Memory Box Christmas Tags - Society of Stampaholics

I like to make my own Christmas tags, and we save them from year to year, so it's reaching the point where we have some real variety when we pick and choose which tag we want for the gift we're wrapping. But you can never have too many tags, in my opinion!

When I first saw Memory Box's Eyelet Stocking die (98416), my brain immediately screamed, "Gift Tag! Gift Tag!"

It was really easy to make these tags while watching holiday classics like Miracle on 34th Street and Home Alone. If you've got this die and are planning on watching some films, go ahead and turn it into a family craft project - we had a blast!

I didn't even stamp on these (with the exception of the first tag); The focus her is on patterned paper, accents, and ribbon. I apologize for the poorly lit photos ?- just haven't been able to get any decent light lately.

All supplies are from Memory Box unless otherwise noted: Water, Grey cardstock; Martha Stewart ribbon; Memento ink; snowflake stamp ?

All supplies are from Memory Box unless otherwise noted: Wassail cardstock; Tinsel patterned paper; Martha Stewart ribbon; Recollections stars

All supplies are from Memory Box unless otherwise noted: Ivory cardstock; Yuletide patterned paper; American Craft ribbon; Mark Richards gems; Ranger Liquid Pearls; Cosmo Cricket Tiny Type stickers

All supplies are from Memory Box unless otherwise noted: Wassail cardstock; Tinsel patterned paper; American Craft velevet rickrack ribbon; Paper Studio snowflake brad; Hero Arts gem

All supplies are from Memory Box unless otherwise noted: white cardstock; Yuletide patterned paper; K&I ribbon;?Recollections flower, Paper Studio silver rosette sticker ?

All supplies are from Memory Box unless otherwise noted: peapod cardstock; Yuletide patterened paper; Ranger Tinsel Twine; Making Memories brads; gems?

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All supplies are from Memory Box unless otherwise noted: white cardstock; Yuletide patterned paper; Martha Stewart, Offray ribbon; Paper Studio rosette sticker; red pearls

B A S I C ? I N S T R U C T I O N S

1. Cut stocking from patterned paper (1) and matching cardstock (2). (Blue and gray tag requires 2 water cardstock stockings and 1 grey cardstock stocking.)?
2. Horizontally score one of the cardstock stockings about .5" from the top of the stocking and bend it back on the fold. Write your TO and FROM info on the front, then?adhere the cardstocking stocking beneath the patterned paper stocking. (Keep your adhesive above the score line.)?
3. Use a 1 3/8" circle punch to cut the toe and heel from the second cardstock stocking.
4. (For blue and grey stocking, stamp snowflakes on stocking.)
5. Adhere toe and heel "patches" to the patterned paper stocking.
6. Cut eyelet stocking topper from cardstock.
7. (Where applicable, wrap ribbon around stocking topper and adhere to stocking.)?
8. Adhere accents, brads, etc to stocking and topper.
9. (For dark snowflake stocking, dot liquid pearls in center of each snowflake.)

T I P

Once you cut the heel and tip from the stocking, line it up on your work surface with the stockign from which it was cut. This helps you to know which way to glue the bits on to the patterned paper.

Thanks for stopping and have a blessed day!

Source: http://dominodebi.typepad.com/sos/2012/12/memory-box-christmas-tags.html

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Will A $99 Android Tablet Be Enough To Make ... - Business Insider

Summary

Acer is a personal computing company that manufactures mobile and desktop PCs, TVs, and navigation devices. The Acer Group owns Gateway, eMachines, and Packard Bell. Acer provides e-business services for business, government... More ?

Source: http://www.businessinsider.com/will-a-99-android-tablet-be-enough-to-make-you-ditch-your-ipad-2012-12

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DIY Lettuce Knife Reduces Produce Browning

Lettuce knives have grown in popularity over the last decade as their plastic blades do not oxidize lettuce leaves as quickly as a metal-bladed knives. If you have access to plexiglass scrap you can easily make your own unique lettuce knife that, despite the name, also is well-adapted to cutting tomatoes, cakes, and soft breads.

Instructables user MDWoodart picked up a scrap piece of plexiglass from a local hardware store for pennies-on-the-dollar. He cut out the basic knife shape as well as extra blocks for the handles. He used superglue to join the blocks to each side of the handle and clamped them in place until the glue was set and then used a belt sander to sharpen the blade. When the edge was acceptable he then polished the edge by using progressively finer sandpaper and finally polished it with a buffing wheel. He then wanted a thick handle so he added more handle scales to fit.

