Moustache Waxing Women
why don’t women with mustaches have that waxed of or shaved?
i see women quite often with hair on the upper lip. disgusting. sometimes i think about sneaking up on them with a brick and knocking them out…then shaving it myself
i just don’t see why they can’t shave it. i shave everyday and it’s not difficult!
If they get rid of that hair, it will only grow back thicker and darker. Best to leave it alone.
Wanted Facial Hair
International Beard Competition 2009
Pinewood derby
Origins
Petty Superbird
Cubmaster Don Murphy organized the first pinewood derby, held on May 15, 1953 in Manhattan Beach, California by Pack 280c. Murphy’s son was too young to participate in the popular Soap Box Derby races, so he came up with the idea of racing miniature wood cars. The cars had the same gravity-powered concept as the full-size Soap Box Derby cars, but were much smaller and easier to build. After Don Murphy’s first race in 1953 the Los Angeles County Department of Recreation copied the pinewood derby with Murphy’s permission.
In the 1980s, the design of the block was changed from a cutout block, consistent with a 1940’s style front-engined Indy 500 car, to a solid block. The tires were also changed from narrow, hard plastic, to wider “slicks”.
Construction
A Cub Scout holds a winning pine car
The Scout is given a block of wood made of pine with two notches for wheels, four plastic wheels and four nails. The finished car must use all nine pieces, must not exceed a certain weight (usually five ounces), must not exceed a certain length and must fit on the track used by that particular scout pack.
Blocks can be whittled with a hand knife or a band saw or Dremel carving tool for major shaping. Decals can be bought at scout shops or hobby shops. It is also possible to use standard model decals to replicate actual racing cars such as Richard Petty’s 1970 Plymouth Superbird, shown at right. The original style is based on open wheel cars, however, fender or body kits are available, or wheels can simply be placed outboard of the body.
Other than the previous basic design rules, the Cub Scout is able to carve and decorate the car as he chooses. Many Cub Scouts also add weights to the final design to bring the car to the maximum allowable weight; coins, glue-in lead pieces, and melted lead are common ways to add weight. Cars typically vary from unfinished blocks to whimsical objects, to accurate replicas of actual cars. The fastest cars tend to resemble low doorstops, with weight at the rear. Graphite is usually the only lubricant allowed, and it often helps to polish the provided nails.
The idea behind the pinewood derby is for the parent, usually the father, but occasionally the mother or grandparent, to spend time helping the child design, carve, paint, add weights, and tune the final car. However, it is often the case that the parent takes over the construction of the car, an aspect of the event that was lampooned in the 2005 film Down and Derby, and also in a 2009 episode of South Park. The quest for a fast car supports a cottage industry that supplies modified wheels, axles, and blocks as well as videos and instruction books. While a pinewood derby car kit costs around $4, a set of modified wheels and axles can sell for more than ten times that amount. These aftermarket items are legal under some Pack rules since the parts originally came from an official BSA kit. Complete cars can be purchased on eBay and elsewhere for around $100 to $200. Although these cars violate the spirit of the event, if not the rules, enforcement can be difficult.
Pinewood Derby Donahue 1972 AMC Matador
Model manufacturer Revell was licensed by the BSA to produce pinewood derby kits with a release in December 2009.
Competition
The track usually has two to six lanes and slopes down to the ground, since the cars are powered by gravity. Tracks may be owned by the pack or rented. The race is run in heats, giving every car the chance to run on each lane. The racers can be grouped with others from the same rank (Tiger Cubs, Wolf Cubs, Bear Cubs, etc.), or can compete against the pack as a whole.
The first, second, and third place winners usually receive ribbons, medals or trophies. Some packs also award on the basis of car design. The first place race winners get to advance to the district level, then each of the district-wide race winners get to race each other from across the entire council.
Other races
Pinewood derby cars ready to race
As the popularity of the pinewood derby grew, other organizations adopted the concept. Pinewood derby is a registered registered trademark of the BSA, so most use different names. Each derby has slightly different rules for making and racing their cars.
Awana has the Awana Grand Prix.
Christian Service Brigade uses the name Shape N Race Derby.
Royal Ambassadors have RA Racers.
Royal Rangers use a different kit with screw axles and dowel rod axle supports.
Scouts Canada has the kub kar rally for Cub Scouts and beaver buggies for Beaver Scouts.
YMCA chule cars use the same kit as the Royal Rangers.
Valve cover racing is an event at some car shows using vehicles made from valve covers.
