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Preventing Ankle and Knee Injuries Coach Craig CSCS, ACSM-CPT, CPTS Like a viral infection, the aerial attack has swept over the surfing nation. From inverted slob grabs to the rodeo flips, air innovation has slowly crept it's way into all facets of surfing. Whether you like it or not, airs are here to stay and probably continue to march into further progression. While surfing, surfers target their launch ramp, compress, extend, launch, and land. Air heights can vary depending on the force produced by the wave and the surfer himself. The higher you fly, the harder you will fall. Landing an air is the tricky part due to the fact that you land on a surface that is constantly changing and is unstable. Quite often our center of gravity during a landing is not centered between our feet which leads to awkward recoveries (especially if inverted or rotating in the air). Knee and ankle injuries are stacking up in numbers because of the critical landing phase of an air. Unfortunately a good sprain or strain can keep you out of the water for a good ten weeks. How can we prevent these knee and ankle injuries from occurring? more at : http://surfkinetics.blogspot.com/2012/09/aerial-surfing-and-injury-prevention.html Disclaimer: Always consult a qualified medical professional before beginning any nutritional program or exercise program. Never disregard professional medical advice or delay in seeking it because of something you have read by Craig Canubida. Any content or information provided by Craig Canubida is for informational and educational purposes only and any use thereof is solely at your own risk. Neither Craig Canubida nor its operators or posters bears any responsibility thereof. The information contained herein is not intended to be a substitute for professional medical advice, diagnosis or treatment in any manner. Always seek the advice of your physician or other qualified health provider with any questions you may have regarding any medical condition. All information contained by Craig Canubida including but not limited to text, graphics, images, information, third party information and/or advice, food, recipes, exercises, diets, psychology, websites, links, including but not limited to any content by employees, consultants or writers and contributors, and or any other material contained herein are for informational and educational purposes only. By reading articles by Craig Canubida, the reader and/or viewer does hereby acknowledge that it is your sole responsibility to review this Disclaimer and any other disclaimer or waiver.
The Administration for Children and Families (ACF) is part of a larger initiative to make the U.S. Department of Health and Human Services (HHS) more effective in fulfilling its mission. From becoming more streamlined and efficient to moving to a 21st century workforce, the administration has challenged ACF to evolve and innovate. Reimagining the Temporary Assistance for Needy Families (TANF) program and the human services starts with putting people at the center of everything the agency does. It includes leveraging the power of data and harnessing the free market to increase effectiveness. ACF’s Acting Assistant Secretary Steven Wagner provides an overview of the vision for the agency and its programs as well as its goal of improving the lives of children and families. We accept comments in the spirit of our comment policy: https://www.hhs.gov/web/socialmedia/policies/comment-policy.html.
Chevy Chase returns to the screen as the reckless reporter I.M. Fletcher, investigative reporter, in Fletch Lives. This time, the chameleon-like reporter ventures to Belle Isle, a sprawling 80-acre Louisiana plantation which Fletch inherits from his aunt. Trouble begins when a lovely attorney mysteriously turns up dead, a neighborly lawyer (Hal Holbrook) warns him to leave town and a ravishing real estate agent (Julianne Phillips) comes calling with a persistent offer he may not be able to refuse. Fletch must unravel the reason for the mad land scramble with his trademark bag of hilarious disguises in this fast-moving comedy.
The Great Gildersleeve (1941--1957), initially written by Leonard Lewis Levinson, was one of broadcast history's earliest spin-off programs. Built around Throckmorton Philharmonic Gildersleeve, a character who had been a staple on the classic radio situation comedy Fibber McGee and Molly, first introduced on Oct. 3, 1939, ep. #216. The Great Gildersleeve enjoyed its greatest success in the 1940s. Actor Harold Peary played the character during its transition from the parent show into the spin-off and later in a quartet of feature films released at the height of the show's popularity. On Fibber McGee and Molly, Peary's Gildersleeve was a pompous windbag who became a consistent McGee nemesis. "You're a haa-aa-aa-aard man, McGee!" became a Gildersleeve catchphrase. The character was given several conflicting first names on Fibber McGee and Molly, and on one episode his middle name was revealed as Philharmonic. Gildy admits as much at the end of "Gildersleeve's Diary" on the Fibber McGee and Molly series (Oct. 22, 1940). He soon became so popular that Kraft Foods—looking primarily to promote its Parkay margarine spread — sponsored a new series with Peary's Gildersleeve as the central, slightly softened and slightly befuddled focus of a lively new family. Premiering on August 31, 1941, The Great Gildersleeve moved the title character from the McGees' Wistful Vista to Summerfield, where Gildersleeve now oversaw his late brother-in-law's estate and took on the rearing of his orphaned niece and nephew, Marjorie (originally played by Lurene Tuttle and followed by Louise Erickson and Mary Lee Robb) and Leroy Forester (Walter Tetley). The household also included a cook named Birdie. Curiously, while Gildersleeve had occasionally spoken of his (never-present) wife in some Fibber episodes, in his own series the character was a confirmed bachelor. In a striking forerunner to such later television hits as Bachelor Father and Family Affair, both of which are centered on well-to-do uncles taking in their deceased siblings' children, Gildersleeve was a bachelor raising two children while, at first, administering a girdle manufacturing company ("If you want a better corset, of course, it's a Gildersleeve") and then for the bulk of the show's run, serving as Summerfield's water commissioner, between time with the ladies and nights with the boys. The Great Gildersleeve may have been the first broadcast show to be centered on a single parent balancing child-rearing, work, and a social life, done with taste and genuine wit, often at the expense of Gildersleeve's now slightly understated pomposity. Many of the original episodes were co-written by John Whedon, father of Tom Whedon (who wrote The Golden Girls), and grandfather of Deadwood scripter Zack Whedon and Joss Whedon (creator of Buffy the Vampire Slayer, Firefly and Dr. Horrible's Sing-Along Blog). The key to the show was Peary, whose booming voice and facility with moans, groans, laughs, shudders and inflection was as close to body language and facial suggestion as a voice could get. Peary was so effective, and Gildersleeve became so familiar a character, that he was referenced and satirized periodically in other comedies and in a few cartoons. http://en.wikipedia.org/wiki/Great_Gildersleeve