In the end you'll have a knife that is handy if you like salads, saved a few bucks if you found the scrap plexiglass for cheap, and can proudly say you've made your own knife.

Plexi-glass Lettuce Knife | Instructables

Source: http://feeds.gawker.com/~r/lifehacker/full/~3/QMkWRajw_qM/diy-lettuce-knife-reduces-produce-browning

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Paleo-ocean chemistry: New data challenge old views about evolution of early life

Dec. 23, 2012 ? A research team led by biogeochemists at the University of California, Riverside has tested a popular hypothesis in paleo-ocean chemistry, and proved it false.

The fossil record indicates that eukaryotes -- single-celled and multicellular organisms with more complex cellular structures compared to prokaryotes, such as bacteria -- show limited morphological and functional diversity before 800-600 million years ago. Many researchers attribute the delayed diversification and proliferation of eukaryotes, which culminated in the appearance of complex animals about 600 million years ago, to very low levels of the trace metal zinc in seawater.

As it is for humans, zinc is essential for a wide range of basic cellular processes. Zinc-binding proteins, primarily located in the cell nucleus, are involved in the regulation of gene transcription.

Eukaryotes have increasingly incorporated zinc-binding structures during the last third of their evolutionary history and still employ both early- and late-evolving zinc-binding protein structures. Zinc is, therefore, of particular importance to eukaryotic organisms. And so it is not a stretch to blame the 1-2-billion-year delay in the diversification of eukaryotes on low bioavailability of this trace metal.

But after analyzing marine black shale samples from North America, Africa, Australia, Asia and Europe, ranging in age from 2.7 billion years to 580 million years old, the researchers found that the shales reflect high seawater zinc availability and that zinc concentrations during the Proterozoic (2.5 billion to 542 million years ago) were similar to modern concentrations. Zinc, the researchers posit, was never biolimiting.

Study results appear online Dec. 23 in Nature Geoscience.

"We argue that the concentration of zinc in ancient marine black shales is directly related to the concentrations of zinc in seawater and show that zinc is abundant in these rocks throughout Earth's history," said Clint Scott, the first author of the research paper and a former UC Riverside graduate student. "We found no evidence for zinc biolimitation in seawater."

Scott, now a research geologist with the U.S. Geological Survey, explained that the connection between zinc limitation and the evolution of eukaryotes was based largely on the hypothesis that Proterozoic oceans were broadly sulfidic. Under broadly sulfidic conditions, zinc should have been scarce because it would have rapidly precipitated in the oceans, he explained.

"However, a 2011 research paper in Nature also published by our group at UCR demonstrated that Proterozoic oceans were more likely broadly ferruginous -- that is, low in oxygen and iron-rich -- and that sulfidic conditions were more restricted than previously thought," said Scott, who performed the research in the lab of Timothy Lyons, a professor of biogeochemistry and the principal investigator of the research project.

The research team argues that ferruginous deep oceans, combined with large hydrothermal fluxes of zinc via volcanic activity on the seafloor, maintained high levels of dissolved zinc throughout the oceans and provided a relatively stable marine reservoir of the trace metal over the past 2.7 billion years.

"The key challenge in understanding the early evolution of life is recognizing the environmental conditions under which that life first appeared and diversified," Lyons said. "We have taken a very direct approach that specifically tracks the availability of essential micronutrients, and, to our surprise, zinc supplies in ancient seawater were much higher and less variable than previously imagined.

"We can imagine for the first time," he quipped, "that zinc supplements were not on the shopping lists of our early eukaryotic ancestors, and so we better find another reason to explain the mysterious delay in their rise in the ocean."

Scott, who graduated with a doctoral degree in geological sciences from UCR in 2009, and Lyons were joined in the study by Noah J. Planavsky, a former UCR graduate student in Lyons' lab; Chris L. Dupont at the J. Craig Venter Institute, La Jolla, Calif.; Brian Kendall and Ariel D. Anbar at Arizona State University; Benjamin C. Gill at Virginia Polytechnic Institute and State University and also a former member of the Lyons lab; Leslie J. Robbins and Kurt O. Konhauser at the University of Alberta, Canada; Kathryn F. Husband and Simon W. Poulton at the University of Leeds, United Kingdom; Gail L. Arnold at the Max Planck Institute for Marine Microbiology, Germany; Boswell A. Wing at McGill University, Canada; and Andrey Bekker at the University of Manitoba, Canada.

The idea for the study was a direct consequence of the 2011 Nature paper by Planavsky, Scott, Lyons and others that challenged the hypothesis of broadly sulfidic oceans.