Car modifications
Stock wheels (left) and modified (one gram) wheels (right)
Car track
The forces propelling a pinewood derby car are gravity and inertia, the opposing forces are friction and air drag. Therefore, car modifications are aimed at maximizing the potential energy in the car design and minimizing the air drag and the friction that occurs when the wheel spins on the axle, contacts the axle head or car body, or contacts the track guide rail. Friction due to air drag is a minor, although not insignificant, factor. The wheel tread can be sanded or lathed and the inner surface of the hub can be coned to minimize the contact area between the hub and body. Polishing the wheel, especially the inner hub, with a plastic polish can also reduce friction. Often one front wheel is raised slightly so that it does not contact the track and add to the rolling resistance. Axles are filed or lathed to remove the burr and crimp marks and polished smooth. More extensive modifications involve tapering the axle head and cutting a notch to minimize the wheel-to-axle contact area. Note that packs can establish additional rules for what, if any, modifications are allowed. In some areas, no changes can be made to the axles or wheels.
A second consideration is the rotational energy stored in the wheels. The pinewood derby car converts gravitational potential energy into translational kinetic energy (speed) plus rotational energy. Heavier wheels have a greater moment of inertia and their spinning takes away energy that would otherwise contribute to the speed of the car. A standard wheel has a mass of 3.6 g, but this can be reduced to as little as 1 g by removing material from the inside of the wheel. A raised wheel can reduce the rotational energy up to one-quarter, but this advantage is less with a bumpy track.
A proper lubricant, typically graphite powder, is essential. Wheel alignment is important both to minimize wheel contact with the axle head and body as well as to limit the contact between the wheels and guide rail as the car travels down the track. The center of mass of a typical car is low and slightly ahead of the rear axle, which helps the car track straight as well as providing a slight advantage due to the additional gravitational potential energy.
See also
Woodcar Independent Racing League
Down and Derby – a 2005 film centering on a pinewood derby competition
References
^ “Best Mother-Son Finish”. Reader’s Digest. 2006. http://www.rd.com/cub-scouts-pinewood-derby-race/article.html. Retrieved 2008-02-29.
^ “The Pinewood Derby”. National Scouting Museum. http://www.bsamuseum.org/exhibits/derby/index.html. Retrieved 2008-02-29.
^ “The History of Pinewood Derby Car Racing”. Pinewood Pro. http://www.pinewoodpro.com/pinewood-derby-history.htm. Retrieved 2008-02-29.
^ Bogert, John (July 9, 2008). “Scouts Honor Memorial Set for Creator of the Pinewood Derby”. Daily Breeze (Los Angeles Newspaper group). http://www.dailybreeze.com/ci_9834624. Retrieved 2008-07-11.
^ Pinewood Derby Car Construction
^ “The Dark Side: eBay Cars”. Pinewood Derby Times. http://www.maximum-velocity.com/pinewood_derby_times_v5_i3.htm#feature. Retrieved March 18, 2007.
^ “Revell Pinewood Derby”. http://www.revell.com/pinewood-derby/index.html. Retrieved 2009-12-16.
^ “Search of Trademark Application and Registration Retrieval system”. U.S. Patent and Trademark Office. http://tarr.uspto.gov/servlet/tarr?regser=serial&entry=76447146. Retrieved 2007-03-02.
^ “Pinewood Derby Race Rules”. ShapeNRace. http://shapenrace.net/racerules.html. Retrieved 2008-11-23.
^ Cowley, E. Roger (November 1989). “Pinewood Derby Physics”. The Physics Teacher (American Association of Physics Teachers) 27 (8): 610612. doi:10.1119/1.2342889.
^ “Five Keys to Pine Derby Performance”. Maximum Velocity. http://www.maximum-velocity.com/fivekeys.htm. Retrieved 2008-09-26.
External links
Wikibooks has a book on the topic of
How To Build a Pinewood Derby Car
Wikimedia Commons has media related to: Pinewood derby
Pinewood Derby at the Open Directory Project
v d e
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About the Author
I am a professional writer from China Quality Lighting, which contains a great deal of information about electric shaver ratings , rc car simulator, Welcome to visit!
“Flash” by Daniel Dorff; Kate Prestia Schaub, piccolo
Black Beard Designs
Decoding Chinese Forms, the Hidden Meanings Behind the Flash
Chinese styles are often criticized as being impractical, showy and lacking in practical application. The criticism is usually heard from the eclectic styles that focus on street fighting and self defense and it is true that a Tai Chi or White Crane form will do you little good in a cage fight. But then again combat is not only what forms were designed to teach. Forms are the heart and soul of a style containing not only fighting techniques, but also the strategic and philosophical principles of that style.
