do.

So when I walk into the Barre studio for the first time, which, mind you, was like two

weeks ago!

I've only gone to seven classes.

This is not a long period of time ago.

But I walked in and you know, immediately felt, in my body, like, "Ooohhhkay.

I don't know what I'm doooinnng!

And there's all these people who DO know what they're doing and I feel weird and

awkward."

Totally normal!

That's one of the first steps of being brave.

You notice when you reach the perimeter of your comfort zone.

And when you are in a situation where the choice to move forward, the choice to do something

different is uncomfortable and your inclination—especially as far as your Clever Brain is concerned—is

to flee.

It is to GO.

It is to leave this uncomfortable space.

So the first thing you've gotta do is just notice that.

Notice that you have come up to an opportunity to be brave.

This can happen just in the course of your daily life.

I promise you.

It does not have to be some big thing.

But it's when you notice that you're uncomfortable and you would rather retreat.

So when you notice yourself in that space, then the next thing to do is to kind of brace

for the all the stuff that your Clever Brain is going to do to try to get you to leave.

When I'm in class, and trying to kind of keep up with things, it takes a practice for

me to notice what's going on in my head and what's going on in my body.

So you notice that your Clever Brain is telling you all kinds of things about how this is

a terrible idea, you're not going to be able to do this, everybody else is better

than you, everybody else can figure it out, but you can't—you should really just go

home.

You should give up.

Those kinds of thoughts?

I know you guys know what I'm talking about!

When you notice that sort of thing going on, then it's time to come back into your body

and just acknowledge, "OK!

I'm outside of my comfort zone.

Clever Brain's kicking it up into high gear.

It's fine."

That just means that you're growing.

That means that you're on track.

That is a GOOD SIGN.

Your Clever Brain wants you to believe that is the beginning of the end of the world.

Do not listen to that.

Just remember what I'm saying and go, "Oh, this is the part where Amy said this is actually

a good sign."

Because you need to stay with it so you can keep going in the experience and keep the

practice, which is next—once you have acknowledged that you are at the edge, you are moving into

discomfort, then you get to come back into your body.

So when I'm in these positions where it's really challenging and my muscles are burrnnning

and I am swearing and muttering under my breath, then I get to breathe and pay attention to

my body—to get out of my head (because my head is where my Clever Brain is).

And my Clever Brain is gonna wanna go into the future or into the past.

It does not like the present.

Present is where you have access to your wisdom, where you have access to change, where you

can take action.

Clever Brain = not interested.

So it's going to have you go into the future, about how this is always going to be terrible,

you're not going to be able to hack it—or it can go into the past about where you weren't

able to do it before, you screwed it up so many times.

Your job—the practice of being brave—is to come back into your body, in those moments.

To feel your feet on the ground, to feel the burning in your quads (if you happen to be

in Barre class), to feel the blood running through your body.

These are all things where it's a very tangible practice.

So, coming back into your body!

Then the fourth thing is really just to be with yourself in that experience and be kind

to yourself, be supportive of yourself.

So, for me, it's tapping into a very quiet space in my body, where—there's so much

going on, so much noise in my head, resistance, maybe tension in my body—and I just come

back into my body where I can feel what's going on and I can be kind and loving to myself

as this is happening.

It's sort of like, if you've ever been in the ocean and had the waves crashing over

you and you just keep your head down and stay down in a ball.

And you just wait for it to pass?

It's a similar thing to that.

Because again, being brave *is* going into what's uncomfortable.

It *is* going into what's unfamiliar and you've got this whole internal effort, this

whole resistance that's trying to talk you out of it.

So when you choose, and you decide to *stay,* that's you—growing.

And it feels shitty.

I will not lie to you because I want you to be able to recognize it and recognize it as

a *good* sign.

To be able to determine whether or not something is worth you being you being brave, is worth

the practice, you very rarely will be able to determine that at the outset.

Before.

Because again, Clever Brain!

That's what it's doing, trying to talk you out of it, paint it into an awful, painful

experience.

But when you have chosen, when you've chosen to move forward, you've practiced being

with yourself, you've practiced staying grounded, you've practiced staying in the

present and being kind to yourself—relentlessly kind to yourself throughout the whole process—then

you come out on the other side.

And how that feels.

And *that* is where you're gonna get what it is that you want.

That's where you're going to get the sense of feeling proud and accomplished and strong.

Those are the things that pretty much all of us want.

I've had conversations with hundreds of you at this point, who echo the same types

of things.

You want to feel proud of yourself.

You want to feel impressed by yourself.

You want to feel accomplished.

The way to that, is practicing being brave.

In those moments where you want to hold back, where you want to step back, where you want

to RUN in the other direction, you get to practice being brave.

And as you do, the more you do it, the stronger you get, the more you build those courage

muscles—just like I go when I'm building my muscles—Oh, can I show you??

Yeahhhh!

Uhh!

Look at the line!

See?—When you're building your muscles in your body, it's the same idea with courage.

It's just a matter of showing up.

It's a matter of learning how to be with yourself in the discomfort, in the burn, in

that space, where you just get to center yourself.

And when you do that, the courage will come.

The muscles will come.

And you will get where it is that you want to go.

I realize that this is not easy!

I realize that it's uncomfortable and that IS what it is, ok?

This is life.

This is how it goes.

It's not supposed to be something else.

It just IS what it is.

So you get to choose that.

You get to practice it.

And if this is something that feels overwhelming and like "eeeecechhhh!"

I get it.

That's why I'm a Progress Coach.

That's why I'm here to support you.

And I would love for you to reach out.

If this is something that you really want to master, that you know, that being able

to be brave, and really mastering this practice for yourself would be the difference between

you staying where you are right now and going where it is that you really want to go, and

accomplishing what it is that you really want to accomplish, then let's have a conversation

with me about it.

Go ahead and message me here on Facebook.

You can also put a comment below, I'd be happy to respond to you.

But you guys, this is it!

This is the difference, you know?

I will have people asking me, "How do I get here?

How do I really do this?

How do I beat procrastination?

How I ______ (you can fill it in with almost anything)?"

And more often than not, my answer is: You practice being brave.

You take your brave next right step.

One after the other.

K, Dears?!

So thank you for being with me.

Happy to share this with you and looking forward to sharing more.

Please comment below.

Let me know what you're thinking, what resonated with you so that we can have a little bit

more of a chat about it and I will see y'all soon.

Bye, Dears!

For more infomation >> How to Be Brave (When You Want To Hold Back) - Duration: 11:32.

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Plane White Noise: 1 hour Airplane Cabin | Great for Sleeping, Studying, Reading & Homework - Duration: 1:00:00.

GREAT NATURE SOUNDS

PLANE WHITE NOISE