The international collaboration received funding for the study from numerous sources. In the U.S., funding came from the National Science Foundation, the NASA Astrobiology Institute and the Agouron Institute.

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Story Source:

The above story is reprinted from materials provided by University of California - Riverside. The original article was written by Iqbal Pittalwala.

Note: Materials may be edited for content and length. For further information, please contact the source cited above.

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Journal Reference:

1. Clint Scott, Noah J. Planavsky, Chris L. Dupont, Brian Kendall, Benjamin C. Gill, Leslie J. Robbins, Kathryn F. Husband, Gail L. Arnold, Boswell A. Wing, Simon W. Poulton, Andrey Bekker, Ariel D. Anbar, Kurt O. Konhauser, Timothy W. Lyons. Bioavailability of zinc in marine systems through time. Nature Geoscience, 2012; DOI: 10.1038/ngeo1679

Note: If no author is given, the source is cited instead.

Disclaimer: Views expressed in this article do not necessarily reflect those of ScienceDaily or its staff.

Source: http://feeds.sciencedaily.com/~r/sciencedaily/~3/DC5qaP7AZPY/121223152736.htm

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Dijit updates remote, NextGuide apps with integrated profiles, Hulu-powered videoclips

The folks over at Dijit have been busy as the year draws to an end, issuing updates for both their universal remote app and NextGuide tablet app that promises to help us escape traditional grids. The newest version of the Dijit remote (a free app that brings control features when paired with Griffin's Beacon) is now integrated with NextGuide, allowing users to share profiles across the software, the welcome addition of a "record to DVR" button for DirecTV subscribers, a refreshed UI, accessibility enhancements and finally support for iThing screens of various shapes, sizes and resolutions. The NextGuide app itself also has a new feature, with "Clips" which pulls in additional short videos from Hulu that tie into whatever actor, show or anything else you may be watching, plus an easier setup process and autofill search box. The apps themselves are free, snag them at the source links below.

Filed under: Tablets, Software, HD

Comments

Source: Dijit Remote (iTunes), NextGuide (iTunes)

Source: http://feeds.engadget.com/~r/weblogsinc/engadget/~3/2HcDyTSMKWQ/

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Apatow: 'I've lost all masculinity at this point'

By Randee Dawn, TODAY contributor

Making a Judd Apatow-directed movie is often a family affair, and rarely more so than on "This is 40," where Apatow not only directs his wife Leslie Mann but also his two young daughters, Maude and Iris Apatow. (He's also featured the girls in "Funny People" and "Knocked Up.")

"I have to be nice to them, because there's other people around," he joked during a Friday morning visit to TODAY. "If there wasn't a crew, I'd probably really yell at them and be vicious."

Still, without knowing it, the girls have their revenge.

"They did take advantage of me," he admitted. "I live with basically three ages of the same woman. ... It's not like three different women, it's like all the stages at once coming at me. I've lost all masculinity at this point."

"This Is 40," starring most of the Apatow clan, opens in theaters on Dec. 21.

Related content:

Source: http://todayentertainment.today.com/_news/2012/12/21/16067691-judd-apatow-directs-wife-daughters-in-this-is-40-ive-lost-all-masculinity-at-this-point?lite

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The Music Club, 2012

Claire Boucher aka Grimes performs on Dec. 10 in Sydney

Photo by Mark Metcalfe/Getty Images.

Jason, your contrast between Skrillex?s skronk and Donna Summer?s deep grooves is really thought-provoking. (Also makes me want to hear more of your thoughts on Grimes; I hear the steely specter of ?I Feel Love? all over one of my favorite records of the year, Visions.) And Jody, thanks for pointing me in the direction of Micachu & The Shapes? Never?this record completely passed me by, but not making room for it on my year-end list already feels like one of my big regrets of 2012. It sounds like nothing else I heard this year; the erratic textures (and song lengths) make it sound like the soundtrack to some long-lost 8-bit video game starring the members of Guided by Voices: ?Pollard ? from the 3-point line ? he?s on fire!? (Which reminds me: From Grimes? anime-influenced aesthetic to the electro-sunbursts of Scottish producer Rustie, I?m noticing the sonic influence of video games all over music these days, but I?ll stop there and leave it to someone who actually owns a PlayStation to elaborate.) Anyway, having Never blaring from my headphones this afternoon made my holiday exodus out of Penn Station feel that much more like a lightning round of Human Tetris. Can?t wait to spend more time with it and give the lyrics a closer listen, too.