Chinese forms are some of the most complicated and confusing because they contain hidden meanings that, like a puzzle, can only be solved by persistent study. Although each form has its own specific applications and interpretations the following keys may help you to decode the secrets of the classical Chinese forms
Hiding Techniques
One way in which Chinese forms differ from the better known Japanese and Korean forms in that the latter use the principle of keeping only what was useful in combat and have tended to discard those movements that where not. Watching Japanese and Korean forms being performed one can recognize the techniques being used. In contrast, when watching Chinese forms many movements appear strange and theatrical and the combat applications are not always clear. One reason is the notoriously secretive attitude surrounding the Chinese styles. The old masters were said to have hidden their best techniques by changing them to make them incomprehensible to anyone that did not possess the key to understanding the style.
A Chinese folk tale may provide a clue as to why the old masters were so secretive and it goes like this. Once there was a young man who gained a reputation by visiting different martial arts schools and defeating the instructors in sparring contests. When he arrived in a town or village he would first discreetly enquire into the local master’s whereabouts and then secretly spy on the master during his practice. After several days of spying he would have learned the master’s style, strategy, strengths and weaknesses and then he would issue his public challenge. Knowing what to expect, the young man was able to defeat many teachers and thus gained his reputation. One day the young man arrived at a village nearby the mountains in which a Taoist Monk who was also a Kung Fu master was said to live. After inquiring among the villagers the young man learned that the Master practiced early every morning in a clearing. Rising before dawn, the young man went to the clearing and hid in the bushes where he could secretly watch the old monk as he practiced. After several days of spying the young man felt he knew the monk’s secrets and he challenged him to a contest. The old monk obliged to meet him in the village for a sparring match the next day. During the match the young man was soundly beaten and made to look the complete fool. Confused the young man asks, ” I studied your technique for days, but when you fought you used movements I had never seen, how is this possible?”
The monk replied, “It is wise to use the strategy of `Know your Enemy’ but several days ago I sensed someone was watching me so I employed another strategy. When I practiced I changed the movements so that the real techniques were hidden, and when you challenged me I guessed it must have been you who had spied on me earlier. I knew what you would expect and, so I was able to turn the advantage against you.”
Whether the story is true or false the tendency to keep the real applications of a form secret is still apparent and many teachers are reluctant, or at best vague, in explaining the real purpose behind the movements. One method of hiding technique is by `blending’ the techniques together. In Japanese Katas there usually is a `stop’: a pause after each technique to show precision and focus. In Chinese forms the techniques are often blended together without a pause between the end of one technique and the start of the next. It is this blending of techniques that give Chinese forms their characteristic fluidity, and their mystery, since without having trained in the style you would not recognize many of the techniques being performed.
These masters would teach the hidden applications to only a select group of students, referred to as `Closed Door’ sessions. During the regular `Open’ class all students would learn the same movements, but only the most trusted students would be taught the true applications behind the movements. In this way the style’s most important techniques were kept secret from outsiders and those not deemed worthy of the knowledge.
Breathing Techniques
Many Kung Fu forms contain breathing exercises called Chi Gung which combines deep abdominal breathing, dynamic hand movements, and visualization. In the so called `Hard’ styles the hand movements are performed slowly using dynamic tension. In `Soft’ styles the hand movements are done relaxed with the focus on visualizing Chi (Internal Energy) flowing throughout the body. Some breathing exercises include vocalizations. Striking with a Crane Hand is usually accompanied by a crane call produced by a sudden contraction of the diaphragm, similar to a technique taught in modern voice classes. A more unusual vocal technique is a long descending wail that starts in the falsetto range and then descends through the octave to the bass range. The sounds made during a form are designed to show breath control. Unfortunately Bruce Lee made these vocalizations famous and now no moron’s pantomime of kung fu is complete without the obligatory whining and wailing.
Conditioning
There are several ways in which physical conditioning exercises are incorporated into a form. In the Chinese forms the stances tend to be much lower than they would be in real combat. Maintaining low stances throughout the form is excellent for developing leg strength, endurance, and provides cardiovascular benefits. Another conditioning technique is to exaggerate the movements which requires greater effort and flexibility. For example, in the Long Fist form the arms are held stretched out away from the body and the techniques are large and exaggerated. This works the muscles in the shoulders as well as the waist and relies on gravity resistance much like a modern Pilate’s routine. For more strenuous conditioning, weights in the form of heavy brass or iron rings were worn around the forearms. Kicks are also done higher in a form than would be done in application. When practicing forms many kicks are aimed at head height, although in self-defense, most teachers admonish against kicking higher than the solar plexus. The high kicks in a form help to increase flexibility and balance.
Finesse
Finesse techniques are usually found in weapons forms and are meant to demonstrate the performer’s expertise in handling the weapon. Like a gunfighter spinning his revolver on one finger before holstering, these techniques are almost all show but do require considerable skill. Weapons such as the sword, spear, and staff are routinely spun about the body, passing the weapon from one hand to another, behind the back, overhead, and around the neck, in what are known as Flowers. The finesse techniques are incorporated more for beauty than combat although some are surprisingly effective.
Symbolic Gestures
Forms occasionally include movements that are symbolic of the style. Some represent the origins of the form or religious influences such as the famous Kung Fu bow done by pressing the right fist to the left palm. This is said to have originated in the Shaolin temple and represents the Buddhist principle of non violence, the open palm stopping the fist. Another possible meaning is that it is a secret hand sign left over from the times when martial arts were taught in secret societies. In this case the fist represents the sun and the palm the crescent moon. In Chinese writing the moon and sun symbols written together spells “Ming” which was the reign name for the last native Chinese dynasty the Ming Dynasty. From 1644 to 1911 many secret societies were dedicated to overthrowing the Ching dynasty and restoring the old Ming. The hand signal was a way for members, many of whom were martial artists, to recognize each other.
Little known in the West is the relationship of Chinese Opera and Kung Fu with both arts exchanging techniques. Chinese Opera schools devote much of their curriculum to Kung Fu and gymnastics. Chinese Operas usually have battle scenes where the performers must wield and spin weapons and battle several opponents in choreographed fight scenes similar to those found in modern movies. Jackie Chan and Samo Hung both learned their Kung Fu while training to be Opera performers. While Chinese opera incorporated kung fu techniques, Kung Fu also borrowed many dramatic techniques from the Opera.
One of the most famous characters in Chinese Opera and Kung Fu schools is Kwan Gung. Kwan is the both the god of war and the patron saint of martial arts. He is characterized by his use of a particularly heavy halberd called a Kwan Dao (Kwan’s blade) and by his long black beard. A statue or picture of General Kwan is usually found in every Kung Fu club and in earlier time a rusty old Kwan Dao was often displayed in front of the club’s entrance like barber’s pole. When using the Kwan Dao in a form there are several dramatic gestures that have no practical applications but have obviously been adopted from the theatre such as a pause in the form in which the practitioner pretends to stroke a long beard.
Other examples of dramatic gestures are found in the animal styles. Each style will incorporate movements that embody the characteristics of the animal such as the graceful open arm hops and turns of the White Crane, the facial grimaces and ape-like gestures of the Monkey, and the hypnotic bobbing and weaving of the Preying Mantis. Some of these techniques have a combat application while others are for aesthetic reasons only.
Conclusion
Long before written language heroic tales of great deeds and battles were acted out in pantomimes in front of campfires as a way of passing cultural traditions onto the next generation. In a sense Chinese forms are a continuation of this ancient tradition. The next time you practice a Kung Fu form know that you are also a part a cultural tradition the goes back before history began.
About the Author
Stefan Verstappen is a writer and martial arts practitioner who has lived and traveled throughout the Far East. He is a frequent contributor for Black Belt, and Inside Kung Fu Magazine and author of , The Thirty-Six Strategies of Ancient China, Blind Zen, Little Warriors and Chinese Business Etiquette.
Author’s website: www.chinastrategies.com
You can e-mail Stefan with questions and comments to sverstappen@yahoo.com
Into to cutting a bald fade
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Moustache Society
Help…I look too young for my age!?
Ok I am 17 years old, I weigh 88 pounds (overly underweight) and am 5′ 02″ tall. All my life (that I can remember) I have looked way too young for my age group….I seriously (no joke) look like I am 12. I have little mustache hair and even scarcer chin hair. I also am a late bloomer because I hit puberty at the age of 14 (pretty embarassing). Please help me with your feedback on any information on how to look older and more mature so that I could (probably) fit in a little better with society.
Haha wow you guys aren’t even trying…..
Anorexic.
When you’re underweight you start to grow facial hair.
Put some weight on.
Dead Moustache Society A Documentary – 2
Depilation Men
How do I get wax (for depilation) from off my bearded face?
I am a man with a beard and the ladies thought it would be funny to wax my beard. Now I can’t get the wax off, and it’s incredibly sticky. Also, why do women bother? I think they are more attractive with a bit of hair.
use baby oil, it works just fine, remember before waxing dust it with baby powder that way the wax wont stick to your skin
Peeling & Depilation,- ( engl.)