I did happen to catch one of the prolific Mica Levi?s 2012 releases though?it was the freewheeling, kaleidoscopic, genre-agnostic mixtape she recorded (along with London producer and singer Kwes) as one-half of a side-project duo they called Kwesachu and released for free online earlier this year. Which leads me to something I wanted to bring up with you all: the State of the Mixtape in 2012. Pre-Internet, mixtapes used to generally be the province of hip-hop artists and often referred to what?s called blend tapes, where someone?s freestyling over a familiar beat. In recent years though, I?ve been noticing more and more underground pop and indie-rock artists embracing the mixtape?a format that?s always represented a kind of freedom, offering creative independence and anti-corporate spirit. A landmark for the post-Internet mixtape was definitely M.I.A.?s groundbreaking 2004 Piracy Funds Terrorism, which she and producer Diplo released for free online as a sly, dubiously legal way to get Maya?s music out there while her long-delayed major-label debut, Arular, was caught in a web of record company red tape. Since then, plenty of other artists across genres have used the free, digital mixtape as a way to either subvert or make a joke out of the major-label system?s slow learning curve in the digital age.

This brings me to one component of the Frank Ocean story that we haven?t yet discussed. Before he was Ocean, he was Chris Breaux, a solo artist signed to Def Jam and stuck for ages in development purgatory. In the meantime, he recorded the weird, imaginative R&B mixtape Nostalgia, Ultra and posted it for free online. Somebody from Def Jam downloaded it, loved it, and tried to sign him, not realizing ?Frank Ocean? was just an alias for a guy already on their payroll. As the kids say, epic fail.

The mixtape renaissance, I think, is happening in part because so many barriers between genres are breaking down right now. The cheeky genre tag Kwesachu?s Mixtape Vol. 2 bears in my iTunes library is ?freepop,? which I take to have a double meaning: It didn?t cost me a penny, of course, but it also is the kind of record (if you could even call it that) that revels in the explosive freedom of its own unclassifiability. And it certainly wasn?t alone in 2012. As I was putting my albums and singles lists together this year, I had more categorization problems than usual. Like, is Solange?s seven-song True an EP or an LP? What about lightning-quick New York rapper Angel Haze?s 15-song Reservation makes it an EP instead of a mixtape? Could I pick apart a snippet of Charli XCX?s terrific Heartbreaks and Earthquakes mixtape and count it as one of my favorite singles of the year? If the music?s this good, do the divisions in my year-end list filing cabinet even matter?

Whatever you want to call it, London electro-upstart Charli XCX?s one-track, 21-minute mix Heartbreaks and Earthquakes was some of the most blissful, sensual pop music I heard all year. ?Come into my bedroom,? she chants on the opening number, a sumptuously goth cover of Blood Orange?s ?Champagne Coast.? It works not just a come-on, but also a description of the tape?s aesthetic. An intimate, flowing m?lange of covers, samples, guest spots, and snippets of dialogue from famous flicks, Heartbreaks feels like the sonic equivalent of a bedroom wall collaged with posters and doodles. Or, you know, the modern equivalent: a Tumblr. To me, 21-year-old Charli?s one of the most promising and intriguing young artists playing around with the aesthetics of the Internet in her music. (She?s also well-versed in how easy this sort of aesthetic is to get wrong; her Super Ultra mixtape, also released this year, is the garish, screaming MySpace profile page to Heartbreaks? artfully moody Tumblr.)

Much like the fiercely talented Azealia Banks?who, Jason, you rightly called ?the most provocative artist of 2012??Charli XCX is recording a debut record to be released sometime next year. These are probably my two most anticipated records of 2013 (Banks? is expected to be called Broke With Expensive Taste), mostly out of curiosity: I want to see if these artists will be able to hold on to some of the weird, scrappy imperfections that made me fall in love with their mixtapes. (Banks, in addition to this year?s 1991 EP, also put out the nautical catwalk mixtape Fantasea.) But even if their major-label offerings are tepid, I?m also curious to see if these pop artists will continue to embrace the mixtape release cycle throughout their careers and find a way to experience that balance of street cred and commercial viability that a lot of mainstream rappers have enjoyed over the last decade or so. Time will tell.

Speaking of which, what time is telling me right now is SLEEP, but I?m looking forward to Round 3. I want to make sure I put in a plug for a few of my favorite unsung folk records this year, Angel Olsen?s macabre spiritual Half Way Home and Anais Mitchell?s stirring Young Man in America, the latter of which felt vastly, woefully underrated to me. Anybody else check it out?

Source: http://feeds.slate.com/click.phdo?i=2263c7c0b8d214e82698e6cf026518ff

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